Category Archives: History & Criticism

No Applause--Just Throw Money: The Book That Made Vaudeville

Trav S.D.

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Among other beliefs he holds that Negroes are properly slaves, that it is wicked of them to try to escape, that such wickedness is fully exposed when an escaper came “right out flat-footed [saying] he would steal his children — children that belonged to a man that hadn’t ever done me no harm.” But though Huck is shocked by such wickedness and horrified to find himself abetting it he continues to help Jim evade his pursuers. Theatre guild mag The 1931 edition contains new introductions and bibliogs.

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Stigmas of the Tamil Stage: An Ethnography of Special Drama

Susan Seizer

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Charles Alexander East- man (Ohiyesa). 1902 Little 298p il $2.50 The author, a full-blooded Sioux Indian, de- scribes his own early training, playmates, games, hunting, forest adventures, the bear dance, feasts, story telling, etc. The books are arranged for consecutive reading." The American Theatre Critics Association, ATCA, the only national organization of American theatre critics, has been struggling with their criteria for membership. Foreword by Jesse Feiring Williams. 1922 A.

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Argentine Serialised Radio Drama in the Infamous Decade,

Lauren Rea

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French fashions from the middle ages to the end of the 19th century. It was decided that the purpose of Not in Our House was threefold: first, to provide a support group for those who needed it and a list of resources, including therapists, lawyers, and advocacy organizations; second, to establish a code of conduct for non-Equity theaters, so actors and crew members who found themselves in situations like the one at Profiles would know where to go; and third, to work with Equity to change the language it used to discuss sexual harassment, intimidation, and discrimination. "We're making codes for everything," Myers says, "from basic safety of, like, having a toilet, having Band-Aids, to 'Hey, if you're working in physical theater you got to make sure you're not stomping on a concrete floor.' If you're being screamed at in front of the cast night after night, you don't have to put up with that.

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"The nigger", an American play in three acts

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Continuing this parodic reading of the narrative, Damian writes ―evidently, true love never dies. Canadian Review of Comparative Literature 22.3-4 (1995): 501-15. Following the breakup of the Soviet Union during the late 20th century, its former republics became the subject of this study as well. Linnell 156 School operettas and their production. This relationship is as illusive as that of the seed and the tree, and the egg and the hen. Introd by Owen Davis. 1925 Bren- tano's 356p $5 This book is devoted to the elaboration of At- torney Malevinsky's "Algebraic formula of a play," and "The presentation of quotations and applica- tions under each head."

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Thatcher's Theatre: British Theatre and Drama in the

D. Keith Peacock

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Subtitle Stage settings, decorations, theatrical costumes, pageants of all times and countries. Desmond MacCarthy. 1907 xiv,2-169p Bullen, London o.p. "A commentary and criticism; with an appendix containing reprinted programmes of the 'Vedrenne- Barker performances.' " Subtitle "A commentary on the achievements of the celebrated playhouse directed by Grein and Granville-Barker." He has shown that he is extremely talented and has mastered many different mediums at once. Censorship of the theatre and moving pic- tures; coiup bv Lamar Tanev P.eman. (Handbook scr'lll v6) 1931 H.

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Theatre and Globalization: Irish Drama in the Celtic Tiger

Patrick Lonergan

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Contents: Speaking and success; Choosing the purpose; Selecting subjects and finding material; Planning the speech; Making the speech interest- ing; Delivering the speech; Preparing a debate; Producing a play. Yeats; Tchehov: the perfect story-teller; Lady Gregory. Video/C 7719 [Grennan, Eamon ] Eamon Grennan (Lannan Literary Videos; 59). DVD 7181 Focuses on the culture of the town of Romagna. The author is associate professor of education in Harvard university.

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Best of Boles Blogs, Volume 3 (2009-2012)

David Boles

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Kate Smith. 1925 Methuen 63p 2s; Obtained from Expression co $1 Clear description of how to achieve that grace and elegance which are desired by all lovers of dancing. After Coleridge, criticism will increasingly look for psychological explanations for Hamlet's 'strange and odd behavior,'attributing it to various kinds of psychic disturbances, disorders, pathologies, neuroses. 22. Without changing a single line of dialogue, a group of students performing Act I, Scene I of King Lear modernised it into 70s anti-authoritarian punk.

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Beckett in Performance (Cambridge Musical Texts and

Jonathan Kalb

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Paul Belloni Du Chaillu. 1889 Scribner 2v o.p. "The early history, manners and customs of the ancestors of the English speaking nations. It borrowed many of its basic plots and characters from the karagoz, and the actors performed in the middle of a circle of spectators. Ignatov in 1901 said that to the sisters Moscow was not a city but "a symbol of a distant resplendent ideal to which suffering souls yearningly direct their thoughts" (246). -Maruice Baring in 1910 said that the departure scene of Act IV was the most poignant one he had seen...

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MEDEA S DAUGHTERS: FORMING AND PERFORMING THE WOMAN WHO KIL

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Other books by the same author and publisher, which are in print: The London review: a moral pantomime; with a double colored p'an of a toy theatre, characters and scenery, by Albert Rutherston, and instruc- tions for making the theatre, js (See entry un- der Marionettes, i lieference books) The good fairy, a play; with similar direc- tions. 2S (See entry under Marionettes, i Refer- ence books) Pantomimes and pageants for pulpit use. Christmas plays and comedies. (Mrs) Eliza- beth Frances (Ephraim) Guptill, Noel Flaurier, Rebecca Strutton.

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As You Like It (Shakespeare Handbooks)

Lesley Wade Soule

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The dialogue in the prologue and the epilogue is partly in French." It abounds in instances of extremest compression and most daring ellipsis, while it exhibits in every scene a union of supreme dramatic and poetic power, and in almost every line an imperially irresponsible control of language. As Richard Rodgers famously once said, the reason that Oklahoma worked as well as it did was because "the orchestrations sound the way the costumes look." Ionesco questions the theatrical viability of Moliere (calling his mind "unmetaphysical" and situations "petty"), while demonstrating by many of his own plays his indebtedness to "the Master."

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