...Matthew Wilson Smith Smith considers Robert Lepage’s recent high-tech production of Wagner’s Ring cycle at New York’s Metropolitan Opera, as a digital-age extension of the modernist aspiration—incited by Wagner—to create the total work of art. © 2012 by Matthew Wilson Smith 2012 Das Rheingold...

...Matthew Wilson Smith © 2003 by Yale School of Drama/Yale Repertory Theatre 2003 Productions Gitta Honegger in turn it becomes a picture that is part of the exhibition. While waiting and watching in line, Vienna Pure...

...Matthew Wilson Smith © 2002 by Yale School of Drama/Yale Repertory Theatre 2002 Figure 1. “The inherent mathematic of the human body” Matthew Wilson Smith Schlemmer, Moholy-Nagy, and the Search for the Absolute Stage Some company recently was interested in buying my “aura...

...Patrick J. Smith Copyright © by yale/theatre 1973 1973 Patrick J. Smith 20 W. S. Gilbert (1836-1911) is something of a totem figure in the history of the musical (or light opera or operetta), for he represents both a continuation of a tradition...

...Anna Deavere Smith Copyright © Theater 1995 1995 ...

...Matthew Wilson Smith Copyright © 1999 by Yale School of Drama/Yale Repertory Theatre 1999 MATTHEWWILSON SMITH ANGELSIN AMERICA A Progressive Apocalypse I. APOCALYPSEDESCENDING Outside of Chekhov, I can think of no playwright whose characters...

... Lani Guinier and Anna Deavere Smith The Institute on the Arts and Civic Dialogue is a project started by Anna Deavere Smith and funded in large part by the Ford Foundation to investigate new ways that artists can make works that deal...

... simultaneously. x I I SUZAN-LORI PARKS PART 4: GREEKS (or The Slugs) B. MRS. SERGEANT SMITH and BUFFY. A love& home. The Players...

... racial and ethnic Shawn-Marie Garrett roots, where do we go? The third vision of Monkey Mountain Anna Deavere Smith has been lavished with comes in the play’s final scene when Moustique awards and critical superlatives. She has (dead...

...Richard Olson Copyright 1968 by yale/theatre 1968 Myth and Modern Theatre: Colloquy in a Car by Richard A. Olson It had been a most pleasant weekend, the "Before you reply to that, Jones, let epitome of fall in New England. Saturday us give Smith a chance...

... American Plays, vol. 3, Hill and Wang. (pb) Player, in NAP 2. [Fall 19691 FORNk, Maria Irene. Or. Kheal, in Smith. Al- CC = PARONE, Edward, ed, Collision Course, so appears in yalekheatre (vol. l number 3). Vintage Books. (pb...

... have in mind are Anna Deavere Smith, Marc Wolf, Danny Hoch, and Sarah Jones: not an immediately harmonious grouping, perhaps, for those who know their work. My linkage of these artists depends on being able to steer the dis- cussion...

... confront the extent to interpretations of this twist on “nontraditional” casting. “1 which simply seeing is invisibly to invoke assumptions figured,“ one man suggested, “that every time Mrs. Smith about race. After all, we have no trouble accepting that a said she was meeting Sergeant Smith...

...Charles McNulty Crossing The Stage: Controversies on Cross-Dressing Edited by Lesley Ferris Copyright © Theater 1994 1994 Production Rei yiews‘ Clearly, Smith’s theater is no more objec- from a different race, maybe...

... that begins with Vito Acconci and Jack Smith and ends (roughly) with Laurie Anderson’s 1980s mainstream- ing music-­business success. The moving pictures deliver fuzzy testimony about the his- 74 productions and events torical performances they docu...

... Mutability in the Word Kingdon awaits his “Distinction,” Parks rejects the con- Smith in Greeks. Parks’s constantly mutating ventional view of history as linear narrative, figures are deeply disturbing, They appear to and the dramaturgical convention of character change as their historical context...

... in its wake.” Anna Deavere Smith has developed a theater of civic dialogue along somewhat different lines. In her 1993 keynote address to the Association for Theatre in Higher Education, Smith voiced an important criticism...

.... Simply put, to underground filmmaker and performer Jack affix the label “camp” to particular things is Smith (the “daddy of us all,” according to wrong. As he notes in Ridiculous Theatre: Ludlam) and an informative essay on Smith’s Scourge of Human Folly: The Essays and Opinions theater by J...

... yet. But against his competition of mid-eighteenthcentury opera and pantomime, Garrick produced the play in 1755 in the form of The Fairies, billed as "a new English opera." The music for the three act work was by John Christopher Smith, pupil and amanuensis...

...Jonathan Shandell Shakespeare and Masculinity by Bruce R. Smith 2000: Oxford University Press Enter the Body: Women and Representation on Shakespeare's Stage by Carol Chillington Rutter 2000: Routledge © 2002 by Yale School of Drama/Yale Repertory Theatre 2002 Books Catherine...