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Neil Taylor

performance histories, and I raise a number of issues in relation to the usefulness of performance history itself. Editors of scholarly editions of Shakespeare’s plays took a long time to recognise that their role necessarily included a discussion of the play in performance. The editors’ introductions in all the volumes of the first and second Arden Shakespeare series (hereinafter referred to as ‘Ard1’ and

in Screen plays
Stage Beauty as a cerebral retort to Hollywood
Sarah Martindale

Love but different, which it’s not. It’s more cerebral than that.’ 8 The similarities between the two films are obvious: from shared cast members (Tom Wilkinson and Rupert Everett), to visual and narrative echoes. Both seek to reconstruct the performance history of Shakespeare and give the film viewer a glimpse behind the scenes of the theatre world. Stage Beauty is concerned with the point in the Restoration period when male actors portraying female characters were replaced by actresses on the English stage. Greg Colón Semenza argues that depictions of post

in British art cinema
Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Early modern drama, early British television
Lisa Ward

in 1607. It is a satire on chivalric romances which also includes parodic references to, among other plays, Shoemaker’s. The play has a similar performance history to Shoemaker’s in modern times: Sheldon P. Zitner (in Beaumont 2004 : 44–5) explains that it, too, became a favourite of student and amateur groups from around the turn of the century before being revived professionally. The Mermaid Society staged it at the

in Screen plays
Gumboot dance in South Africa
Dana Mills

formation of teams which would rehearse and compete in performance with teams from other compounds. The use of this dance as a tourist attraction has 70 70 Dance and politics also led to the understanding, in some areas, of the dance as manipulated by white people (Muller and Fargion 1999). From its inception and throughout its performance history the dance exhibited the disciplining of the African population by the white population in South Africa. Gumboot dance, then, not only imitated and performed the politics of inequality that circumscribed the miners’ lives

in Dance and politics
Middleton’s tragedies on television, 1965–2009
Susanne Greenhalgh

Middleton, Thomas Middleton , pp. 1632–78 . O’Berski , J. ( 2012 ), Middleton and Rowley: The Changeling ( Basingstoke : Palgrave Macmillan ). Panek , J. ( 2019 ), ‘ A performance history ’, in Hutchings

in Screen plays
The Harold Pinter season on Theatre 625 (BBC2, 1967)
Amanda Wrigley and Billy Smart

intermedial performance history of this still-new but well-known work made it a terrific choice for the 1967 Theatre 625 trilogy which sought to illustrate and celebrate Pinter’s ability to work within the expressive possibilities of different media and, indeed, showcase the way his plays readily lent themselves to intermedial adaptation. In a Radio Times article publicising the BBC2

in Screen plays
Abstract only
Producing theatrical classics with a decorative aesthetic
Billy Smart

). Working without a sense of comparison with theatrical performance history—’I didn’t have any yardstick of “wasn’t-Peggy-lovely-in-’35” to go on’, as Nicholson himself put it ( 1970 : 52)—meant that Messina’s productions prioritised clarity of story-telling and intelligibility of plots for the television viewer (Drabble 1975a ). He defined this as ‘straightforward drama

in Screen plays
Ruth Barton

more likely to represent, to borrow a phrase, the people who have their dinner in the middle of the day. The urban/rural divide is still very much in evidence in the success of Killinaskully – a programme that is said to quieten some rural pubs quicker than the sound of an approaching Garda car at 2am. (Hegarty, 2008 ) Figure 16 Pat Shortt and Conor Ryan in Garage In overseas territories, therefore, Shortt’s performance history was meaningless as Killinaskully did not export, but it carried interesting local

in Irish cinema in the twenty-first century
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!”