...Gloria Pastorino © 2012 by Gloria Pastorino 2012 On the Concept of the Face in the Son of God, directed by Romeo Castellucci, Opéra-Th­ éâtre, Avignon, 2011. Courtesy of Opéra-Th­ éâtre. Photo: Klaus Lefebvre Up Front The Face of Christ, Looking at Us Gloria Pastorino...

..., Mississippi, 1964. Photo: Matt Herron. Theater 31.3-07 Cohen.sh 10/16/01 11:30 AM Page 95 Jan Cohen-Cruz Motion of the Ocean The Shifting Face of U.S. Theater for Social Change since the 1960s The role...

...Dale McAdoo; Charles Mann Copyright © THEATER 1983 1983 A Note on the English Vosion of About Face ACT I SCENE I...

...Dario Fo; Dale McAdoo; Charles Mann Copyright © THEATER 1983 1983 A Note on the English Vosion of About Face ACT I SCENE I...

...Joel Schechter Copyright © THEATER 1983 1983 A FARCE BY DARlQ FO TRANSLATED BY DALE McADOO AND CHARLES MANN Preface to About Face Lloyd Richards...

...Ronald Faux Copyright © THEATER 1986 1986 THEATER ON ..THE.ISLE.-OFIMULL Mull’s Little Theater of Two Faces Final Curtain...

... York: Mitchell Kennerley, 1912), 177. 2. Ibid., 71. 3. Ibid., 19. 4. Percy MacKaye, Preface to Caliban by the Yellow Sands (New York: Doubleday, Page and Company, 1916), xii. Theater 42:3  doi 10.1215/01610775-1815419 © 2013 by Anne Erbe Facing the German Theater...

...Marian Popescu Romanian theater critic and scholar Marian Popescu discusses the challenges faced by Romanian playwrights, directors, and other theater practitioners since the fall of communism. He details the struggles that artists and institutions have had to address and adjust to since the end...

..., and finally to the lonely rural stretches of Bavaria, the heart of “Kroetz country.” The faces and accents of the people entering my train compartment kept changing accordingly, each voice charting the landscapes outside and inside on this Ride Across the BRD in the death of winter, through blizzards, along...

... has termed it, a sublime stupidity rather than a Romantic one. Historicizing the sublime from its origins in Longinus through Kant to the present day, Dorsen argues that the sublime is an aesthetic of technocratic collapse, and a response to the limitations of rational understanding in the face...

... is in the U.S., and the audience laughs nervously. For in the age af multinationals, worldwide computer networks and rampaging automation, auto and steel workers face the same kind of crises as Edgar and Hermann.” Copyright © THEATER 1984 1984 Kroetz in San Francisco: Oskar...

...Alina Nelega Alina Nelega offers a playwright's perspective on the development of playwriting in post-communist Romania. She details the challenges faced by new playwrights in a primarily visual, director-driven theatrical culture, and discusses the history of programs like Dramafest and dramAcum...

... WALLACE What were your parents doing in director of executive recruitmentfor WALLACE CIVA Madagascar in 1927? FACE FACE With your arms folded it was so beautiful LOUISE his wfe to watch...

..., monkey, loudly crying face, generated emoji text through their in-­ear crying face, hundred points symbol, monitors and whisper them to one another.) hundred points symbol, fire, multiple musical notes, face with tears of joy, unamused face, cherry...

... No. 2 7 2. Projection (Note: These titles should be listed on any program for the play. Also there should be no intermission during the performance of the play.) The set is simple. Two chairs C.S. arranged to form a love seat, one facing front and the other facing...

... theirs. They ve got a whole cult developed around it. They publicly torture and execute activists on livestream. A crowd of white faces pose with the bodies in a celebratory manner. This is nothing new: it s a tried and true method. And it has a widespread chilling e¢ect. But we ve got Silicon Valley...

.... She keeps turning her head from book to book so that all that is seen is the back of her head and a delicate neck. Finally, the camera holds its position in desperation, focusing steadily on the side of her face. Susan Yankowitz's recent plays...

... “form” into which fate or God dressed us. Gombrowicz calls it the first “face.” In today’s world of sexual ambigu- ity, men and women put on faces corresponding to gender’s dualism. I understand Gombrowicz’s idea of the “face” in this way: there is our “real” face, which moves and twitches...

... he stopped and treatment, they continued to perform Carlo and Alberto are brothers-in-law. looked out at our confused faces. “No and remained popular until the end of Carlo was born in Italy, Alberto in Pied- Italiano?” he asked. Pointing to himself the 17th century. Interest in cornmedia...

..., if lacking impact. We see Blanchett dressed as a homeless man, walking through a decimated industrial landscape. Wearing ratty clothes and a shaggy beard glued to her dirtied face, she mutters to herself words Rose- feldt cobbled together from various Situationist manifestoes. At the end of the scene...