...Eileen Blumenthal Copyright © by yale/theater 1974 1974 The Presence of the Character: The Robert Montgomery/Joseph Chaikin Hectra Eileen Blumenthal Electra (Michele...

... to write plays in 140 characters (or about two lines of text printed on a stan- 50 140 characters in search of a theater dard page) when the audience is no longer present? By and large, these nanodramas exaggerate the tendencies that characterize...

.... Her characters do tend to drive each other to emotional extremes; they do put their sexuality up front. But they are basically trying to understand their own identities in a world where they don't have a place. In 1990, Hughes was touring in World Without End, a monologue inspired by the death of her...

... for funding and support to express new visions. He argues that Lehmann's aesthetic analysis has taken a prescriptive turn in the theater world and hinders artists from using the theater's most engaging forms: characters and narrative fictions. © 2009 by Yale School of Drama/Yale Repertory Theatre 2009...

....” So far the play has been staged in Calcutta with Usha Ganguli playing the life of a typically middle-class Bengali woman who works as a clerk in a government office. All references to Joya Sen in this essay refer to the character played by Usha. In Madras, Kroetz's silent text was danced...

... the “cesura between actor and character” to highlight the nature of the theatrical event for purposes that are largely social, drawing attention to systems of power, privilege, and violence. De Vos posits that unlike Brecht, however, Rau does not use these techniques to draw attention to the constructedness...

... written twenty-five plays (his first, Night is Mother to the Day portrays - has been broken into a thousand Kingsdon Hotel opened in 1968). two Martin, an alcoholic hotel owner, his pieces. novels, and over a dozen collections of wife Elin, and their two sons, David The characters reach...

... of their characters (whereby social A Janeiro in 193 1, is a prominent theater. This peoples’ theater was motivation takes physical form), and each Latin American director, play- characterized by 1) an aesthetic with scene is presented as a ritual. Further- Wright, and theoretician...

... interview with the three actors called “Ibsenism” in the play - have become a who played the main characters, and the director, fad. The title character is Leonard Charteris, a David Hammond, was taped in December...

... is a collection of verbal turns occurring in what she famously called “the continuous pre- sent.” Years later, Tennessee Williams inadvertently adapted this approach to his interest in the emotional life, and created drama structured around character rather than narrative or instruc- tion. Williams...

... either the outright subject or unstated ground of great segments of drama before him. Pirandello indeed sometimes seems to encourage this view of his art: "why is he always harping on his illusion and reality business?" a character in one of his own plays asks. But it is a strategic move...

... the obsession of the character at each rehearsal? I admit that such demands are not always realistic. Nevertheless, I feel more and more strongly that indeed sacrifice is the inevitable and essential condition of keeping a radical entity alive, transcending, I would say, the realm of gravitational...

... of Canadian plays. Walker has been the Germany and the United States. Shepard have been rightly noted pre-eminent offspring of this Such acclaim and popularity have before. Walker characters are sharply continuing devotion. In his twenty- not always attended Walker’s work...

... and sophical queries, comedic interludes, and start with the first three-hour segment, The insecurity of the reigning Kauravas with the episodes of character development which are Dice Game. This part proceeds from a mood heroic and mystical adventures of the Pan- integral to the play. The latter...

...- " ing for the house.a5 establ$hed views about theater and behaviorn2 In an article on characterization, Chaikin quoted Chaikin came to feel that apart from situa- Dr. GorgeWeinberg on how one's assumptions tional approaches to character, be they about character determine one's...

... into the character. with the actors. The music aims at the But he‘s not going to become the char- same thing, expecially Dylan and the acter for more than a very brief mo- Beatles. You can harken way back to ment, so the third person narration is a the bard, to the poet who sang...

... in the state, as well as being produced by different groups in Brazil and Uruguay. The text is organized into ten monologues, followed by one additional mono- logue titled “Final Scene.” The character Dadá, who also opens the play, delivers this last monologue. As Varella himself stated...

... Characters, Male Playwrights, and the Modern Stage . Ithaca: Cornell University Press, 1993 . Diamond , Elin “Brechtian Theory/Feminist Theory: Toward a Gestic Feminist Criticism.” The Drama Review 32 , 1 (Spring 1988 ). Fuegi , John “The Alienated Woman: Brecht's The Good Person...

... mance as the Reader, however, shows that in create his characterizations. As with most terrifying? It’s as if the writer (Reader) only a work such as Ohio Impromptu, the symbolic great art, analysis breaks down after a point exists among his creations, which are reflec- nature of characters cannot...

... created by Gorky in his novels conveyed, though in an oblique way, by and plays. Much of the interest of Bulychov the almost aphoristic dialogue of the play lies in the relative complexity given the and by the removal of the characters from characterization. Ailing from...