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Theater (1 November 1975) 6 (3): 2–37.
Published: 01 November 1975
... forward goes: marked me as a woman people never listened to or even worse only when it Little boy, when you get older was too late, for the first time since that Do you suppose you’ll be a little bit tragic day I, Stella Beckman, am celebrat- bolder...
Theater (1 May 1998) 28 (2): 46–49.
Published: 01 May 1998
Theater (1 February 1986) 18 (1): 42–51.
Published: 01 February 1986
... focuses 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...
Theater (1 November 1989) 20 (3): 13–17.
Published: 01 November 1989
... who are beginning writers do not share the social temperament and political worldview of people like Gelman and Shatrov. Young writers are for the most part developing the traditions of their immediate predecessors, the 'new wave' p1aywrights. They are explicitly engaged in an artistic study of the...
Theater (1 November 1984) 15 (3): 24–31.
Published: 01 November 1984
..., 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...
Theater (1 May 1994) 25 (2): 24–41.
Published: 01 May 1994
..., I should add that my own opinion of it was unformed when this project started, though I read bound galleys more or less mid-way; once I knew what I thought, I tried to keep silent until people's responses were finished.)—Erika Munk Copyright © Theater 1994 1994 Allphotographs ofBertoltBrecht...
Theater (1 November 2016) 46 (3): 47–61.
Published: 01 November 2016
... Robin and Terry, who per- everybody in the world will be allowed to vote formed the piece at the premiere in 2011. on it, just by pressing a button, yes or no. r: In the future there won’t really be coun- t: Or — people just won’t worry about politics tries, like there are now, there won’t be...
Theater (1 February 1973) 4 (1): 80.
Published: 01 February 1973
... Copyright © by yale/theatre 1973 1973 Chronology Of Fugard Plays 1958 No Good Friday 1959 Nongogo 1961 The Blood Knot 1963 People Are Living There 1965 Hello and Goodbye 1967 Mille Miglia (Television play) 1969 Boesman and Lena...
Theater (1 May 1976) 7 (2): 54–55.
Published: 01 May 1976
... is, more orthodox, than himself. Mainly, he respected talented people. Talent was for Gorky the single most im...
Theater (1 May 1978) 9 (2): 59–61.
Published: 01 May 1978
... very few shorter one is called S-I, and the other which is called The people, mostly millionaries and the bourgeois capitalists. And as Motion of History is about four hours long. I’m not writing you become less and less clearly useable in their terms - theater plays regularly - perhaps that’s...
Theater (1 November 2010) 40 (3): 67–68.
Published: 01 November 2010
...? Rather than occupy allotted time selling something, the people communicate what they believe. Something trying to be. An attempt to stake a claim in the real world. I, along with cinematographer Michael Schmelling and technical director Bozkurt Karasu, started to shoot some friends giving speeches...
Theater (1 May 2007) 37 (2): 91–101.
Published: 01 May 2007
... pro- duction is also a kind of ritual and a memorial. We met two family members who had been in the camps and three other people who were actually in Auschwitz. It is such a big subject, and you start doubting your- self, but then you realize that people are really afraid of it, just as we...
Theater (1 February 2014) 44 (1): 57–65.
Published: 01 February 2014
... direction. At that point raised in southern Louisiana, Nick Slie is an actor, we just started recording stories. We took the director, writer, educator, and community activ- idea of listening to people’s personal...
Theater (1 February 2016) 46 (1): 5–13.
Published: 01 February 2016
... together of terviews she gave was with performance maker two groups of people who interact with each Annie Dorsen. Their conversation appears below. other. We’ve been working very hard for the last twenty years on bringing the audience annie dorsen: Let’s...
Theater (1 February 1969) 2 (1): 34–39.
Published: 01 February 1969
... it’s goddam funny. And is important? All of you sit around here that‘s all you can say about the goddam and joke, and people are dying in Viet- war. Well, take off your goddam clothes, nam. They put caskets back, and you sit all of you. here and take off your goddam clothes A voice...
Theater (1 November 2001) 31 (3): 153–159.
Published: 01 November 2001
... do here, in the inaugu- considering a speciﬁc project. Let’s say we’re ration? The most violent, radical people will preparing protest spectacle for the presidential say, “We should stop it! We should bomb the inauguration...
Theater (1 May 1993) 24 (2): 88–98.
Published: 01 May 1993
... production work for the tour. I perform some became my life’s work. Confronting, talking excerpts from My Father and the Wars. They about, and attempting to change every vestige are warmly received, the audience largely facul- of ignorance about African black people being...
Theater (1 May 1999) 29 (2): 146–153.
Published: 01 May 1999
... always changing the tradition- they take their name from a slang show and looking for new people. Sometimes term for hobo widely used in the 1920s. we’ll have an age range from sixteen to seventy...
Theater (1 November 2003) 33 (3): 97–105.
Published: 01 November 2003
...- in Los Angeles, most ofthe people there hadn’t ducer of This American Life for Public Radio read the book. They had heard ofit, but they International, “The most powerful thing you hadn’t actually read it. Bringing this work to the can hear, and the only thing that ever persuades theater...
Theater (1 May 1986) 17 (2): 42–46.
Published: 01 May 1986
... Acrobat) to murder him. From the first it has been the theater’s business to entertain Cabrera’s tale is told in a lively, flashy fashion which astutely cap- people, as it has also of all the other arts . . . Not even instruc- tures...