bluuebunny/crossref_metadata_2025_split huggingface dataset:
Book Reviews
Authors: Pentzell Raymond , Daubenas Jean , Anderson Michael , Charney Maurice , Lamont Rosette , Carlson Harry , Hubbs Clayton , Bennett Benjamin , Todras Arthur , Jackson Esther , Mcellan Samuel 
Published: April 2013

John Lahr, Coward the Playwright, reviewed by Raymond J. Pentzell Susan Rusinko, . Terence Rattigan, reviewed by Jean Daubenas Frances Gray, John Arden, reviewed by Michael Anderson C.W.E. Bigsby, Joe Orton, reviewed by Maurice Charney Robert Champigny, Sartre and Drama, reviewed by Rosette C. Lamont Evert Sprinchorn, Strindberg as Dramatist, reviewed by Harry G. Carlson Richard Peace, Chekhov: A Study of the Four Major Plays, reviewed by Clayton A. Hubbs Ronald Speirs, Brecht's Early Plays, reviewed by Benjamin Bennett Tony Butiitta And Barry Witham, Uncle Sam Presents: A Memoir of the Federal Theatre 1935-1939, reviewed by Arthur Todras Thomas H. Pauly, An American Odyssey: Elia Kazan and American Culture, reviewed by Arthur Todras R.B. Parker, ed., The Glass Menagerie: A Collection of Critical Essays, reviewed by Esther M . Jackson Errol Durbach, "Ibsen the Romantic": Analogues of Paradise in the Later Plays, reviewed by Samuel G. Mclellan
Book Reviews
Authors: Quigley Austine , Simard Rodney , Brown Barbara , Cahn Victor , Mitchell Breon , Martin Robert , Dukore Bernard 
Published: April 2013

Simon Trussler ed., New Theatre Voices of the Seventies: Sixteen Interviews , reviewed by Austin E. Quigley Bonnie Marranca, Theatre writings, reviewed by Rodney Simard David Thomas, Henrik Ibsen, reviewed by Charles Leland Warren Sylvester Smith, Bishop of Everywhere: Bernard Shaw and the Life Force, reviewed by Barbara B. Brown Thomas Whitaker, Tom Stoppard, reviewed by Victor L. Cahn Charles R, Lyons, Samuel Beckett, reviewed by Breon Mitchell Arthur Miller, Salesman In Beijing, reviewed by Robert A. Martin A.M. Gibbs, The Art and Mind of Shaw, reviewed by Bernard F. Dukore
Book Reviews
Authors: Bryer Jackson , Ley Ralph 
Published: April 2013

Horst Frenz and Susan Tuck ed., Eugene O'Neill's Critics: Voices From Abroad, reviewed by Jackson R. Bryer John Willett, Brecht in Context: Comparative Approaches, reviewed by Ralph Ley John Fuegi, Gisela Bahr, and John Willett eds., Beyond Brecht, reviewed by Ralph Ley
A Masque Of Reason And J B.: Two Treatments Of The Book Of Job
Authors: Stock Ely 
Published: April 2013

IN THE CHAOTIC MID-TWENTiEnr CENTURY it is not surprising that two poets who have been most aware of man's seemingly isolated position in the universe turned to the Book of Job for inspiration. A Masque of Reason, a one act play in verse by Robert Frost, published in 1945, and Archibald MacLeish's J. B., a verse drama of eleven scenes, published and produced on Broadway in 1956, have more in common than their common Old Testament source, but, at the same time are unmistakeably different from each other. The Book of Job, written by an anonymous poet in the early half of the fifth century B.C. in Babylon, can be divided into two sections from the point of view of structure. Chapters one and two and chapters thirty-eight through forty-two present the familiar story of the patient Job. All of the dramatic action takes place in these chapters. The middle chapters of the book (chapters three to thirty-eight) contain the argument of the Book in the form of a long-sustained dialogue between Job and his comforters. The middle chapters are philosophical in nature and contain some of the most .beautiful and moving poetry in the Old Testament, but they are not conceived in dramatic terms. It is to the credit of MacLeish and Frost as playwrights that they have leaned more heavily on the opening and closing chapters of the Book of Job as sources for their works than on the middle chapters, but because of this, they have sacrificed some of the poetic possibilities which such a rich source might afford.
Book Reviews
Authors: King Walter , Bastuji Jaqueline , Crafton Allen 
Published: April 2013

John Gassner, Holt, Rinehart and Winston, Theatre at the Crossroads, reviewed by Walter N. King Andre Frank, Georges Pitoeff, reviewed by Jaqueline Bastuji M.W. Steinberg, Holt-Dryden ed.,Aspects of Modern Drama, reviewed by Henry W. Knepler Martin Dauwen Zabel, The Art of Ruth Draper, reviewed by Allen Crafton
"Des Petits Ebranlements Capillaires…”: The Art of Michel Vinaver
Authors: Lamont Rosette 
Published: April 2013

Although Vinaver will not align himself with any movement, he has been embraced by the Leftist intelligentsia ever since Roger Planchon directed his play, Les Coreens. at the Theatre de la Comedie in Lyons (1955). Until very recently, Vinaver was perceived as the in-house author of Theatre Populaire. a member of the Barthes-Dort team which advocated a "Brechtian cure'" for French theatre. He himself says in no uncertain terms: "I never felt I was a Brechtian, although I had and still have a great admiration for Brecht the writer, and Brecht the director. In the second half of the fifties and the sixties, I found myself outside any existing movement in the theatre." Vinaver may practice the "V Effect," but in his case the V stands resolutely for Vinaver rather than Veifremdung.
Book Reviews
Authors: Dukore Bernard , Kalb Jonathan , Kraft Eugene , Gontarski  
Published: April 2013

Charles A. Carpenter, Modern Drama Scholarship and Criticism 1966-1980: An International Bibliography., reviewed by Bernard F. Dukore Alan Warren Friedman, Charles Rossman and Dina Sherzer, eds., Beckett Translating/Translating Beckett, reviewed by Jonathan Kalb Ruby Cohn, ed., Beckett: Waiting for Godot, reviewed by Jonathan Kalb Richard Allen Cave, New British Drama in Performance on the London Stage, reviewed by Eugene Kraft Odette Aslan, Roger Blin and Twentieth Century Playwrights, reviewed by S.E. Gontarski
Book Reviews
Authors: Fisher James , Hinden Michael , Black Stephen , Dowling John 
Published: April 2013

Robert Russell, Russian Drama of the Revolutionary Period, reviewed by James Fisher Konstantln Rudnitsky, Russian and Soviet Theater, 1905-1932, reviewed by James Fisher Ronald H. Wainscoti, Staging O'Neill: The Experimental Years. 1920-1934, reviewed by Michael Hinden Laurin Porter, The Banished Prince: Time. Memory. and Ritual in the Late Plays of Eugene O'Neill, reviewed by Stephen A. Black Martha T. Halsey And Phyllis Zatlln, eds., The Contemporary Spanish Theater: A Collection of Critical Essays, reviewed by John Dowling
Reading(,) Theatre(,) Techniques: Responding to the Influence of Asian Theatre in the Work of Ariane Mnouchkine
Authors: Kiernander Adrian 
Published: April 2013

It is one of the intriguing coincidences of twentieth-century European theatre history that in 1970 when Ariane Mnouchkine and her company, the Theatre du Soleil, were looking for a permanent home during rehearsals for their production 1789, the place they found quite by accident was in the Bois de Vincennes on the outskirts of Paris — where Antonin Artaud had seen his first performance of Balinese theatre 40 years before. This otherwise insignificant coincidence has symbolic significance because Artaud's frrst exposure to non-Western theatre forms was highly influential on his developing vision of a revitalised Western theatre. That vision in its turn has generated a new tradition of Western theatre practice which looks towards the stylised forms of Asian theatre as a way of breaking out of television-style naturalism. The most prominent exponent of this theatre tradition in France has been Ariane Mnouchkine, who freely acknowledges her debt to Artaud and quotes his maxim, "The theatre IS oriental."
Book Reviews
Authors: Leland Charles , Jackson Russell , Daniel Lanelle , Dicenzo Maria , Baker Stuart , Ferris Lesley , Klaver Elizabeth , Demastes William , Ganz Arthur 
Published: April 2013

Lise-Lone Marker and Frederick J. Marker, Ingmar Bergman: A Life in the Theatre, reviewed by Charles Leland John Russell Stephens, The Profession of the Playwright: British Theatre 1800-1900, reviewed by Russell Jackson Leslie Kane, David Mamet: A Casebook, reviewed by Lanelle Daniel Gay Brewer, David Mamet and Film: Illusion/Disillusion in a Wounded Land, reviewed by Lanelle Daniel Diane Bessal, The Canadian Dramatist, Volume Two: Playwrights of Collective Creation, reviewed by Maria Dicenzo Albert E. Kalson, Laughter in the Dark: The Plays of Alan Ayckboun, reviewed by Stuart E.Baker Lizbeth Goodman, Contemporary Feminist Theatres: To Each Her Own, reviewed by Lesley Ferris Sheila Stowell, A Stage of Their Own: Feminist Playwrights of the Suffrage Era, reviewed by Lesley Ferris Rosette C. Lamont, Ionesco's Imperatives: The Politics of Culture, reviewed by Elizabeth Klaver Leonard Wilcox ed., Rereading Shepard. Contemporary Critical Essays on the Plays of Sam Shepard, reviewed by William W. Demastes Katherine H. Burkman And John L. Kundert-Gibbs, eds., Pinter At Sixty, reviewed by Arthur Ganz
Politics over the Gulf: Trevor Griffiths in the Nineties
Authors: Garner, Jr. Stanton 
Published: April 2013

In a January 1992 interview with Douglas Kennedy of the Sunday Telegraph, Trevor Griffiths lamented the current state of British political theater: "The social function of theater is dead — someone should call the priest and say last rites over the British theater," He has not been alone in his anger and concern. In a May 1988 symposium on the state of the theater in Thatcher's Britain, John McGrath observed, "The number of new plays being done now is a third of what it was ten years ago. There's a real chance that within the next five years they will disappear completely." This symposium was followed (in December 1988) by a conference of British theater professionals and academics entitled "Theater in Crisis." The 1980s were clearly a decade of attrition for the British theater, particularly on the Left, and the early years of the 1990s have offered little change in the underlying policies and trends that brought about this attrition. Yet Griffiths's career in the early nineties — like those of Howard Brenton, Caryl Churchill, David Hare, and others in the theater — suggests that British social and political theater is still alive, if diminished from its flourishing in the sixties and seventies.
Book Reviews
Authors: Berkowitz Gerald , Doucette Leonard , Rae Lisbie , Parker Brian 
Published: April 2013

William W. Demastes, ed., Realism and the American Dramatic Tradition, reviewed by Gerald M. Berkowitz Annie Bresset, Sociocritique of Translation: Theatre and Alterity in Quebec, 1968-1988, reviewed by Leonard E. Doucette Sally Peters, Bernard Shaw: The Ascent of the Superman, reviewed by Lisbie Rae Philip C. Kolin and Colby H. Kullman, eds., Speaking on Stage: Interviews with Contemporary American Playwrights, reviewed by Brian Parker George W. Crandell, ed., The Critical Response to Tennessee Williams, reviewed by Brian Parker
Book Reviews
Authors: Fischer Eileen , Gaddy Kerstine , Gantar Jure , McLaren Joseph , Santeramo Donato , Weissengruber Erik 
Published: April 2013

Maurice Harmon, ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider, reviewed by Eileen Fischer Michael Robinson, Studies in Strindberg, reviewed by Kerstin Gaddy Mark William Roche, Tragedy and Comedy: A Systematic Study and a Critique of Hegel, reviewed by Jure Gantar Mary L. Bogumil, Understanding August Wilson, reviewed by Joseph McLaren Joan L. Herrington, "I Ain't Sorry for Nothin' I Done", reviewed by Joseph McLaren Daniela Bini, Pirandello and His Muse: The plays for Marta Abba, reviewed by Donato Santeramo Mark Pizzatto, Edges of Loss: From Modern to Postmodern Theory, reviewed by Erik Weissengruber
Book Reviews
Authors: Plastow Jane , King Thomas , Dolan Jill , Wolf Stacy , Aldama Frederick , Wolford Lisa , George-Graves Nadine , Orkin Martin , Richardson Sandra 
Published: April 2013

Laurence Senelick, Lovesick: Modernist Plays of Same-Sex Love, 1894-1925, reviewed by Thomas A. King Alan Sinfield, Out on Stage: Lesbian and Gay Theatre in the Twentieth Century, reviewed by Jill Dolan John M. Clum, Something for the Boys: Musical Theater and Gay Culture, reviewed by Stacy Wolf Jose Esteban Munoz, Disidentifications: Queers of Color and the Performance of Politics, reviewed by Frederick Luis Aldama Caca Fusco, ed., Corpus Delecti: Performance Art of the Americas, reviewed by Lisa Wolford Bernth Lindfords, ed., Africans on Stage: Studies in Ethnological Show Business, reviewed by Nadine George-Graves John Conteh-Morgan and Tejumola Olaniyan, ed.,Drama and Performance, reviewed by Martin Orkin L. Dale Byam, Community i Motion: Theatre for Development in Africa, reviewed by Sandra L. Richardson Marcia Blumberg and Dennis Walder, eds., South African Theatre as/And Intervention, reviewed by Jane Plastow
Observations On The Viennese Theater
Authors: Kauf Robert 
Published: April 2013

VIENNA, one of Europe's oldest theatrical capitals, is worth our attention not only because of the vigor of its theatrical life but also because of its reluctance to go with international theatrical trends and its preference for a path outlined for it by its own rich theatrical tradition. In observing the Viennese theater one is forcefully reminded of the truism that although theater and literature are related they are not identical with one another. In the theater the literary component, the logos, has to share its place with the play component, the mimos. A struggle between the two for ascendency is discernible throughout the history of the European stage. Great theatrical performances have often been the result of a happy synthesis of these two elements. Where one of them has heavily predominated at the expense of the other, the outcome has usually not been a happy one: a preponderance of the mimos favors a theater that is purely amusement and entertainment, and-worse perhaps-that of the logos brings about bloodless, academic performances. The prominent, contemporary Viennese playwright Fritz Hochwalder pleads for a mimos-dominated theater: "Theater is by no means literature. It may become literature. From the viewpoint of the stage, literature is only the noble patina which the products of great theatrical periods acquire with age…
Book Reviews
Authors: Carney Sean , Wessendorf Markus , Friedman Sharon , Harrison-Kahan Lori , Fordyce Ehren , Pattie David , Gilman Luc , Marra Kim , Clum John , Shepherd-Barr Kristen 
Published: April 2013

David Barnett, Rainer Werner Fassbinder and the German Theatre , reviewed by Markus Wessendorf Linda Ben-Zvi, Susan Glaspell: Her Life and Times , reviewed by Sharon Friedman Laura Bradley, Brecht and Political Theatre: The Mother on Stage , reviewed by Sean Carney Daphne A. Brooks, Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910, reviewed by Lori Harrison-Kahan Matthew S. Buckley, Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama , reviewed by Ehren Fordyce S.E. Gontarski And Anthony Uhlmann, eds., Beckett after Beckett , reviewed by David Pattie John Heilpern, John Osborne: A Patriot for Us , reviewed by Luc Gilleman Katie N. Johnson, Sisters in Sin: Brothel Drama in America, 1900–1920 , reviewed by Kim Marra Scott Mcmillin, The Musical as Drama , reviewed by John M. Clum Toril Moi, Henrik Ibsen and the Birth of Modernism: Art, Theater, reviewed by Kirsten Shepherd-Barr
Masks And Mummeries In Enrico 117 and Caligula>
Authors: Savage Edward 
Published: April 2013

To PROPOSE Pirandello's Henry IV and Camus' Caligula as representative of the conventional and traditional theater is, admittedly, unconventional. Critics continue to categorize both plays as dramas of the Absurd, while popular taste, accustomed to a slice-of-life realism in the modem theater, hesitates to look upon the theater of Pirandello and Camus as anything other than an avant-garde freak, interesting and provocative perhaps, but little more. The inability of both critic and popular audiences to accept Henry IV and Caligula as traditional theater arises, perhaps, from the utilization in both plays of currently unfamiliar theatrical devices, devices which are artificial and stylized rather than realistic. I refer specifically to the play-within-the-play and the assumption of a role within the play. Furthermore, that Pirandello and Camus utilize these age-old artifices of the theater as the main agents in revealing thesis, character, and action in their plays additionally hinders modem audiences from fully understanding Henry IV and Caligula. For, under the influence of nineteenth and twentieth century realism, we have forgotten that the essential nature of the traditional stage is basically artificial and stylized.
Samuel Beckett And Happy Days
Authors: Eastman Richard 
Published: April 2013

THE WRITING, PERFORMANCE, AND PUBLICATION OF Happy Days in 1961 has brought the number of Samuel Beckett's stage plays to four, most of them composed in the last few years during an eclipse of his novel-writing. The famous Waiting for Godot (written in the late 1940's) has been followed by Endgame (written in 1956), Krapp's Last Tape (written in 1958), and Happy Days. To this output should be added two radio plays—All That Fall (written in 1956) and Embers (written in 1959)—and two pantomimes, Acts Without Words I and II. Here is a body of work large enough to confirm or modify certain earlier inferences about Beckett's plays. What is "the Beckett myth"if by "myth" is meant that recurrent dramatic pattern which concentrates and objectifies a fundamental valuation of human life? What are the evident lines of growth of this myth? Following the necessary description of the new play, these questions will be attempted in their order.
Book Reviews
Authors: Quirino Leonard , McAnany Emil , Stanton Stephen , Nethercot Arthur , Weisstein Ulrich , O'Neill Michael , Pronko Leonard , Johnston Denis , Bishop Thomas 
Published: April 2013

Walter H. Sokel An Anthology Of German Expressionist Drama, reviewed by Leonard Quirino Jorn Dönner The Personal Vision Of Ingmar Bergman, reviewed by Emile G McAnany Abraham Tauber, George Bernard Shaw On Language, reviewed by Stephen S. Stanton Audrey Williamson, Bernard Shaw: Man And Writer, reviewed by Arthur H. Nethercot Jean Cocteau, The Infernal Machine And Other Plays, reviewed by Ulrich Weisstein Walter Starkie, Scholars And Gypsies, reviewed by Michael J. O'Neill Donald Watson, Eugene Ionesco, Notes And Counter Notes, Writings On The Theatre, reviewed by Leonard C. Pronko Saros Cowasjee, Sean O'Casey, The Man Behind The Plays, reviewed by Denis Johnston Michael Benedikt , Modern French Theatre. The Avant-Garde, Dada, And Surrealism, reviewed by Thomas Bishop
The Undershaft Maxims
Authors: Dukore Bernard 
Published: April 2013

IN THE THIRD ACT of Bernard Shaw's Major Barbara, Andrew Undershaft, attempting to bridge the "abyss of moral horror" which Adolphus Cusins claims lies between him and the Undershaft factory, recites the maxims of the previous Undershafts, concluding with his own. Listed separately for more convenient reference, they are: [I] The first Undershaft wrote up in his shop IF GOD GAVE THE HAND, LET NOT MAN WITHHOLD THE SWORD. [II] The second wrote up ALL HAVE THE RIGHT TO FIGHT: NONE HAVE THE RIGHT TO JUDGE. [III] The third wrote up TO MAN THE WEAPON: TO HEAVEN THE VICTORY. [IV] The fourth had no literary turn; so he did not write up anything; but he sold cannons to Napoleon under the nose of George the Third. [V] The fifth wrote up PEACE SHALL NOT PREVAIL SAVE WITH A SWORD IN HER HAND. [VI] The sixth, my master, was the best of all. He wrote up NOTHING IS EVER DONE IN THIS WORLD UNTIL MEN ARE PREPARED TO KILL ONE ANOTHER IF IT IS NOT DONE. [VII] After that, there was nothing left for the seventh to say. So he wrote up, simply, UNASHAMED. Since Undershaft is attempting to convert Cusins and Barbara to his doctrine of realism and power, and since these six maxims and one non-maxim are means to this end, it is remarkable that they have received virtually no attention. In this essay, I will try to demonstrate that these seven principles are not only summaries of the various arguments used by Undershaft in the process of converting Cusins, but also that they are the bases of Cusins' attempt to justify his decision to Barbara. In addition, I would like to suggest what his slogan might be when he becomes the eighth Andrew Undershaft.
Beckett's “Godot" And The Myth Of Alienation
Authors: Mihályi Gábor 
Published: April 2013

THE THEATER OF THE ABSURD-—and certainly Beckett's Waiting for Godot—discards the direct approach to reality, prefering to attack it from the angle of myth instead. This theater is bent on exposing the myths that are now empty of validity, untrue, devoid of substance. Rather than advance arguments to refute them, the aim is to demolish these hallowed and devoutly revered beliefs "from within," by exploding the mines of travesty and distorted humor under their feet. Waiting for Godot trains its guns, first and foremost, on the Christian myth of redemption. It also repudiates the myths of enlightenment, progress, nature, and love—all the myths, in fact, which promise redemption, salvation to mankind in this world or hereafter. What Beckett is doing is probing the farthest limits of negation, replacing the hero with the anti-hero, the race of Prometheus with tramps lingering by the roadside, and substituting for gods, ideals, and faiths the elusive Godot-That-Never-Comes. The vanity of power and wealth, of science and service, is symbolised by the Pozzo-Lucky pair; in Beckett's world talk and action become meaningless, reduced to a means of killing time, an antidote to boredom. Nature has turned into a dreary wilderness; on the stage unfolds the vision of an alienated world.
The ‘debt’ is in the detail: A synthesis of recent temporal forest carbon analyses on woody biomass for energy
Authors: Lamers Patrick , Junginger Martin 
Published: April 2013

AbstractThe temporal imbalance between the release and sequestration of forest carbon has raised a fundamental concern about the climate mitigation potential of forest biomass for energy. The potential carbon debt caused by harvest and the resulting time spans needed to reach pre‐harvest carbon levels (payback) or those of a reference case (parity) have become important parameters for climate and bioenergy policy developments. The present range of analyses however varies in assumptions, regional scopes, and conclusions. Comparing these modeling efforts, we reveal that they apply different principle modeling frameworks while results are largely affected by the same parameters. The size of the carbon debt is mostly determined by the type and amount of biomass harvested and whether land‐use change emissions need to be accounted for. Payback times are mainly determined by plant growth rates, i.e. the forest biome, tree species, site productivity and management. Parity times are primarily influenced by the choice and construction of the reference scenario and fossil carbon displacement efficiencies. Using small residual biomass (harvesting/processing), deadwood from highly insect‐infected sites, or new plantations on highly productive or marginal land offers (almost) immediate net carbon benefits. Their eventual climate mitigation potential however is determined by the effectiveness of the fossil fuel displacement. We deem it therefore unsuitable to define political guidance by feedstock alone. Current global wood pellet production is predominantly residue based. Production increases based on low‐grade stemwood are expected in regions with a downturn in the local wood product sector, highlighting the importance of accounting for regional forest carbon trends. © 2013 Society of Chemical Industry and John Wiley & Sons, Ltd