bluuebunny/crossref_metadata_2025_split huggingface dataset:
Ontological-Hysteric Theatre: Third Manifesto
Authors: Foreman Richard 
Published: April 2006

…the process of living always grows out of or is based on certain assumptions: these are like the soil on which we stand, or which we use as a point of departure.And this is true in every field.…Every idea is thought, every picture is painted, out of certain assumptions or conventions which are so basic, so firmly fixed for the one who thought the idea or painted the picture that he neither pays heed to them, nor, for that matter, introduces them into his picture or idea; nor do we find them there in any guise except as presupposed and left, as it were, to one side. This is why we sometimes fail to understand an idea or a picture; we lack the clue to the enigma, the key to the secret convention.Ortega y Gasset
Radlov's Theatre of Popular Comedy
Authors: Gordon Mel 
Published: April 2006

Sergei Radlov (1892-1958) is remembered today chiefly for his inventive Shakespearean productions of the Thirties, during the last period of theatrical experimentation in Stalinist Russia. Yet, Radlov was largely responsible for the growth of an entirely new performance mode in the Soviet theatre—Constructivism. During the years 1920-1922, Radlov's Petrograd group, Theatre of Popular Comedy, drawing its inspiration from Yuri Annenkov's production of The First Distiller (September 24, 1919), popularized many of the performance concepts of Filippo Tommaso Marinetti's “Variety Theatre Manifesto.” Within a few months, however, Radlov began to introduce changes that would radically alter the development of Soviet theatre.Like Annenkov, Radlov received his earliest training in the pre-Revolutionary studios of Nikolai Evreinov and Vsevolod Meyerhold. By the winter of 1918, after organizing the agitational group, The First Communal Troupe in Petrograd, Radlov mounted comic reconstructions of ancient Greek and Russian farces under the auspices of the Theatre Department of the Ministry of Education (TEO).
Theatre as Prison Therapy
Authors: Ryan Paul Ryder 
Published: April 2006

They can imprison your body, man, but they can't lock up your mind.—anonymous prison performer, 1975While theatre groups have been entertaining and conducting workshops in prisons for many years, it is only since 1973 that studies have been made to assess the therapeutic value of theatre programs connected to prison systems. Hard evidence is being amassed that theatre workshops for prisoners and ex-offenders significantly reduce the rate of re-arrest among participants—more so than any other of the many remotivational programs in the correctional systems across the country. Nationally, 85 percent of those released from prison are re-arrested within a year, most within the first four months. The rate of re-arrest among participants in theatre workshops in the New York/New Jersey area is currently 10 to 15 percent.
Structural Analysis/Structural Theory
Authors: Kirby Michael 
Published: April 2006

Webster defines “analysis” as “a separating or breaking up of any whole into its parts so as to find out their nature, proportion, function, relationship, etc.” “Theory” is defined as “an idea or mental plan of the way to do something.” Thus intellectual analysis involves the creation of a system of ideas by which an existing phenomenon can be “separated” or “broken up” mentally; theory provides an intellectual base for the creation of phenomena. Theatrical analysis examines existing or historical performance; theatrical theory provokes and originates performance.Since both the analysis and theory of theatre involve more or less coherent systems of ideas, analysis and theory might be thought to be identical or interchangeable. Analytical systems might be expected to be useful for creating performance; theoretical systems might be supposed to function as well for analysis as they do for creation.
JoAnne Akalaitis of Mabou Mines
Authors: Sommer Sally R. 
Published: April 2006

JoAnne Akalaitis’ vital statistics are representative of other Mabou Mines members. Change the sex and weight, and her profile could well be used by other company members: they are middle-aged; all but one are parents (there are eight children with the company); they are actors who live on Manhattan's lower east side. However typical this may be for membership within the company, it is atypical of other avant-garde theatre groups, who tend to be in their twenties or early thirties and childless.Another unique fact is the stability and duration of their professional and personal relationships. Akalaitis, Ruth Maleczech, Lee Breuer and William Raymond first met and worked together in 1962, David Warrilow and Frederick Neumann joined them in 1965. When they, along with Philip Glass, officially formed Mabou Mines in 1969, they had an extensive shared history of friendship and work on which to base the professional and business association.
Joan MacIntosh of The Performance Group
Authors: Aronson Arnold 
Published: April 2006

During this past December and January, The Performance Group undertook a rather rigorous performing schedule, doing their four-hour Mother Courage [T66] at 7 PM followed by a midnight show of The MacIntost Project [T70] in the theatre's upstairs space. Joan MacIntosh played the lead role in both productions. (Marilyn actually used two casts playing simultaneously in a mirror image production; Elizabeth LeCompte also played the part of The Star.) At one point MacIntost told Richard Schechner, her husband and a director of the Group, that she had decided that Mother Courage dies and goes to heaven where she becomes Marilyn Monroe.Since the members of the Group all participate in cleaning the theatre, setting props, and about an hour and a half of pre-show notes and warm-up exercises, this meant being at the theatre from 4:30 PM to 2:30 or 3 AM besides whatever other rehearsals, classes, and day-today chores were involved.
New Theatre in China
Authors: Rea Kenneth 
Published: April 2006

Chinese theatre must be judged on its own terms—as a weapon of the revolution. “Content first, then art” is the dictum. The revolution has given the theatre an abundance of themes. In return, the theatre fulfills its purpose by helping to educate the people and by debating important issues. It is, after all, part of the state machinery. It is also a superb example of didactic art that is popular at all levels of society.One of the secrets of the theatre's success lies in the sheer depth of involvement on the part of all concerned. In Peking, an instructor told a visitor: “We educate our artists not for art's sake, but wholeheartedly to serve the people. We don't lock them up in classrooms, either, but let them go out to the workers, peasants and soldiers to learn from them as well. If they're going to portray revolutionary characters on the stage, they must first learn to become good revolutionaries themselves.”
Klaus Michael Grüber
Authors: Locke Stephen 
Published: April 2006

Yes, we are exhausted, like commuters from the suburbs at the Gare d'Austerlitz after a day of work. That is what it is all about: to be exhausted without interpreting the exhaustion.Klaus Michael Grüber in an interview, Le Monde, May 15, 1975Klaus Michael Grüber is one of Germany's most controversial theatricalist directors. He has been called elitist, esoteric, artificial, unpolitical and incomprehensible by many critics; his productions have often left the audience—in a half-filled house—thoroughly dismayed and perplexed. But Grüber has also been praised as Germany's most imaginative and original director, a man who conjures up unforgettable visions, a man who like no other director carries theatrical expression to its absolute extremes. This article intends to describe Klaus Michael Grüber's development and some of his major productions and to let a few people speak who have worked with him. Grüber himself has very seldom given public expression to his theories and methods.
Visualization, Language and the Inner Library
Authors: Shepard Sam 
Published: April 2006

I feel a lot of reluctance in attempting to describe any part of a process which, by its truest nature, holds an unending mystery. At the same time I'm hoping that by trying to formulate some of this territory I can make certain things clearer to myself.I've always felt that the term “experimental” in regard to theatre forms has been twisted by the intellectual community surrounding the artist to the extent that now even the artist has lost track of its original essence. In other words, a search for “new forms” doesn't seem to be exactly where it's at.There comes a point where the exterior gyrations are no longer the most interesting aspect of what you're practicing, and brand-new exploration starts to take root. For example: In the writing of a particular character where does the character take shape?
Two Pages a Day
Authors: Terry Megan 
Published: April 2006

I was bused to the theatre at the age of seven. There was a program, sponsored by the Junior League, to bring children to live theatre. I lived in a small fishing village outside of Seattle; it was a long bus ride, but it changed my life. Professional actors, who had worked together for twenty years under the direction of Mrs. Florence Bean James (who had studied with Stanislavsky) were playing Rumplestiltskin. That was it. I fell in love.As soon as I was allowed to go about on my own (fourteen), I went back to that theatre and hung around and begged to clean Johns and sort nuts and bolts until they took me into the company.Mrs. James and her actor husband, Burton, inspired me to write for the theatre. They always hoped a playwright would emerge from their theatre.
Hamlet at the Vakhtangov
Authors: Law Alma H. 
Published: April 2006

The premiere of Hamlet at the Vakhtangov Theatre in Moscow on May 19, 1932, marked Nikolai Akimov's debut as a director. A talented Leningrad artist, the young Akimov had already attracted considerable attention in theatrical circles with his unconventional setting for Tartuffe in 1929, featuring the unscrewed joints of an enormous exhaust pipe, and his striking design in 1931 for Schiller's Intrigue and Love, which made use of a huge, shiny silver disk set on stage at a sharp angle to suggest the top of large sphere.With his production of Hamlet, Akimov was determined to sweep away once and for all the pall of gloomy symbolism cast by earlier interpretations. His most immediate targets were the 1911 Gordon Craig production and the one at the Second Moscow Art Theatre in 1924, with Mikhail Chekhov both directing and playing the title role. “A sickly degenerate,” is the way Aklmov dismissed Chekhov's Hamlet.
The Bumba-meu-Boi [Brazil]
Authors: Neto José Possi 
Published: April 2006

Except for Carnival, Bumba-meu-Boi, one of the most complex manifestations of Brazilian popular theatre, is the only festival that is still held throughout all Brazil. It is both a procession and a dramatic performance; its basic theme concerns the death and resurrection of an ox. Given the central theme of the Ox, it would appear that Bumba-meu-Boi should occur only in basically pastoral areas; however, it is performed in mining, fishing, and agricultural areas as well. It occurs during the “King's Day,” between Christmas and January 6, and during the Festas Juninas, the St. Anthony's Day, St. John's Day and St. Peter's Day celebrations, between June 13 and 29.In parts of Brazil where life is still relatively traditional and provincial, the Bumba-meu-Boi maintains its primary structure, main characters, and the basic theme of the Ox.
Squat's Pig, Child, Fire!
Authors: Shank Theodore 
Published: April 2006

The expatriate Hungarian theatre company known as Squat has quite literally attempted to make their life their art. Because the two are seen as identical, art is not an activity that can be given up. They are totally committed. They did give up their theatre when authorities in Budapest prohibited their performances, and after performing in their apartment and other illegal places for four years and giving up their passports, they permanently gave up their country and moved to France, then Holland, and now New York. In the West they took the name Squat because it suggested new settlers—both geographical and spiritual.Originally the group formed in 1969 as Kassák Theatre at the Kassák Culture House in Budapest. In 1972 when the company did its first completely new work, The Skanzen Killers, the group's license to perform was withdrawn on the grounds that it was “obscene” and “apt to be misinterpreted from a political point of view.”
Organic Analysis
Authors: Carroll Noël 
Published: April 2006

The number of methodological options available to the contemporary critic of any art is quite intimidating: Marxism, Psychoanalysis, Feminism, Structuralism, Hermeneutics, Phenomenology, etc. Of course, the situation is even more complicated than this list suggests because on the one hand, each of these headings can be subdivided into more specific, often warring, camps, while on the other hand, some of these headings can be conjoined by hyphens, generating newer positions, like Marxist-Psychoanalytic-Structuralism. You could devote an entire career to mastering all these methods without ever applying one of them.In this essay, I don't want to invent another perspective. Instead I hope to clarify what I take to-be our ordinary approach to theatrical analysis when it is unaided by the explicitly formulated philosophical or scientific categories of schools of thought like Freudianism or Critical Theory. By divorcing criticism from these larger enterprises, I don't think it ceases to be a cognitive activity.
Patterning in the Five Shaggy-Dog Operas
Authors: Johnson Tom 
Published: April 2006

This. This is. This is a. This is a simple. This is a simple additive. This is a simple additive process. Obviously patterns of this sort can also be employed with visual or musical elements, but since we are dealing here with typeface on paper, it seems most appropriate to begin with words.Then there are. Rotations then there. Are rotations then. There are rotations. Or at least “rotations” is the term I like to use for patterns of this sort. We could also consider this a type of phasing. Since there are four words but only three are permitted in each sentence, the word pattern falls out of phase with the syntactical pattern and the two do not come back in sync until the word pattern has been repeated three times and the syntactical pattern four times. Again, this is a device that can be easily applied to nonverbal materials.
About Three Places in Rhode Island
Authors: Gray Spalding 
Published: April 2006

But time is too large, it can't be filled up. Everything you plunge into it is stretched and disintegrates. That gesture, for instance, the red hand picking up the cards and fumbling: it is all flabby. It would have to be ripped apart and tailored inside.Jean-Paul Sartre, NauseaMy aim was to show that delusions and hallucinations were not just specific symptoms of mental disease but also had a human meaning.C.G. Jung, Memories, Dreams, ReflectionsMy first moment of theatre, the moment most powerful for me and my first step away from life in the direction of art, occurred in 1961 the first time I was in front of an audience. The play was The Curious Savage. (Ironically enough, it was a romantic play about an insane asylum and its inmates of which I was one.) It was our senior play at a small boarding school I was attending in Maine.
Ermione
Authors: Prosperi Mario 
Published: April 2006

Ermione, the title of my play, was also the name of the monkey who performed with me in it. It was originally the name of a mythical character, the daughter of Helen and Menelaos; more recently, It was used by Gabriele D'Annunzio in his poem “The Rain in the Pine Forest.” In my play, the monkey corresponded to D'Annunzio's “nymph with the sylvan face” who accompanied him through the metaphorical wood of life.The text of Ermione was comprised of poetry that I had written from the age of sixteen to thirty; the action consisted of experimenting with ideas for a eventual reading of it. The first thing I wanted to test was the actual selection of verses. I read from a notebook, then provided a running commentary in order to create a distance between the time when the poems were written and the time when they were read. By so doing, I was able, at the same time, to minimize this distance by connecting the old poems to a “live” situation, thus making the link between poetry and life explicit. Next, I wanted to test the actions—the theatrical renderings of the poetry that corresponded to the different stages of life.
Leaving the House: The Solo Performance of Deborah Hay
Authors: Jeffers Bill 
Published: April 2006

Emptiness looks like an absence of something. No, it is not. It is a presence of something infinite.Bhagwan Shree RajneeshThe same materials I use dancing are used in my life. The same rules apply to dancing that apply to my life. Everything said about dancing is a reflection of myself. The dance is any moment when I am clearly in the act of doing just what I am doing.The performances usually begin for us in setting up the space on the previous night. The process is similar each time. We both approach it as a kind of ritual.
The Theatre on Chekhov Street
Authors: Law Alma H. 
Published: April 2006

“Have you been to the Theatre on Chekhov Street?” was a question often heard in Moscow in the mid-seventies whenever people interested in theatre got together. Actually, to call it a “theatre” was something of an exaggeration. What it really amounted to was a room in one of those old communal apartments still left in the center of town, the kind that has a shared kitchen and bathroom, and sometimes as many as a half dozen doorbells outside the door. The brainchild of Igor Vasilyev, a young actor and director at the Moscow Art Theatre, the Chekhov Street group operated on and off for about seven years. (To my knowledge they have since disbanded, though not for the first time.)In recent years, theatre groups such as Vasilyev's have been springing up like proverbial mushrooms after an autumn rain, especially in theatre-starved Moscow and Leningrad.
The Mysteries of Ceronetti and Tedeschi
Authors: Cirio Rita 
Published: April 2006

Ten or twelve spectators attend each performance, and that is too many. The size of the audience is partly by choice, and partly it is forced by the size of the theatre, which is a small living room. The play is called I Misteri di Londra (London's Mysteries). A panorama of Victorian society written, prepared, animated, and interpreted by Guido Ceronetti and his wife, Erica Tedeschi, with the assistance of two young women from the neighboring apartment, it is performed by beautiful marionettes.Guido Ceronetti is a writer and poet and a translator of ancient texts. In newspapers and periodicals, he is an ironic moralist who doesn't believe in progress and has a pessimistic vision of contemporary society. This is something that is not appreciated by the progressive Roman intelligentsia, who have marked Ceronetti as reactionary. Ceronetti, then, is an isolated and singular character in the Italian cultural field.
Theatre in the Corridor
Authors: Veltruský Jiří 
Published: April 2006

“Theatre in the Corridor” was written, in Czech, in December 1939; that explains why the first paragraph sounds rather anachronistic. It has remained unpublished for nearly forty years.This was my third attempt to write a theoretical paper, after “Man and Object in the Theatre,” published in 1940 (English translation in: Paul L. Garvin, ed., A Prague School Reader on Esthetics, Literary Structure, and Style, Washington, D.C., 1964) and “Mácha's Conception of the World,” published the same year.My approach followed the general theory of the Prague Linguistic Circle, focusing on the concepts of structure and sign. But I was much more influenced by the Prague School's poetics, linguistics, and general esthetics than by its sporadic studies about the theatre, which I found somewhat loose in their reasoning.
Roberta Sklar: Toward Creating a Women's Theatre
Authors: Brunner Cornelia 
Published: April 2006

Roberta Sklar is one of the three artistic directors of The Women's Experimental Theatre and a co-author with Clare Coss and Sondra Segal of The Daughters Cycle Trilogy: Daughters, Sister/Sister, and Electra Speaks.Sklar began her work as a student-director at Hunter College in 1960. She was active in the off-Off-Broadway theatre movement at its inception in the early sixties and frequently directed new plays at the Caffe Cino. In the mid-1960s she joined The Open Theatre and was the co-director of the major ensemble works The Serpent, Terminal and The Mutation Show and directed Beckett's Endgame. These works toured both the United States and Europe and have been widely acclaimed. Throughout the sixties she worked extensively with playwrights and actors in the creation of new works and new work methods.In the 1970s she began an ongoing research into the development of a feminist esthetic for the theatre.
The German Raum
Authors: Riddell Richard 
Published: April 2006

West German theatre, says critic Günther Rühle, is currently fraught with insecurity about where it is going and what its function is. That may be, but there's no question that the theatre has changed considerably over the past two decades and entered an as yet ill-defined post-Brechtian age. Gone are the productions of coolly staged parables, instructing the audience in how the world might be changed through rational, social action. Gone are the bright, evenly lit settings, sparsely furnished and purged of destructive atmosphere. And gone, too, is whatever bond once existed between the performers and the audience. That relationship, says Brecht Schüler Peter Palitzsch, is now “deeply disturbed.”The German director has become the great interpreter, probing texts, usually the classics, searching for something that matters to contemporary man. The results of his dramaturgical investigations are subjective, fragmentary, and generally bewildering to an audience who hasn't accompanied him on his month- or year-long journey of discovery. His insights are not always theirs. Rich material imagery fills the stages, and it is personal, often violent, and tinged with expressionism. The Prince of Homburg stands naked in a field of potatoes as he is pardoned. The chorus in Antigone, consisting of a single contemporary woman, smears animal organs on her face as she speaks of Haemon's impending death. The actors in Shakespeare's Winter's Tale slip and slide around a stage decked with Mattel “Slime.” Vernunft (reason) has given way to Sinnlichkeit (sensuousness).
“Drive,” She Said: The Dance of Molissa Fenley
Authors: Banes Sally 
Published: April 2006

Molissa Fenley's choreography bewilders the eye, entices the ear, and challenges both the memory and the intellect. Incessant, everchanging motion, saturated with polymorphous arm gestures, performed to a driving, repetitive, percussive beat, the dances are complex series of tensions between constancy and mutability, structure and disorder, abstraction and imagery, exoticism and familiarity, social and theatrical forms.American dance audiences are accustomed to watching ballets composed of legible phrases, often matched to equally distinct musical patterns. The traditional modern dance creates a succession of expressive postures and gestures that prompt the spectator to arrange them in a narrative flow or a metaphoric gestalt. The achievement of post-modern dance was to isolate an even smaller unit of perception in dance—to frame the posture, gesture, or movement itself as the central subject of the dance—either by repetition or complexification.