1-20 of 1118 Search Results for

line

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Article
Theater (1990) 21 (3): 57–61.
Published: 01 November 1990
...Mark Bly Copyright © THEATER 1990 1990 THE SONG-LINES OF KEVIN KLING MARK BLY igh in the Canadian Rockies near the western...
Journal Article
Theater (1998) 28 (2): 10–18.
Published: 01 May 1998
Journal Article
Theater (2019) 49 (3): 5–19.
Published: 01 November 2019
...Daniel Sack In Daniel Sack’s discussion of Nicola Gunn’s dramatic oeuvre, he finds a through line running between her works—one of self-reference and autofiction, a kind of playful knowledge of the self. In tracing this affinity between her pieces, in particular In the Sans Hotel , In Spite...
Journal Article
Theater (2021) 51 (2): 74–83.
Published: 01 May 2021
... of the theatrical event—instead, Rau seeks to make the representation itself real, blurring the line between fiction and reality to trouble and implicate the audience. Laur ens De Vos A Tal e of Trut h The Use of Brechtian Strategies for Non-­Brechtian Artistic Purposes in Milo Rau s Theater of the Real Before...
Journal Article
Theater (2021) 51 (2): 48–61.
Published: 01 May 2021
... Institute of Political Murder ( iipm ), and has been something of a through line for the director. In analyzing both projects, Defraeye traces their development and provides the historical and cultural context of the events presented. In the case of Hate Radio , this involves looking at performances...
Journal Article
Theater (1989) 20 (3): 46–49.
Published: 01 November 1989
... to Stalin's 'general line.'' He briefly served as Soviet Consul-General in Barcelona during the Spanish Civil War before being recalled to Moscow, where he was arrested, tried, and executed during the bloody purge of 1937–38. The essay on Stalin, excerpted here from its 1988 publication in Teatr, employs...
Journal Article
Theater (2012) 42 (2): 43–63.
Published: 01 May 2012
... 43 muse types, this article focuses attention on two case studies — a collection of single-­tweet plays spearheaded by the New York Neo-­Futurists, and Jeremy Gable’s original Twitter play The 15th Line — in order to highlight two very different ways Twitter is catalyzing theatrical...
Journal Article
Theater (1981) 12 (3): 65–68.
Published: 01 November 1981
..., or The L.$e and Times ofJoseph Stulin in which Mark Bly ostriches perform a ballet and a chorus line of mammies dances to the Blue Danube...
Journal Article
Theater (1980) 11 (3): 23–28.
Published: 01 November 1980
... are reading lamps and a text. It is an image they brought with them arranged in what appear to be short lines ofverse - often merely a from their early study of the text and its past. One actor rises to single adjective and its noun to the line. This arrangement creates speak the original Greek...
Journal Article
Theater (2021) 51 (1): 63–79.
Published: 01 February 2021
..., planned for the fall of 2021. I remember the crossing of the border as a child, sitting on the back of the car in a hot summer, waiting for the lines of cars at the San Ysidro port of entry (one of the Emilio Rojas s m(O)thers: Hudson Valley. Photo: Maria Baranova naturalized borders 67 fifty places where...
Journal Article
Theater (1984) 15 (3): 77–80.
Published: 01 November 1984
...Royston Coppenger Copyright © THEATER 1984 1984 Evil, Bert States wrote in an essay on The Homecoming - the sexual nature of which Orton claimed was influenced by his first two plays - has the “power to arrest for our Lee Breuer’s Gospel delight certain bold lines...
Journal Article
Theater (1974) 5 (2): 120–127.
Published: 01 May 1974
.... When the training programs at California Institute of the Arts were crystallized in 1970, Herbert Blau, then Dean of the School of Theatre and Dance, focused his acting program along essentially non-verbal lines, drawing from funda...
Journal Article
Theater (1973) 4 (3): 40–68.
Published: 01 November 1973
... audiences and ridiculed opera's extravagances of plot and emotion. In Leveridge's piece, Semibreve, a composer, rehearses Shakespeare's artisans in the tedious brief play of Pyramus and Thisbe (using lines from Shakespeare's I.ii, lll.i, and V.i), for the benefit of two other...
Journal Article
Theater (1973) 4 (3): 123–133.
Published: 01 November 1973
... that any self-respecting author would be willing to write an opera libretto. After all, a perfectly good "dramma per musica" may be ground to death by a weak musical line, and while poor poetry set to good music may be popular, the reverse is not. Besides, his work...
Journal Article
Theater (1975) 6 (3): 4–19.
Published: 01 November 1975
..., I’m more than what you say. You treat The woman faces front, the man rear. me as second rate, bottom of the heap, last in line, half the whole. Well, I’m Woman: Come along is what I said. tired of it. Tired of playing...
Journal Article
Theater (1984) 15 (3): 65–68.
Published: 01 November 1984
... of invita- not a thesis play,” says Fo. “Almost every line well as lapses in the director’s judgment. A tions to perform abroad. Since Fo finally is taken from conversations we’ve had with Doll House, for instance, is marred by won over London audiences with his twelve- our friends...
Journal Article
Theater (1973) 4 (3): 20–26.
Published: 01 November 1973
... and at the same time a departure from it. Gilbert as a master versifier must stand as godfather to a whole line of English and American lyricists-men who brought and are bringing distinction to the purely "word" part of the musical: Noel Coward, Cole Porter, Ira Gershwin...
Journal Article
Theater (1991) 22 (3): 4–7.
Published: 01 November 1991
... older-looking NARRATOR: (Singing the line to give pitch) Men’s chorus.. . couple.) With the help of our great, great, great, great MEN’S CHORUS: (Finding pitch) La-la-la MEN: Great, great, great, great NARRATOR: (Singing this line a third above the men’s WOMEN: Great, great, great...
Journal Article
Theater (1986) 18 (1): 36–41.
Published: 01 February 1986
... 37 Melies (1974) of Saint Anthony demands that, until mine how the Group has adapted its 9. The performance space left over from the final lines of the play, Anthony be raw material, not to illustrate any single L.S. D. lured by the Devil...
Journal Article
Theater (2000) 30 (3): 5–21.
Published: 01 November 2000
... of a would-be moralism in which each verse ends with the ironic adage, “Enviable, whoever is free from [wisdom, beauty, desire Using the accompaniment’s extra four-measure cadence after this repeated line, capitalizing on her knowledge that the audience...