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Theater (1974) 6 (1): 98–108.
Published: 01 February 1974
...Eileen Blumenthal Copyright © by yale/theater 1974 1974 The Presence of the Character: The Robert Montgomery/Joseph Chaikin Hectra Eileen Blumenthal Electra (Michele...
Theater (2012) 42 (2): 43–63.
Published: 01 May 2012
... 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...
Theater (1986) 18 (1): 42–51.
Published: 01 February 1986
....” 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...
Theater (2009) 39 (3): 11–23.
Published: 01 November 2009
... 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...
Theater (1993) 24 (2): 67–75.
Published: 01 May 1993
.... 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...
Theater (2021) 51 (2): 74–83.
Published: 01 May 2021
... 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...
Theater (1991) 22 (1): 89–92.
Published: 01 February 1991
... 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...
Theater (1980) 12 (1): 6–13.
Published: 01 February 1980
... 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...
Theater (1983) 14 (3): 72–77.
Published: 01 November 1983
... 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...
Theater (1993) 24 (1): 31–42.
Published: 01 February 1993
... 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...
Theater (1986) 17 (2): 61–64.
Published: 01 May 1986
... 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...
Theater (1991) 22 (3): 78–85.
Published: 01 November 1991
... 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...
Theater (1974) 5 (2): 94–119.
Published: 01 May 1974
... 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...
Theater (2012) 41 (3): 37–67.
Published: 01 November 2012
... 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...
Theater (1971) 3 (2): 52–58.
Published: 01 May 1971
... 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...
Theater (2015) 45 (2): 83–85.
Published: 01 May 2015
... 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...
Theater (1977) 8 (2_and_3): 112–133.
Published: 01 May 1977
... to shedjudgments of age. The actor does not disappear upon becom- 114 Paul Zimet, Joe Chaikin, Tom Lillard, JoAnn Schmidman, Ellen Maddow. ing the character; the audience alwayssees both. “If the actor is involved with the moral argu- Speaking of Brecht’s Ver-emdungseffeekt,Chaikin ments...
Theater (1999) 29 (1): 88–91.
Published: 01 February 1999
..., it is the director who, without actu- ally rewriting (though often abridging) the text of a famous play, proposes fundamen- tal changes in the story through a novel inflection of the characters or an abstract or radically transposed setting- all this superimposed upon the “same” text. The justifica- tion...
Theater (1988) 20 (1): 18–21.
Published: 01 February 1988
... but four wheels on pavement from morning to night: Flaubert’s eyes were fixed on the enclosed mobility Silence. She searches for when it happened. of Emma’s carnal passion. Duras focuses on what is happen- ing inside the coach. Her relationship to her characters is one I don’t recall very well...
Theater (1974) 5 (3): 87–94.
Published: 01 November 1974
.... Strindberg is concerned also with the collapse of roles, but less with his characters' realization of that collapse than with their indecisive struggles to find new roles. His plays are, in general, shorter and more jagged than Ibsen's. Nora has some fine speeches expressing her awareness of what she...