...Gordon Rogoff Copyright 1969 by yale/theatre 1969 The theatre is not safe A report from The Village Voice with some additions and interpolations. by Gordon Rogoff Choices. The un-review for the un-play. Or: the non-review for the non-play. Or: the anti-review...

... synthesis by which activism finds its voice through art? The San Francisco Mime Troupe has been answer- ing these questions for more than forty years with its unique brand of comic, leftist, musical plays that draw on popular performance traditions, offered free in Bay Area parks throughout...

...Gitta Honegger © 2002 by Yale School of Drama/Yale Repertory Theatre 2002 Gitta Honegger Theater in Berlin: Last Stop. Amerika and the Volksbühne Experience, Plus New Voices and Ekkehard Schall January 2002 From my Berlin hotel room on Friedrichstrasse I look...

...Tom Sellar © 2008 by Yale School of Drama/Yale Repertory Theatre 2008 Voices in Conflict, 2007. Photo: Jaisen Crockett Up Front Hearing Voices Voices in Conflict, an ensemble-created production based on the letters and words of soldiers serving in Iraq, made its off Broadway...

... synthesis by which activism finds its voice through art? The San Francisco Mime Troupe has been answer- ing these questions for more than forty years with its unique brand of comic, leftist, musical plays that draw on popular performance traditions, offered free in Bay Area parks throughout...

...Alberto Tibaji © 2015 by Yale School of Drama/Yale Repertory Theatre 2015 Dib Carneiro Neto’s Psalm 91, Sesc Santana, São Paulo, 2007. Photo: João Caldas Alberto Tibaji Translated by Elizabeth Jackson Voices from the Inside An Introduction to Dib Carneiro Neto’s Psalm 91...

..., 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, along...

... excluded from histories of devised theater (drag, burlesque, ballroom, cabaret, parties, etc.). Using three case studies written in three different voices—the Chicago Kings, Sean Dorsey Dance and Fresh Meat Productions, and The Fly Honey Show—we examine what an alternative genealogy of devising, one...

... materials: light, shadow, and voice. M. Lamar multimedia opera Negrogothic sadomasochism Copyright © 2019 Yale School of Drama/Yale Repertory Theatre 2019 ...

... Postcards from my Balcony, begun in March 2020 when the COVID-19 pandemic arrived in Toronto. As emanations of a care-based writing practice, these entirely textual “postcards” include image descriptions, written messages, and voice memos. [email protected] © 2022 by David Geffen School...

... as possible. Never on a proscenium Male voice stage. Female voice The play must be approached as a formal, Person in audience almost religious ceremony. Costumes The actors must...

....) MEN’S.) (Now from behind the MEN’S we (The Junkie hurtles back into the hear. . .) LA DIES.) Patsy’s Voice: How dare you! (Now from behind the MEN’S we hear...

... as possible. Never on a proscenium Male voice stage. Female voice The play must be approached as a formal, Person in audience almost religious ceremony. Costumes The actors must...

...Susan Mason Copyright © THEATER 1985 1985 An Interview with Kristin Linklater Susan Mason Since Kristin Linklater came to New York Cityfrom London in 1963, she has transformed voice trainingfor the actor in regional repertory companies, pro...

... iscent of Beckett's Not l) in which "a voice" 1978), Sam Shepard argued for a more expression changed as he assumed dif• comes to a man in a dream saying, "You flexible attitude towards theatrical "time": ferent characters or attitudes. Behind are entirely dead. What is unfinished is form...

... stands at an can’t look at him without thinking of it. angle facing D. R. but looks straight into And somehow I can’t make myself be- the audience. lieve he really didn’t know I was there as he went past. A voice comes on over loudspeakers...

... to use the pup- hair-raising­ Jerk (2008), in which a serial killer pets and do all the voices of his victims using tells stories about his young victims, playing all the techniques of ventriloquy. So Jonathan the parts with hand puppets. In This Is How learned ventriloquy for this final scene...

... that blimmin’ The entrance hall of a shabby five-story block of go on. I mean, you’d think he was only a kid— flats. maksim climbs up the stairs to the fourth but he was already getting it up . . . floor. People pass him on the way up. They are a voice from...

... of music-and-theater mixes: antioperas, nonmusicals, performance art, multimedia, extended-voice extravaganzas, and the like. As theater has moved towards nonlinear and even nonverbal forms, as perfor- mance art has crystallized out of dance...

... and authenticity. Modern art — in particular, the abstract arts (visual art, classical music, and modern dance) — is said to be about identifiable style and voice. Issues of content are left to the verbal or popular arts (novels, theater, song lyrics, and the movies). We have the idea that our notion...