bluuebunny/crossref_metadata_2025_split huggingface dataset:
Book Reviews
Authors: Dharwadker Aparna , Tatlow Antony , Clark Keith , Nelson Jeanne-Andrée , Masson Catherine , Tait Peta , Pankratz Annette , Sauter Willmar , Moeschen Sheila , Thompson James 
Published: April 2013

Nandi Bhatia, Acts Of Authority/Acts Of Resistance: Theater And Politics In Colonial And Postcolonial India, reviewed by Aparna Dharwadker Loren Kruger, Post-Imperial Brecht: Politics And Performance, East And South, reviewed by Antony Tatlow Harry J. Elam, Jr., The Past As Present In The Drama Of August Wilson, reviewed by Keith Clark Christopher Bigsby, ed., The Cambridge Companion To David Mamet, reviewed by Jeanne-Andrée Nelson Kenneth Krauss, The Drama Of Fallen France: Reading La Comédie Sans Tickets, reviewed by Catherine Masson Maria Shevtsova, Dodin And The Maly Drama Theatre: Process To Performance, reviewed by Peta Tait Robert Cross, Steven Berkoff And The Theatre Of Self-Performance, reviewed by Annette Pankratz Ric Knowles Reading The Material Theatre., reviewed by Willmar Sauter Petra Kuppers, Disability And Contemporary Performance: Bodies On Edge, reviewed by Sheila C. Moeschen Thomas Fahy And Kimball King, eds., Captive Audience: Prison And Captivity In Contemporary Theatre, reviewed by James Thompson
Book Reviews
Authors: Mason Jeffrey , Aronson Anold , Davis Peter , Paredez Deborah , Mackerras Colin , Bratton Jacky , Moody Jane , Kosuge Hayato , Farfan Penny , Saltz David 
Published: April 2013

Christopher Bigsby, Arthur Miller: A Critical Study, reviewed by Jeffrey D. Mason Stephen J. Bottoms, Playing Underground: A Critical History Of The 1960s Off-Off-Broadway Movement , reviewed by Arnold Aronson Bruce A. Mcconachie, American Theater In The Culture Of The Cold War: Producing And Contesting Containment, 1947–196, reviewed by Peter A. Davis Diana Taylor, The Archive And The Repertoire: Performing Cultural Memory In The Americas, reviewed by Deborah Paredez Claire Conceison, Significant Other: Staging The American In China, reviewed by Colin Mackerras Brian Singleton, Oscar Asche, Orientalism And British Musical Comedy, reviewed by Jacky Bratton Kerry Powell, ed., The Cambridge Companion To Victorian And Edwardian Theatre., reviewed by Jane Moody Ian Carruthers And Takahashi Yasunari, The Theatre Of Suzuki Tadashi, reviewed by Hayato Kosuge Sidonie Smith And Julia Watson, eds., Interfaces: Women/Autobiography/ Image/Performance, reviewed by Penny Farfan Gabriella Giannachi, Virtual Theatres: An Introduction, reviewed by David Z. Saltz
Book Reviews
Authors: Colborn-Roxworthy Emily , DiCenzo Maria , Giles Steve , Young Stuart , Bank Rosemarie , Murphy Brenda , Parker Brian , Baugh Cristopher 
Published: April 2013

Mary F. Brewer, Staging Whiteness, reviewed by Emily Colborn-Roxworthy Maggie B. Gale and Vive Gardner, eds., Auto/biography and Identity: Women, Theatre and Performance, reviewed by Maria DiCenzo John J. White, Bertolt Brecht’s Dramatic Theory, reviewed by Steve Giles John Tulloch, Shakespeare and Chekhov in Performance and Reception: Theatrical Events and Their Audiences, reviewed by Stuart Young Charlotte M. Canning, The Most American Thing in America: Circuit Chautauqua as Performance, reviewed by Rosemarie K. Bank Dorothy Chansky, Composing Ourselves: The Little Theatre Movement and the American Audience, reviewed by Rosemarie K. Bank Enoch Brater, ed., Arthur Miller’s America: Theater and Culture in a Time of Change, reviewed by Brenda Murphy Tenessee Williams, Mister Paradise and Other One-Act Plays, reviewed by Brian Parker Tennessee Williams, Candles to the Sun, reviewed by Brian Parker Arnold Aronson, Looking into the Abyss: Essays on Scenography, reviewed by Christopher Baugh
Dublin's Fourth Theatre Festival
Authors: Fallon Gabriel 
Published: April 2013

DUBLIN'S FOURTH INTERNATIONAL THEATRE FESTIVAL opened with the sensational news that Sean O'Casey had refused permission for the presentation of his play The Drums of Father Ned. This, of course, is the play that reputedly had been banned by the Catholic Archbishop of Dublin two Festivals previously. Now here was the Festival Committee evidently willing and anxious to defy that ban. And no one was standing in the way but Mr. O'Casey. In a letter to The Irish Times an Abbey Theatre Director accused Mr. O'Casey of banning his own play. Evidence was produced that on the occasion of the earlier Festival Mr. O'Casey had publicly stated that he had withdrawn the play because he refused to allow the Dublin Globe Theatre company to alter it to their satisfaction. The letter-writer went on to accuse Mr. O'Casey of trying to create the impression that his plays were no longer acceptable in the land of his birth. He then challenged Mr. O'Casey to lift his ban, stating that the Abbey Theatre would in this event produce every play in the O'Casey canon in the order in which each was written. Mr. O'Casey did not reply.
Book Reviews
Authors: Irwin Kathleen , Campell Peter , Taylor-Batty Mark , Oesmann Astrid , Wolf Stacy , Rebhorn Matthew , Wylam Lisa Wolford , Kershaw Baz 
Published: April 2013

Christopher Baugh, Theatre, Performance and Technology: The Development of Technology in the Twentieth Century, reviewed by Kathleen Irwin Scott T. Cummings, Remaking American Theater: Charles Mee, Anne Bogart and the SITI Company, reviewed by Peter A. Campbell Charles Grimes, Harold Pinter’s Politics: A Silence beyond Echo, reviewed by Mark Taylor-Batty Gad Kaynar And Linda Ben-Zvi, eds., Bertolt Brecht: Performance and Philosophy , reviewed by Astrid Oesmann Raymond Knapp, The American Musical and the Performance of Personal Identity, reviewed by Stacy Wolf Martin Puchner, Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes, reviewed by Matthew Rebhorn Mike Sell, Avant-Garde Performance and the Limits of Criticism: Approaching the Living Theatre, Happenings/Fluxus, and the Black Arts Movement, reviewed by Lisa Wolford Wylam Maurya Wickstrom, Performing Consumers: Global Capital and Its Theatrical Seductions , reviewed by Baz Kershaw
Book Reviews
Authors: Behringer Clara , Crafton Allen , Jones Willis , Kelson John , Kelson John , Hartman Nurray , Pronko Leonard , King Walter , Ginestier Paul , Spencer Benjamin , Kinne Wisner , Cordell Richard , Knepler HenryPaul , Davis Jed , Loram Ian , Hill Claude , Anderson Sam , Gudas Fabian , Knepler Henry 
Published: April 2013

Randolph Goodman ed, Drama On Stage, reviewed by Clara Behringer Benjamin Nelson, Tennessee Williams: The Man And His Work, reviewed by Allen Crafton Edward Fitzgerald,Eight Dramas Of Calderon, Freely Translated, reviewed by Willis Knapp Jones Jan Setterquist, Ibsen And The Beginnings Of Anglo—Irish Drama, I. John Millington Synge, reviewed by John Kelson Jan Setterquist, Ibsen And The Beginnings Of Anglo—Irish Drama, II. Edward Martyn, reviewed by John Kelson Arthur and Barbara Gelb, O'Neill, reviewed by Murray Hartman Jean Jacquot ed., Le Theatre Tracique, reviewed by Leonard C. Pronko Bamber Gascoigne, Twentieth Century Drama, reviewed by Walter N. King Aureliu Weiss, Le Destin Des Grandes Oeuvres Dramatiques, reviewed by Paul Ginestier William Carlos Williams, Many Loves And Other Play, The Collected Plays,, reviewed by Benjamin T. Spencer Nancy M. Tischler, Tennessee Williams: Rebellious Puritan, reviewed by Wisner Payne Kinne Adolphe Appia, The Work Of Living Art, reviewed by Richard A. Cordell Michel Saint-Denis, Theatre: The Rediscovery of Style, reviewed by Henry Knepler Rose Schneideman, Radio Plays For Young People to Act, reviewed by Jed H. Davis William Harkins, Karel Capek, reviewed by Ian C. Loram by Michael Hamburger ed., Poems And Verse Plays Of Hugo Von Hofmannsthal, bilingual edition, reviewed by Claude Hill Alexander Sukhovo-Kobylin, Krechinsky's Wedding, reviewed by Sam Anderson George Steiner, The Death Of Tragedy, reviewed by Fabian Gudas Elder Olson, Tragedy And The Theory Of Drama, reviewed by Fabian Gudas Richard N. Coe, Eugene Ionesco , reviewed by Henry Knepler Frederick J. Hoffman, Samuel Beckett: The Language Of Self, reviewed by Henry Knepler
Book Reviews
Authors: Meserve Walter , Day Cyrus , Grossvogel David 
Published: April 2013

by Gerald Weales, American Drama Since World War II, reviewed by Walter J. Meserve Doris Alexander, The Tempering Of Eugene O'Neill, reviewed by Cyrus Day Richard M. Eastman, Four Playwrights And A Postscript: Brecht, Ionesco, Beckett,Genet, reviewed by David I. Grossvogel
Book Reviews
Authors: McDowell Frederick , Waggoner George , McAnany Emile , Jones David 
Published: April 2013

G. Wilson Knight, The Golden Labyrinth: A Study Of British Drama, reviewed by Frederick P. W. McDowell Arthur H. Nethercot, The Last Four Lives Of Annie Besant, reviewed by George R. Waggoner Harold Ehrensperger, Religious Drama: Ends And Means, reviewed by Emile G. McAnany, S.J. Carol H. Smith, T. S. Eliot's Dramatic Theory And Practice,, reviewed by David E. Jones
Pirandello and His French Echo Anouilh
Authors: Fazia Alba 
Published: April 2013

"I CAN JUST HEAR A CRITIC whispering into his neighbor's ear that he has already seen this in Pirandello," anticipates 'The Author in the opening scene of Jean Anouilh's recent play La grotte—a plotless play which has yet to be written and which depends largely on audience cooperation, according to Anouilh. La grotte's point of departure is a fait accompli: the apparent murder of the cook. An investigation of the real cause of death ensues. The Author, a combination of Pirandello's Director in Sei personaggi in cerca d'autore and Hinkfuss of Questa sera si recita a soggetto, poses, before his audience, the problems of staging an "improvised" play. He wrangles with unruly characters and capricious stage technicians. He dramatizes the conflict between an author's illusory creation and his characters' living reality.
Book Reviews
Authors: Irvine William , Hogan Robert , Gerstenberger Donna , Heringman Bernard , Clubb Roger , Rowe Kenneth , Carpenter Charles , Bishop Thomas , Ehrensperger Harold , Miller Jordan 
Published: April 2013

Martin Meisel, Shaw and the Nineteenth-Century Theater, reviewed by William Irvine Elizabeth Coxhead, Lady Gregory, Selected Plays, reviewed by Robert Hogan Peter Ure, Yeats The Playwright: A Commentary on Character And Design in the Major Plays , reviewed by Donna Gerstenberger Helen Hennessy, Donna Gerstenberger, reviewed by Bernard Heringman Glynne Wickham, Drama in A World Of Science, , reviewed by Roger L. Clubb Gerald Weales, Religion In Modern English Drama, reviewed by Kenneth Thorpe Rowe Edwin Wilson ed., Shaw On Shakespeare: An Anthology Of Bernard Shaw's Writings On The Plays And Production Of Shakespeare, reviewed by Charles A. Carpenter, Jr. Robert Emmet Jones, The Alienated Hero In Modern French Drama, reviewed by Thomas Bishop Balwant Gargi, Theatre In India, reviewed by Harold Ehrensperger Clifford Leech, Eugene O'Neill, reviewed by Jordan Y. Miller
Nishikigi And Yeats's The Dreaming Of The Bones
Authors: Clarke David 
Published: April 2013

OF FIVE SORTS OF Noh plays, Yeats and Pound were especially interested in only one—the Noh of spirits. The direct cause of their interest in this form is that in it everything known to Western drama is lacking except the final vision or epiphany. The latter is the whole play. The Noh plays were performed in cycles and are of a meaningful variety-the Noh of spirits being fourth. A cycle of six plays would consist of: (1) A congratulatory piece ("Shugen"), connected withreligious rite, about God's immemorial protection of Japan; (2) A "Shura," or battlepiece, which puts out devils by sympathetic magic; (3) a "female Kazura" in contrast to the male battle-piece—" ... After battle comes peace, or Yu-gen, mysterious calm, and in time of peace the cases of love come to pass;" (4) The Noh of spirits; (5) A piece "bearing upon the moral duties of man"—This fifth piece teaches the duties of man here in this world as the fourth piece represents the results of carelessness to such duties; (6) Another Shugen, praising the lords and the reign, and asking a blessing— “To show that though the spring may pass, still there is a time of its return, this Shugen is put in again just as at the beginning."
Strindberg and Lagerkvist
Authors: Scobbie Irene 
Published: April 2013

HERE ONE OF THE BEST-KNOWN living Swedish dramatists, Pär Lagerkvist, comments on his compatriot, August Strindberg, and gives some indication both of the scope and significance of Strindberg's dramatic production and of the influence Strindberg has exerted over the younger playwright. Strindberg himself would no doubt have approved of Lagerkvist's words, for at one stage in his career he considered himself Sweden's first naturalistic playwright, while after the Inferno crisis he attempted to create something new in drama. In 1888 he despatched the manuscript of Fröken Julie to Bonniers with a covering letter in which he proclaimed his playas "the first naturalistic tragedy in the history of Swedish drama," and certainly it embodies the main characteristics associated with naturalism. The plot is based on a true story which Strindberg develops into a 'case history' in the true Zola manner. He applies Taine's doctrine of the three main factors which govern human destiny: la race, le milieu and le moment. For Strindberg, la race implies, in the case of Miss Julie, the aristocracy, le milieu is the Swedish estate where the action takes place, and le moment embraces the points he mentions in his preface, mainly the unreal atmosphere of a Swedish midsummer eve, Julie'S physical condition, the fact that her engagement had just been broken off, and the additional fact that her father happened to be away from home.
The Sustained Metaphor In The Only Jealousy of Emer
Authors: Scanlon Aloyse 
Published: April 2013

YEATS'S BORROWINGS from the structure and spirit of the ancient Japanese Noh drama are recognized and regularly subjected to comment and analysis. His indebtedness to Noh's stark structure, its economy of scenery, its minimum of actors, and its underscoring of intense emotions by a few musical instruments for the development of a unique, indirect, and symbolic form of drama, exemplified in his Four Plays for Dancers, has not been overlooked. Yeats's proscription of all unnecessary acting; his use of mask, song, and dance; his delving into the life of the soul, and the images of his verse form are all Noh influences that have been duly weighed and evaluated. Relatively little attention, however, has been given to the poet's perception of language values in the Noh and his appropriation of specific devices such as the sustained metaphor. Yet, Yeats is particularly indebted to Noh for the dominant image which gives unity to his drama.
Yeats and Lady Gregory: A Unique Dramatic Collaboration
Authors: Murphy Daniel 
Published: April 2013

IN 1954 OLIVER ST. JOHN GOGARTY published as fact certain rumors that had apparently circulated in Dublin for fifty years. He wrote that Yeats had finally admitted to him that he had written Lady Gregory's plays, in particular The Rising of the Moon […] Gogarty is not known for his veracity, and he undoubtedly invented the conversation he attributes to Yeats. Yeats did not write Lady Gregory's plays, but he did help her whenever he could. Of The Rising of the Moon, Lady Gregory, in an unpublished letter to Wilfrid Scawen Blunt, wrote (July 26, 1903): "I have also been writing a little play 'The Rising of the Moon' in which Yeats helped me, as I helped him in 'Cathleen' and 'Pot of Broth’.” What occurred, then, was a collaboration between Lady Gregory and W. B. Yeats in some early plays. Yeats, in a Preface to his Collected Plays, noted that he had explained his indebtedness to Lady Gregory in Plays and Plays and Controversies and then added: "If I could have persuaded her, she would have signed The Unicorn from the Stars, her share in it is so great. She had generally some part wherever there is dialect, and often where there is not."
The Shaping Force in Yeats's Plays
Authors: Unterecker John 
Published: April 2013

My TWO-PRONGED THESIS IS THIS: that William Butler Yeats was one of the most conscious craftsmen the theater has ever known, and that he may well, in the long run, be one of its most successful artists. In making these claims I am, I realize, taking positions both unpopular and extreme. With the exception of the adaptations of Sophocles, Yeats's plays have never, so far as I know, achieved longruns anywhere. And though such die-hards as Eric Bentley have praised Purgatory to the skies, most professional drama critics have neatly solved the problem of dealing with Yeats's plays either by ignoring them or by tucking them into the catch-all never-never-land of "experimental drama." Even among the admirers of Yeats's poetry, the plays seem to create a good deal of discomfort. F. A. C. Wilson, for instance, who deals with them extensively, seems happiest when he is able to extract from them allegorical messages. And Helen Vendler, who explicates them brilliantly—more brilliantly, to my mind, than any other critic—dismisses them flatly as plays written for a coterie theater, remarking of The Death of Cuchulain that "the play is no more compelling, dramatically speaking, than the other late plays, which is to say almost not at all." Purgatory, for her, is "thin and unsatisfying" largely because it ends, she feels, "on a tone of frustration and incomprehension." Only a handful of Yeats scholars—most conspicuously among them John Moore, David Clark, and Peter Ure—have made any serious attempt to see how the plays function both as drama and as poetry, how the poetry in a very literal way complements the drama, enriching and strengthening it, and how the drama in turn complements the poetry, providing a structure of essential action-the articulated bone, if you will, which is driven by Yeats's muscular verse. And yet, finally, it is this combination which makes Yeats's plays the powerful dramas that they are: a verse which at its best functions so inconspicuously as in production to be unnoticeable, integrates and supports a very carefully planned dramatic structure.
Book Reviews
Authors: Mercer Vivian , Boulton James , Welland Dennis 
Published: April 2013

David R. Clark, W. B. Yeats And The Theatre Of Desolate Reality, reviewed by Vivian Mercier by John Russell Taylor, Anger And After: A Guide To The New British Drama, reviewed by James T. Boulton John Russell Taylor, The Angry Theatre: New British Drama, reviewed by Dennis Welland
From Naturalism To The Dream Play: A Study Of The Evolution Of Strindberg's Unique Theatrical Form
Authors: Benston Alice 
Published: April 2013

IF WE TRACE THE EVOLUTION of Strindberg's theatrical form, we have a perfect model of the contemporary dramatist's rejection of realism and return to stylized theater. His career offers a typical pattern: naturalism, symbolic naturalism, and, finally, the completely artificial structure of the poetic dream play. His work mirrors the kind of modern sensibility that has been the main impetus of theatrical experiments in our century. His genius in expressing this modern sensibility influenced such people as Kafka and Pirandello and continues to influence anyone involved with contemporary drama. To observe the transformations that Strindberg made in the prevailing dramaturgical form, we have to understand the way he used naturalism. Since almost all of his voluminous works are in some way autobiographical, it is also necessary to start with some kind of assessment of Strindberg's egocentricity and his mania for self-revelation. It is this aspect of personality which prevented him from viewing naturalism in the strictly objective, scientific terms in which it was conceived.
The Plays Of D. H. Lawrence: Addenda
Authors: Mahnken Harry 
Published: April 2013

IN THE February, 1960, issue of Modern Drama (Vol. II, NO.4), a short article appeared in which were discussed the ideas found in the several plays written at intervals during the literary career of D. H. Lawrence. In that article there is a mistake about the date• of composition of one of the plays. Further, the author omitted a play which would have added weight to his final conclusion: that the plays show "how a great artist hammered out his thought on several anvils, reshaping and redefining it to fit the specific form—novel, tale, play—to produce the work of art."
Book Reviews
Authors: Albrecht  , Six Sally , Siegel Ben , Ivask George 
Published: April 2013

G. Wilson Knight, Henrik Ibsen, reviewed by Irving Deer Erich Schmidt, Das Moderne Englische Drama, reviewed by Claude Hill Henrik Ibsen, Peer Gynt, reviewed by John H. Kelson Georg Büchner, Complete Plays And Prose, reviewed by Michael Scherer Theodore J. Shank, A Digest of 500 Plays: Plot Outlines and Production Notes, reviewed by Walter J. Meserve Elmer Rice, Minority Report, reviewed by Michael J. Mendelsohn Charles Leonard, Michael Chekhov's To The Director And Playwright, reviewed by Robert Shedd
Book Reviews
Authors: Rose Marilyn , Greene David , Pronko Leonard , Oliver William , Rowe Kenneth , Price Jonathan 
Published: April 2013

Haskell M. Block, Mallarme And The Symbolist Drama, reviewed by Marilyn Gaddis Rose C. G. L. Du Cann, The Loves Of George Bernard Shaw, reviewed by David H. Greene Jean Jacquot, Les Théatres D'asie, reviewed by Leonard C. Pronko Jean Jacquot and Denis Bablet, Le Lieu Theatral Dans La. Societe Moderne, reviewed by Leonard C. PRONKO Manuel Duran, Lorca, A Collection Of Critical Essays, reviewed by William I. Oliver John Gassner and Ralph G. Allen ed.,Theatre And Drama In The Making, reviewed by Kenneth Rowe Douglas and Kari Hunt,Pantomime: The Silent Theater, reviewed by Jonathan R. Price
Montherlant's Aesthetics
Authors: Price Jonathan 
Published: April 2013

THE PLAYS OF HENRY DE MONTHERLANT stem from an aesthetic that can often seem a bit uncongenial to less hardy souls. He is ferocious, and his artistic principles often seem a little puzzling to people who are less austere. How then does Montherlant think of his artistic output? How does he deal with the raw materials-the characters, the themes, the style? The way he shapes these will suggest the effect he wants to make on his audience. His relation to his audience is a peculiar one, deriving, from the concepts of renoncement, alternance, and the neant sublime. In fact, his plays seem to be designed to enable his spectators to experience many of the feelings he himself moves through.
Yeats's Introduction Of The Heroic Type
Authors: Byars John 
Published: April 2013

To WRITE OF THE HERO IN Yeats's dramas on Irish legend beginning in 1903 is to confront a critical problem, namely the ambivalent critical attitude towards these figures. Although critics seem to recognize that there are differences between these heroes and those in Yeats's earlier dramas, they tend to group all the central figures in his dramas under one general category exemplifying the so-called "Yeatsian hero."[…] The difficulty with such a definition is that it is too inclusive. The definition does not apply to the central characters in Yeats's earliest "miracle plays" based on Irish folklore for a very important reason. Ellmann describes the Yeatsian heroic prototype as one who has an independent force of will, suggested by the following excerpts from his definition: "the part they have decided on," "their chosen image of themselves," and "what they have aimed at." Terms involving choice and purpose, however, run counter to the nature of the saints of Yeats's early plays, for it is precisely their lack of will, or suspension of choice, which makes them different from the later heroes. Yeats introduced in 1903 an essentially different hero in the dramas On Baile’s Strand and The King’s Threshold. The distinguishing element in that hero is his force of wil1. In expressing that force of will, the hero follows a peculiar pattern which establishes him as a distinct dramatic type.