...Douglas Langworthy Copyright © THEATER 1991 1991 .UNf?Od383UNf?40 N0113fKlOYd S,3YlV3Hl hYOlY3d3Y 31VA 3Hl WON 3N33S V SNIIN3r NOY A8 NOllVldVaV NV3IdIWV 1080s wnwor Aa AVld M3N Q WHEN CHOOSING GOOD...

...Laurence Senelick Copyright © THEATER 1992 1992 THE GOOD GAY COMIC OF WEIMAR CABARET LAURENCE SENELICK eimar Berlin may have been the first...

... that the very technical reproduc- ibility of film has given it the ability to create . . . naive illusions which the theatre no longer achieves. It is good to see Benjamin adjusted, with this salute to film’s wizardry. Yet, as Handke doesn’t mention but as his own plays show, less naive...

... to mics have their own separate place cant lots involved a revisionary ap- be a storyteller. I say storyteller in the spectacle, introducing and proach to the fourth wall and a good ’stead of liar ’cause it’s a heap of 76 difference ’tween your storyteller and your liar...

...Adrian Giurgea Yale School of Drama/Yale Repertory Theatre 2007 Anatoly Vasiliev with Yuri Lyubimov, School of Dramatic Art Theatre, 1989. Courtesy School of Dramatic Art Theatre Up Front “What Good Are Poets in a Bereft Time?” “Wozu Dichter in durftiger Zeit,” asked...

...Mark Lord Copyright © THEATER 1986 1986 THE GOOD AND THE FAITHFUL AT THE PLACE OF THE SKULL:NOTES FOR A THEORY OF TRANSLATION...

...: Edward Arnold, 1962 . Brecht , Bertolt Brecht on Theater: The Development of an Aesthetic . Trans. and ed. Willett, John. London: Methuen, 1973 . Brecht , Bertolt The Good Person of Szechwan . Trans. Ralph Manheim. Brecht: Collected Plays, Volume 6. Eds. Manheim, and John Willett. New...

... GOODSTEIN y relationship to theater is more Psychology at Columbia. Just a few I took “good” pictures. My boss told Mthan just what 1 see through the months after the death of a very close me so herself when she saw me work- lens of my camera. When I was friend, when I...

... of the Machine Gun . Both pieces highlight the hypocrisy and similarities of rhetoric from right-wing terrorists and liberals with seemingly good intentions. Breivik’s Statement restages hate speech with an actor of color inverting the meaning of the speech, while Compassion restages a woman of color refugee...

...Katherine Clarke Katherine Clarke charts the development of Belfast's contemporary theater scene, particularly how it has grown since the Good Friday Agreement in 1998 brought relative stability to the city. She describes an older generation of theater artists whose work chronicles Belfast's recent...

... Good morning Mrs. Muckley. MRS. MUCKLEY What a storm! MOTHER It certainly is! (Enter Daddy) DADDY Good morning. MRS MUCKLEY...

... are between rather good Excerpts from the interviews are and a little better than that. These printed below. The Bentley interview finer distinctions, which are the very wsavailable to Mr. Novick, so he was essence of intellectual work, are able to respond to it, and his views totally...

... That's right. 24 ELEPHANT Hurry up! MONKEY This is what I want to dis . . . ELEPHANT (throwing the Monkey out) Out of here! (Exit Monkey. Enter Lion.) LION Good afternoon. ELEPHANT Hmmm! LION What's that hmmm? ELEPHANT Nothing...

... Part One (The King's palace. Princess Magdalena's room, where she is sitting) Act One Scene One P R INCESS MAG DA L ENA If only my father would let me marry Prince Vistelius . . . I'd be so glad . . . And besides he's wealthier. But what good...

.... The theater's attitude toward ing: it can be a means to help the theater Stanley Kauffmann critics has, on the whole, been well deserved; recoup. Further, good criticism can and most criticism is no better than most plays. should exist...

... to bits. Every lover of order it - good order in a business leads to profits, ‘Creati\rity’. As a physicist I‘d say ‘A love of knows what I’m talking about. good order in a \var lcads to losses. You’d o rd er’? think that e...

... for good though. I don’t know. I hope he can Pause. cope. You know what I’m saying? I can’t lori Oh. Where was I sitting? believe I can’t remember his name! Pause...

... by Vaclav Havel, translated by Vera Blackwell. Directed by Joseph Papp. New York Public Theatre. . Kongi's Harvest by Wole Soyinka. Directed by Michael A. Schultz. Negro Ensemble Company, St. Marks Playhouse. Daddy Goodness by Richard Wright and Louis Sapin. Directed by Douglas Turner Ward...

... with his white same story — arms and legs are the same, the beard, straight from the good book? It’s so head’s turning. But there’s nothing. I’m gonna unfair. . . . It’s bad enough already, and now run out of cigarettes soon. What’s up with they are still fucking me over! Religious...

.... The ellipses [ . . . ] mark the space for an audience member to respond. OK? Let’s start with your name. . . . Good. And the names of your mother and father? . . . Good. Good people, your mother and father? . . . Good. Are you Catholic? . . . Theater 42:3...