... reality as it may have been, a style most evident in plays like Eugene O Neill s The Emperor Jones. What is different in the currently emerging neo-expressionism is that the head we are inside seems to be the that of an audience rather than of the author or a character. David Mamet s Oleanna, for example...

..., and multivalence of a true work of art. Here the original context was disorienting, and audiences were shocked and saw mainly negativity. [Albee s] territory was the upper-middle-class living room, Clum explains, peopled with highly intelligent, articulate men and women. It was all the more shocking when...

... many were Equity hybrids and most were working with the unique approach of ensemble acting and producing, sharing roles, and working together in nonhierarchical companies. e goal of it all is bringing the audience into communion with the players working together in building a community. It is good...

... the past, therefore, but about the role of past texts (historical or literary) in the present—and in the future toward which the plays ask the audience to look. Nelson Pressly broadens the concept of the historical in American Playwriting and the Anti-political Prejudice: Twentieth- and Twenty...

... Hills. TheNew York Times review described it as having such an extremely powerful effect that the actors themselves wept in the wings, reflecting how moved the audience had been by “a picture of their own lives.” This experience leads to a new kind of realism: “Crothers and her cast blurred...

... concern for whether or not he is interrupting the actors’ performance or the audience members’ sense of theatrical realism. The play was read by Thornton Wilder and is said to have influenced his use of the Stage Manager in Our Town (1938). More important, the acclaim of The Yellow Jacket...

... to exist. There is, then, a yawning temporal hole in the fabric of the play, an unremarked upon absence that echoes the hole in the New York skyline. Audiences must negotiate the gap in their own terms.” What makes the article doubly relevant to defining through absence is that Bottoms sets it up...

... of Connecting (Cambridge Scholars) Robert J. Andreach considers a playwright whose surreal, metatheat- rical, and unflinching visions of American culture have thrilled and challenged theater audiences since the 1960s. Andreach uses as impetus Guare’s 1992 remark that even in recent scripts he is “still...

... is sensitive to the ways in which Stein wants her readers and audiences to work for their pleasure, but Durham also realizes that sometimes that work is about letting go and opening up, and she herself hears in the libretto to Four Saints in Three Acts “an invitation to nondiscursive and irrational...

... on Blanche’s subjective view and breakdown. Bray contends the stage version became “the Marlon Brando show” because Jessica Tandy’s performance could not compete. Photographic techniques could emphasize Blanche’s emotion: “Give the audience the pain she feels,” as Williams wrote. Thus while Annette...

... as his ‘starting place in the world.’ ” As a result, the final scene “unburdens cast and audience alike.” An article that similarly expands the scope of study of dramatic literature beyond the text and limits of simple historical time is Jason Stupp’s “Slavery and the Theatre of History: Ritual...

... the tradition along James J. Martine 423 with Robbins, and adds Tommy Tune to the pantheon; ‘‘Epilogue: Broadway Today’’ (pp. 274–87) accounts for Graciela Daniele and Susan Stroman. Americans, we are told, spend more of their lives being an audience than...

... of a Salesman and Theatrical Liberalism” (MD 50: 545–64). Willy is beloved of audiences not because he is tragic, Most argues, but because he plays to the crowd and to its wish that the possibility of endless self-fashioning could trump the ultimately limiting view of “being oneself” (on a corporate...

... the distance from propaganda as the tool of subversives to propaganda as the shame-free tool of the power elite. Again, Miller challenges read- ers and audiences with the question of maintaining integrity in the face of corrupt political powers even as he offers no answers to forces that cannot...

... secondary school reading lists and classrooms. He states several rationales: the word has become so insulting that it becomes a bar for readers to encounter the text; the substitution of slave does not dull the book’s meaning; and Twain, ever mindful of audience and sales, would have made the change...

... as the comments on Incident at Vichy. The volume also will serve audiences interested in the influence of Cli√ord Odets’s Waiting for Lefty; Eric Bentley’s Are You Now or Have You Ever Been and The Recantation of Galileo Galilei; Herman Wouk’s stage version of his novel’s trial scene, The Caine...

... they are offered to a general reading audience. In his introduction to the volume, Hirst comments that “unlike most writers, Mark Twain was not embarrassed by his ‘literary remains’ even when they were failures.” Later he writes, “Taken together, these short works give us a window into Mark Twain’s...

... to underplay the fact that one loves both of them. Good playwrit- ing comes in multiple forms, speaks to multiple audiences, and requires different sets of interpretive muscles for directors, actors, and critics. No news there. Where are great playwrights shaped? Apparently at Mt. Holyoke College...

... on the aesthetic choices of writers and intellectuals is nevertheless seldom analyzed. African Ameri- can writers found the Left endorsing the centrality of folk or vernacular culture as authentic, and they were bolstered by a new audience that was not always racially defined. The CP in particular widely...

... Theatre in Context, from the Beginnings to 1870 (pp. 111 81) includes an overview of sporting events, religious rituals, and other public performances beyond the theater, focusing on historical audiences and the major genres they enjoyed. His essay demonstrates how the dominance of the new bourgeoisie...