American Theatre of the 20th Century

This paper aims to concretize this notion of literary theories being in dialogue by exploring the intertwining of the Marxist theory, mainly depending on Karl Marx and Vladimir Lenin’s theories, and Freudian psychoanalytic theory, based on Sigmund Freud’s writings, in Arthur Miller’s play “The Crucible” with focus on Reverand Parris as a representative of the Bourgoise and John Proctor, Abigail Williams and the people of Salem as representatives of the Proletariats. “The Crucible” portrays the Marxist ideology of class division, yet more importantly, it traces religion, a concept long debated among the Marxists, as the trigger to the class struggle. The characters in the play have taken to 2 extreme measures for power attainment; Hysteria, triggered by the Id, and revolution, triggered by the Superego. This is what this paper aims to explore further with taking

...Philoktetes, a play Jesurun wrote specifically for Jan Ritsema's 1994 production at Kaaitheater in Brussels with the umbrella title Philoktetes-Variations ―based on three modern renderings of Sophocles' tragedy (the other two being André Gide's and Heiner Müller's, each in its original language)― is a good example of his postmodern aesthetic and ideological concern with the problematics of identity, an idea we also encounter in his earlier work (Deep Sleep and White Water, among others)....

" Theatre may be said to be derived from ritual, but that is only to say that it becomes theatre once the two have separated " —Bertolt Brecht, " Little Organon " Upon its premiere in 2002, much was made of the fact that Edward Albee's The Goat, or Who is Sylvia functioned as a perfect example of Aristotelian dramatic structuring; that the fall of the House of Gray (ironically headed by an architect, Martin Gray) was as profound in its implications as the toppling of the Houses of Atreus and Laius. Albee clearly signaled his intensions within the play's subtitle, " Notes toward a Definition of Tragedy, " if not in his denouement, where the eponymous Sylvia is sacrificed as a literal scapegoat, though the protagonists' expiation remains ambiguous. The generally positive critical response to The Goat failed, however, to note that Albee often employs ancient myth in his work, or that the idea of the sacrificial object serves as one of the sovereign symbols in his most famous work, Who's Afraid of Virginia Woolf? In his book Greek Theatre Performance, David Wiles quotes Luce Irigaray's statement that " our imaginary still functions in accordance with the schema established through Greek mythologies and tragedies " (86). Obviously, Who's Afraid of Virginia Woolf? is positioned within a mythosphere of classical allusion. There is the setting of New Carthage with its small liberal arts college that is ruled Silvis 2

Το Machinal, ένα από τα πιο σημαντικά έργα της σύγχρονης αμερικανικής δραματουργίας, γραμμένο από μια ιδιαίτερα αιχμηρή φωνή της, τη Σόφι Τρέντγουελ, εστιάζει στη γυναικεία ταυτότητα, στις κρίσιμες στιγμές της πάλης της για την αντιμετώπιση του βάρους των πολλαπλών κοινωνικών της ρόλων, στην καταπίεση που υφίσταται τόσο στο οικογενειακό όσο και στο εργασιακό της περιβάλλον, μα και στις επιθυμίες της, σε ό,τι λαχταρά και παραμένει θαμμένο μέσα στην τύρβη της καθημερινότητας.

Η σκηνοθέτις Αύρα Σιδηροπούλου και η δυναμική ομάδα συνεργατών που την πλαισιώνει αναμετρώνται με το εξπρεσιονιστικό ύφος του έργου για να πλάσουν επί σκηνής με λόγο, ήχο και εικόνες τη διαδρομή αυτής της γυναίκας προς τη διεκδίκηση της προσωπικής της ελευθερίας.

Referencing Gertrude Stein’s landscape aesthetic—a way of rendering alive human consciousness by means of physicalizing it through language—several American playwrights have been infusing performative (spatial and incantatory) forms into the very tissue of their writing, from the latter part of the 20th century to date. Present as sound poetry or principles of fiction, formal elements that undermine traditional
structures of dramatic writing have generated a tradition of experimental voices as distinct as those of Charles Mee, Mac Wellman and Richard Maxwell, among others. In these playwrights’ works, characters are often created and developed linguistically, their physical selves subordinated to their speech, while texts are frequently as elliptical and “oral” as poems and other times as narrational and cerebral as novels, breathing within liminal spaces that defy easy categorization, but also resonating with performative potential.

The aim of this article is to show which are the dramatic “yields” of the inclusion of the reference to the goddess Diana in Tennessee Williams’s Cat on a Hot tin Roof. In the author’s opinion, it does not deal simply with a meaningful reference; on the contrary, the accurate analysis of Williams’s text proves that it is a true nuclear and cohesive element of the whole drama.

A revised version of my earlier paper on the same.
This is an undergraduate term paper for a Post-Shakespearean Drama course. It assesses the theme of the American Dream in Arthur Miller's All My Sons. It is an analysis of the moral and social outcomes of said theme.

In the 2016 Broadway musical Waitress, the baker and diner waitress Jenna sings, "What's inside? Everyone wants to know what's inside?" She is referring to the pies she bakes, but musical theatre creators are similarly questioned by spectators and journalists about what goes into the musicals they write. Waitress is a collaboration between librettist Jessie Nelson, songwriter Sara Bareilles, director Diane Paulus, and choreographer Lorin Latarro. Breaking ground on Broadway with an all-female creative team, Waitress was developed out of town at the American Repertory Theater, a regional theatre on the campus of Harvard University. It opened on Broadway in the same season as Hamilton, a musical developed by writer-composer Lin-Manuel Miranda in collaboration with director Thomas Kail, choreographer Andy Blankenbuehler, and music director Alex Lacamoire, through workshops and an Off-Broadway production at the not-for-profit Public Theater. They call themselves the Cabinet, in a nod to George Washington's cabinet depicted in the musical, but also in recognition of their strong collaborative relationship. Together, Hamilton and Waitress illustrate the vastly different creative collaborations made possible by the infrastructure of regional and not-for-profit theatres. The funding and venues supporting the creation of American musicals have shifted since 1945, as have the techniques and technologies employed in creating musicals, ultimately changing how musicals are made and what stories they might tell. Whether motivated by potential profit, formal innovation, and/or social relevance, what's inside a musical has not changed, to the extent that it is still the result of creative collaboration. "The writing of a good musical is one of the most complex undertakings ever conceived by man," composer and conductor Lehman Engel writes. "It is a many-sided collaboration, and each person working on it must be talented, knowledgeable,

The aim of this article is to show which are the dramatic “yields” of the inclusion of the reference to the goddess Diana in Tennessee Williams’s Cat on a Hot tin Roof. In the author’s opinion, it does not deal simply with a meaningful reference; on the contrary, the accurate analysis of Williams’s text proves that it is a true nuclear and cohesive element of the whole drama.

This is an undergraduate term paper for a course in Post-Shakespearean Drama. It is an analysis of Arthur Miller's play All My Sons from a moral perspective-assessing themes of guilt, betrayal and denial. It aims to explore the personal responsibility and accountability of each character as well as their motives and interests, and what happens when they interact.

The fundamental debt of E. O’Neill’s Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author’s hypothesis, O’Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader’s right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O’Neill’s work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author’s article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O’Neill’s drama bearing in mind the above mentioned Platonic parameter.

The Festschrift is a collection of 47 essays on subjects related to Prof. Kouymjian’s interest over the years written by colleagues, friends, and students.  Included in the selection that follows are the front cover, the titlepage, acknowledgements, Table of Contents, Preface, the editor’s Introduction, Bibliography of the honoree’s works, Tabula Gratulatoria, and back cover.

In this article we intend to analyze theatre as a privileged (yet problematic) site to denounce how women's bodies have been traditionally dissected and objectified under patriarchal scrutiny. To achieve this purpose we explore the controversial staging of the feminine body within feminist practice and concentrate on a study of three plays by contemporary American female playwrights so as to determine the performative aesthetics allowing for the dismantling of such traditional essentialist gaze. Our analysis of Suzan Lori-Parks's Venus (1996), Eve Ensler's The Vagina Monologues (1996), and Lynn Nottage's Ruined (2007) demonstrates how the feminist discourse aiming to destabilize normative notions of femininity may result in a misleading representation of female corporealities that, paradoxically enough, might accentuate those hegemonic notions that were originally intended to be dismantled. We support our study with the analysis of the strategies these authors resort to in their endeavor to revise traditional meanings associated to women's anatomies and to defy dominant constructions of femininity. On that account, we identify the risks and difficulties that the (mis)representation of women's embodied experiences from a feminist perspective may bring about. RES UMEN En este artículo se trata de analizar el teatro como lugar privilegiado, aunque también problemático, desde el que denunciar el modo en que los cuerpos 1 " She'd Make a Splendid Freak" is the title of the first scene of the play (Parks 18).

Sam Shepard fue un dramaturgo, poeta y actor estadounidense que dejó un sello inconfundible en el siglo XX y comienzos del siglo XXI gracias a su peculiar estilo. Fue uno de esos personajes de la cultura que consiguió crear una aureola de leyenda a su alrededor. Sam Shepard falleció el 30 de julio de 2017 en su residencia de Kentucky a los 73 años. Sirva este texto en forma de epístola como homenaje a su legado, y en especial a su obra de teatro “Fool for love” (Locos de amor), que es uno de los textos teatrales más interesantes de finales del siglo XX.

This paper aims to explore how racialized identities are typified as a modernist construct in Eugene O’Neill’s The Emperor Jones (1920). To this end, the notion of whiteness is identified as a mediated construct and contextualized in the proliferation of American minstrel shows. This popular entertainment projected to white audiences the racial means of differentiation from black caricatures and clichés at the time of segregation. The echoes of minstrel shows and modernists’ instrumentalization of 1920s primitivism serve to initially address the characterization of blackness in Brutus Jones’ identity. Assessed through this in-between construction of symbolic borderlands in which the protagonist is both colonizer and colonized, his blackness becomes a metaphorical mask of otherness while his whiteness shapes the colonial performance of material whiteness. Although he envisions the white ideal in his systematic practices in the Caribbean island, his fragmented identity and his hybridity subject him to a primeval racialized past, to primitivism and atavism.

In his novel Scènes de la vie de Bohème (1845), Henri Murger writes of as an artistic existence traveled by daring adventurers. Murger’s Parisian, Bohemian characters and general plot embark on a transnational voyage through Giacomo Puccini’s Italian opera La Bohème (1896) to take root ultimately in Jonathan Larson’s American musical, Rent (1996). By transposing the finale of Murger and Puccini’s works to focus on rebirth, renewal and life rather than death, Larson’s message of “no day but today” offers a transformative power affecting the lives of Rent’s characters that, one discovers, live in a liminal space where love endures.

Da C. Vicentini, La teoria del teatro politico (Firenze, Sansoni), pp. 125-162.
Sommario: 1 La nozione del teatro di guerriglia. 2 Teatro sperimentale e  teatro politico. 3 La nuova sinistra e il teatro di guerriglia. 4 Teatro di guerriglia e azione diretta. 5 Lotta rivoluzionaria e spettacolo teatrale. 6 Il modello del teatro di guerriglia.

In recent years, the longstanding practice of producing and circulating bootleg recordings of Broadway musicals has escalated as have condemnations of this activity as detrimental to the commercial theatre industry. Drawing on work from media industry studies, this article reframes theatre bootlegging not as a detrimental practice, but as one that may have generative contributions to the theatre industry for its promotional effects. Rather than celebrating such efforts as wholly resistant or co-opted, however, we must understand bootlegging as essentially fraught, staging the inherent tension between the Broadway musical as art and commerce and blurring the distinction between producers and consumers. Critical attention to theatrical bootlegging as a social and cultural practice foregrounds the range of stakeholders in theatre culture as well as the myriad ways that they function as market actors.

Tennessee Williams has become well-known for creating characters who set the stage for their own dramas. Examples include Amanda Wingfield from The Glass Menagerie who directs her son on how to eat and tries to make her daughter act like a Southern Belle as well as Blanche DuBois from A Streetcar Named Desire, arriving at her sister’s apartment with an entire trunk of costumes and props. This study argues for the persistence of one metatheatrical strategy running throughout Williams’s entire oeuvre. The author tries to show that his plays always stage the process through which they came into being and attempts to demonstrate that this process consists of a variation on repetition combined with transformation. Each chapter includes a detailed close reading of one Williams play and analyzes its particular variation on repetition and transformation. Topics are, amongst others, reproduction in Sweet Bird of Youth (1959) and mediation in Something Cloudy, Something Clear (1981). Since Williams repeated yet transformed elements taken from his own life and from the lives of the people he knew over the course of his long career, questions pertaining to the presence of (auto)biography are brought to light and, at the same time, problematized in every chapter. Furthermore, the playwright frequently recycled previous works of art – his own and others’ – thus raising the issue of the importance of intertextuality and intermediality to his writing.

More information at: https://mcfarlandbooks.com/product/the-metatheater-of-tennessee-williams/

Bu çalışmanın amacı, Çağdaş Amerikan Tiyatrosu’nda yer alan Chicana
Tiyatrosu’nun öncü feminist yazarlarından şair ve düşünür Cherrie Moraga’nın
yeniden yazdığı Medea mitini, Homi Bhabha’nın postkolonyal melezlik ve üçüncü
alan teorisi kapsamında ele almaktır. Melezlik kavramını tartışmalı bir kültürel
kimlik yapısı içinde değerlendiren Bhabha, sömüren/kolonileştiren ve sömürülen/
kolonileştirilen iki kültürün etkileşimi sonucu melez bir üçüncü alan ortaya
çıktığının altını çizer. Moraga’nın distopik oyunu The Hungry Woman: A Mexican
Medea’da, anavatanı Aztlan’dan Phoenix’e sürülen başkarakter Medea’nın,
oğlunu öldürdükten sonra yaşamını bir akıl hastanesi hapishanesinde geçirmesi
anlatılmaktadır. Çalışmada, Bhabha’nın teorisinden yola çıkarak, Chicana yazar
Moraga’nın Yunan miti Medea’yı Meksikalı bir lezbiyen kadın olarak yazdığı bu
oyunda yarattığı feminist üçüncü alan incelenecektir.
Anahtar Kelimeler: Homi Bhabha, Cherrie Moraga, Postkolonyal Melezlik,
Chicano/a Tiyatrosu, Üçüncü Alan Teorisi

This article uses Tennessee Williams's plays as a case study by which to examine how the textual relationship between stage directions and dialogue is more complex than previous studies have traditionally shown. By examining different relationships between stage directions and dialogue, namely Spoken Stage Directions (stage directions included verbatim in dialogue, supported by an actual stage direction), Stage Directioned Speech (stage directions which include pieces of dialogue within them), and Hybrid Form (where an actor's line is made up of both dialogue and a gesture or movement). I deconstruct these approaches to stage directions to reveal that the stage directions are not simply supplementary to an actor's performance, but a primary part of an actor's lines.

This paper analyzes the dramatic representations of the former dictator Nicolae Ceauºescu and his wife Elena Ceauºescu in Denis Dinulescu’s A Day in Nicolae Ceauºescu’s Life, produced at the Mic Theatre in Bucharest in 2005, and Saviana Stanescu’s Waxing West, first produced for the Festival of New Works, Goldberg Theatre, NYU, in 2003. Special emphasis is placed on the auto-ironic disclosure of the long-denied responsibility of the Romanian people.

In adapting Tony Kushner’s "Angels in America" for television, Mike Nichols accurately respected the political agenda of the author (democratic, hebrew and homosexual), who also wrote the screenplay. The choice of Hadrian’s Villa (instead of a San Francisco devastated by the earthquake of 1906) as a background for the scenes which take place in the Paradise can be understood as coherent with Kushner’s ideological perspective, as well as with his peculiar camp aesthetics.

DE TODOS OS LUGARES: IDEIAS EM MOVIMENTO NAS ARTES CÊNICAS
Este número especial da Revista VIS reúne pesquisadores nacionais e interna- cionais que partem de insatisfação comum: a de que muitas das narrativas his- tóricas, definições, conceitos e metodologias utilizados no intercampo das Artes Cênicas não parecem mais válidos depois de um certo tempo e precisam ser revisitados critica e periodicamente.

Παρουσίαση μεταφραστικών τεχνικών και πρακτικών που ακολουθήθηκαν με σκοπό τη μετάφραση του θεατρικού κειμένου "for colored girls who have considered suicide/when the rainbow is enuf" της Αμερικής του '70 στα δεδομένα της Ελληνικής κοινωνίας του '16.

Collective Creation in Contemporary Performance examines collective and devised theatre practices internationally--with emphasis on Russia, Europe, and North America--from the late 20th century, into the present. Building upon the authors’ previous work, A History of Collective Creation, this volume situates contemporary collective creation in a tradition which emerged at the beginning of the twentieth century, and traces the aesthetic, social and political shifts that have marked this mode of theatre making, from mid-century manifestations as a theatrical expression of the New Left, to present-day devising practices.

Although it is not the first literary type that comes to mind about African-American literature, the drama has become an important form of black self-expression. The black theater, modernized with time and adapted to the popular formats of the era, has achieved rapid development in the after-slavery period. The Harlem Renaissance was especially a booming era in this respect. This genre may sometimes appear as reinterpretations of the classics like Shakespeare's works with a black point of view, but most often it appears as exclusive works, which belong to, and produced for black people. Such race loyalty gives clues for Black Nationalism, which is frequently used as a theme in theatrical works of the colored nation. Slavery; search for equal rights; the utopia of a fresh beginning as free blacks in another country; and the lives of historical personalities that have marked the blacks' struggle for freedom are also among the themes that the early black theater has handled recurrently. In this study, the relationship between the history and the theater of blacks in America will be analyzed by exemplifying and discussing major themes used in the early African-American Theater.