...Paul Sills; Larry Arrick; Mildred Dunnock; Alvin Epstein Copyright © yale/theater 1971 1971 The Making of Make-believe a collection of views on Story Theatre by directors Paul Sills and Larry Arrick and actors Mildred Dunnock and Alvin Epstein...

... Excerpt from Shut-up! You Make Me Cuckoo! A Revue of Aeronautic News in Fourteen Scenes and a Prologue By Genève, Grandin, and Penn Characters...

... by Yale School of Drama/Yale Repertory Theatre 2001 Theater 31.3-06 Artist State.sh 10/16/01 11:22 AM Page 62 How Do You Make Social Change? Theater asked a number of artists and community activists engaged in theater for social...

... Shteren. 03-Ezraty 5/21/01 3:20 PM Page 35 S TAGING RECONCILIATION The Arab-Hebrew Theater of Jaffa Makes a Model Igal Ezraty, Interviewed by Alisa Solomon In March 2000, the Arab-Hebrew Theater of Jaffa...

... and Making Gender Strange Alisa Solomon 42 Like most social activists who believe in theater as an instrument of change, feminists have both claimed and rejected Bertolt Brecht, joining in the critical tug-of-war that has...

...John H. Muse This article surveys the new forms of drama, performance, and spectatorship created by artists making use of the real-time microblogging website Twitter—as either a forum for performance in itself, or way to extend the boundaries of a more conventionally theatrical performance. He goes...

...Faedra Chatard Carpenter In Carpenter’s musings on the dramaturgical discomfort of staging black suffering and subjugation, she takes on the task of identifying ways to make space for the dysfluency of black life in America on stage. Using the model of Tearrance Arvelle Chisholm’s tragicomedy...

... choose to make statements about themselves and the intent of their work. This piece is not, then, a review of Actors Theatre's “Classics in Context” festival, and will not comment on its quality. It seeks instead to examine the theoretical constitution of such a festival from the standpoint of dramaturgy...

...Lawrence Switzky Investigating the use of the famous trolley problem in a stage play, virtual reality simulation, and video game, Switzky explores the ways in which the transmediation of this philosophical thought experiment colors the process of moral decision making. Switzky focuses on the ways...

..., teacher, and director, she has taken on the role of interviewer as well, so she could assess the process from every angle and make it complete. Copyright © THEATER 1992 1992 THE RAP ON EURIPIDES: CREATING NEW TEXTS...

... designed by Mary Gould, make-up and wigs designed by Libby Tucker, lighting designed by Thomas Stocker, properties designed by Mary Gould and Rus Quan, sound design by Terry Hunter, special music by James Livingood; the production stage manager was Katharyn Davies, and the stage manager was Patricia Keaney...

... make any difference in how a director staged a play, or a critic judged a production? Would it change the interpretation of Brecht's theories or his politics? Was any of this new information about the way his plays were created more than biographically and historically interesting? Was it really new...

... this innovative piece within the legacy of cruelty and violence on stage, he finds that the tension between history and heart , between making sense of an act of violence historically and culturally while simultaneously doing justice to the emotional experience of the victim, is not only at the center of Im...

... as a student in the 1980s to the political exigencies of the present day and the demands this moment makes on the future of theater and criticism. As Sellar writes, Theater ’s early radical spirit has not left the magazine’s mission: “Part muse, part archive, part mirror, Theater has held tightly to … its...

... disbanded ten years before. The 2019 festival continued as a retrospective exhibition, goat island archive—we have discovered the performance by making it , presented at the Chicago Cultural Center. Jeffery describes how the curatorial team paired nine artists/collectives with each of Goat Island’s past...

...Nicholas Lowe Nicholas Lowe, curator of goat island archive—we have discovered the performance by making it , a retrospective held ten years after the twenty-three-year run of the company Goat Island, explains how his concept of archival performance developed in response to Goat Island’s past...

...Erin Manning Erin Manning, a participant in goat island archive—we have discovered the performance by making it , suggests the concept of “anarchive” as a new approach to understanding the archive. She argues that the anarchival “follow[s] the logic not of originality or wholeness, but of emergent...

... 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. © 2021 by Laurens De Vos 2021 Milo Rau La Reprise. Histoire(s) du Théâtre (I) Bertolt Brecht Lam Gods Ghent Altarpiece theater...

... to take control of the narrative and to make work that speaks directly to the current moment. As seductive as the story is of artists emerging out of necessity during particularly tumultuous times, it helps the next generation know that their work will leave a mark and that meaning within performance...

...-Orientalism that positions non-Western artists and their works solely into an epistemological framework that applauds liberal democracy and argues for devised theater as a site of minor interventions, world making, as well as radical hope. Grass Stage s Squat, Shanghai, 2008. Courtesy of Grass Stage Yizhou...