Search Results for one

...David Epstein Copyright © by yale/theatre 1969 1969 THEY TOLD ME THAT YOU CAME THIS WAY A Play in One Act by David Epstein They Told Me That You Came This Way was (PETER gets up, ALEX stands, block- first performed in May, 1968 at Branford Col- ing his path.) lege, Yale...

... Excerpt from Nevermind! A Revue in One Act By Jean Mathieu Characters the feminist (looking for work as a seamstress...

...Ruby Cohn Copyright © THEATER 1985 1985 Ariane Mnouchkine: Twenty-one Years of Theatre du Soleil Ruby Cohn We are young, tireless, and attracted to the stage. Why don’t we start...

... Vladimir Putin Gogol Center Teatr.doc censorship Impromptu flower memorial at the site of Boris Nemtsov’s murder, Moscow, 2015. Photo: John Freedman John Freedman “Can One Enter a Theater Softly?” A Moscow Critic’s Journal, 2010 – 15 This is, and is not, a sequel to a piece I...

...Mary Benson Copyright © by yale/theatre 1973 1973 Athol Fugard And "One Little Corner Of The World" Mary Benson "My job," Athol Fugard has said, "is to witness as truthfully as I can the nameless and destitute of one little corner of the world." Packed...

...Fred Rue Jacobs Copyright © by yale/theatre 1970 1970 DON'T KNOW SIC'EM FROM SOOEY A Drama in One Scene by Fred Rue Jacobs (for Robert Graves) Cast see it now. . . the burning. . . it looks American...

... attend the sole Black Play on each regional theater’s seasonal list. They like music. They like to see utopian visions of Black Community, like the ones on The Casby Show. (In some areas, this audience is Asian or Hispanic. It likes plays about well...

...Jan Breslauer Copyright © THEATER 1985 1985 A Theater of One’s Own: Feminist Theatre by Helene Keyssar Jan Breslauer When a feature story entitled “New Voices in the Theater” appeared in the New York Times...

...M. Elizabeth Osborn “Soon after the death of Rabbi Moshe, Rabbi Mendel of Kutsk asked one of his disciples, ‘What was most important to your teacher?’ The disciple thought and then replied, ‘Whatever he happened to be doing at the moment.’” What the renowned Canadian director John Hirsch happened...

...—site-specific one-on-one performances in Hamlin Park and an ensemble performance turned social dance at Links Hall—stage “two dreams of contemporary dance”: “One is the urge to dissolve the boundary between performer and audience; the other is to intensify that distinction.” Kramer probes...

...Molly Fowler Besides The Nest, several other plays by Kroetz have not yet been published in English or staged at American resident or experimental theaters. One of these which deserves more attention is Neither Fish nor Fowl, written by Kroetz in 1977 and first staged in the United States in spring...

... role in both, as chief writer on Steeltown, and as an important contributor to script revisions on 1985. Holden first began working with the Mime Troup in 1967 when her adaptation of Goldoni's L'amante militaire was performed over fifty times in the parks of San Francisco, and she was one...

... on one evening in the life of a working woman. She comes home from work, goes through her daily routine, and commits suicide. If the “explosive energy” of this action could be used by oppressed people against society rather than themselves, Kroetz believes that we would have a “revolutionary situation...

... as a developing force in the American theater. Ironically, as this piece argues, one of the resident dramaturg's tasks might well be the elucidation of a theater's aesthetic mission which, if available, would have made it unnecessary to analyze an advertisement for a statement of purpose. Copyright © THEATER...

... with Julian Beck and Judith Malina, who had staged four of his plays and pointed to his anarchist thought as one of the sources of their revolutionary theater. Copyright © THEATER 1990 1990 PAUL GOODMAN, E LIVING THE AND THE GREAT...

... 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...

... choreography to the palimpsest of Wilson’s sketches, which painstakingly drew each moment of staging, “before long, we’re seeing hands everywhere.” As gestures and handprints accumulate, a new portrait of Wilson accrues, one of “an artist so committed to the theater’s present tense” that materialist action...

...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...

... performances. Distributed across the city, all nine works arose in answer to one central question: “In endings, what is it to begin again?” 41 Mark Jeffery Nine New Fields Notes on Goat Island and in>time 2019 On September 4, 1996, Lin Hixson, director of the performance group Goat Island, gave me an artistic...