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Theatre of Debate
Simon Parry

positions in relation to particular scenarios might be informed by particular emotional dynamics, family experiences, national 108 Science in performance histories (e.g. of eugenics), religious beliefs and other factors, as I have tried to outline in relation to The Gift and Dayglo in particular. Brian, an oncology nurse, treats and befriends Evelyn in Dayglo and his apparent wisdom and skill are rooted as much in his campy humour and ability to relate to both Evelyn and Stella as they are in his technical understanding of cancer genetics. In an opening scene of the

in Science in performance
Gilli Bush-Bailey

will have us, fully and appropriately, remember’.16 The power of occlusion, then, goes beyond the immediate exclusion of Pix’s play from the literary dramatic canon; after all, feminist revision recovered the text some time ago. But that work, albeit of great importance, cannot bridge the chasm of historical exclusion and see such work returned to the place it was created for – the repertoire of the playhouse. Even if The Beau Defeated were to be revived at the Royal National Theatre today, its absence from performance history would inevitably invite unfavourable

in Treading the bawds
Temporal origami in the Towneley Herod the Great
Daisy Black

ideal which was already out of date. Moreover, the language of the court becomes comically and troublingly inappropriate when placed in the context of a massacre. For example, Herod rewards the counsellor who suggests the massacre with promises of castles, lands and even the title of Pope. 84 This brings the Bethlehem massacre together with the kind of rewards a powerful king might be able to dispense. Given the cross-period performance histories of the Towneley manuscript compilation, this astonishing offer of the title of ‘Pope’ as a reward might have been

in Play time
Musical spectacle at the Paris court of Maria de’ Medici, the Italian Minerva of France
Janie Cole

Dames, 1602), Gough suggests that the queen’s own performance history as a dancer, and her participation in Florentine productions prior to her move to France (such as in Ottavio Rinuccini’s 1596 Mascherata di stelle ), provided iconographies that she re-adapted in her pre-1610 French court ballets, within a new socio-political context of rivalry among elite

in Transnational connections in early modern theatre
Foreign Antony and Cleopatra in Britain and abroad
Carol Chillington Rutter

and sending it to me. Having the text in hand has allowed me to correct errors that have appeared elsewhere in the performance history of this production. 14 While she was at it, Stowasser also sent a scanned copy of this invaluable source book, Antonius und Cleopatra: Materialien zur Aufführung (Berlin: Gemeinschaftsproduktion der Wiener Festwochen mit dem Berliner Ensemble, 1994). For this, much thanks

in Antony and Cleopatra
Joshua Davies

graceful and share their visual language with the Queen’s 75 Queen Eleanor and her crosses 75 2.3  Geddington Cross tombs at Lincoln and Westminster.26 Eleanor’s power and identity in these representations is contingent on her ancestry and the performance history of the rituals embedded in the images. In their representation of the rituals of queenship, the crosses insist on the copresence of the two key moments in Eleanor’s life: her crowning as queen and her death as consort. Perhaps counterintuitively, the multiple reiterations of the Queen’s body and the focus

in Visions and ruins
Michael D. Friedman and Alan Dessen

During the decade following the release of Julie Taymor’s film, at least one major stage production of Titus Andronicus represented each of the four lines of descent in the play’s performance history. Yukio Ninagawa’s Japanese production exhibited the influence of Peter Brook’s stylised technique, while both Bill Alexander, for the RSC, and Gale Edwards, for the Shakespeare Theatre of Washington, DC, followed the realistic example set by Jane Howell. Richard Rose’s Stratford, Ontario production, set in

in Titus Andronicus
Margret Fetzer

things I am fain to write of, lest I should write of my self, who am so little a 206 John Donne’s Performances history or tale, that I should not hold out to make a Letter long enough to send over a Sea to you; for I should dispatch my self in this one word that I am Your affectionate servant and lover J. Donne’ (Letters 190). Since these are the final words of his letter, the writer does in fact dispatch himself in this subscription: what he ‘should’ do becomes what he does, his words perform what they describe. Much as this may be true of most formulas of farewell

in John Donne’s Performances
Taking the measure of Antony and Cleopatra, Royal Shakespeare Company, 1972, 1978, 1982
Carol Chillington Rutter

of universal peace seem a threat’ ( Daily Express , 16 August 1972), there wasn't much to choose. Nunn had clearly cast his principals to bring on stage their reputations and performance histories. Richard Johnson was an Antony cut from Glen Byam Shaw's cloth, an ‘Offi’ who'd served in the Royal Navy from 1945 to 1948. He'd made his film debut in Never So Few (1959), a World War II story – overlaid with sex, intrigue and imperial ambition: shades of Antony and Cleopatra – shot in Burma. He was first casting for James Bond in the original

in Antony and Cleopatra
Art and feminist performance politics in Yugoslavia
Jasmina Tumbas

's struggle for emancipatory strategies in art were undeniably linked to this patriarchal Yugoslav context Pejić describes, and that understandings of the performance and conceptual art movements in Yugoslavia have to account for women's feminist contributions in art and performance history to that moment. Feminist performance politics in the arts during the 1970s and into the 1980s in Yugoslavia demonstrate explicitly that emancipatory resistance did not belong to a cohesive movement of Jugoslovenkas or a group adhering to the same set of principles. The point of the

in “I am Jugoslovenka!”