舞台表演, 本领域期刊类期刊, -365足球

women writers from the peripheries and semiperipheries of europe who participated in the metropolitan melting pots of new ideas at the fin de siècle are often marginalized or excluded in historiographical accounts, making their contributions to a european cultural heritage invisible.1 this marginalization, shared by numerous women playwrights and artists, prompts the need to explore ways of providing

on 24 december 1871, giuseppe verdi’s opera aida premiered in cairo’s khedivial opera house. the khedive of egypt, ismail, had commissioned verdi to compose the opera as part of a larger program of urban renewal that had peaked with the suez canal’s inauguration in november 1869. wide boulevards, landscaped gardens, and luxury hotels of iron, steel, and the improved glass of the nineteenth-century

the lenin memorial mass meeting, organized by the newly formed national council of american–soviet friendship (ncasf) and featuring scenes from the soviet play adapted and directed for the theatre guild, followed quickly on the heels of a similar mass meeting and rally, “salute to our russian ally,” staged at madison square garden on 1 november 1942 and attended by twenty thousand supporters. both

the provocative work of german artist christoph schlingensief may seem to be not possible today. however, it developed an afterlife of its own. against the backdrop of current discourse shifts and political developments my article historicizes this work from the early stage productions at the berlin volksbühne after the fall of the wall to taking to the streets of vienna at the turn of the millennium

my examination of game play, ludic activity and being playful in immersive gatsby shows that gatsby is a typical example of the playification of theatre in the contemporary art scene. in using the term ‘playification’, i refer to the method of incorporating diverse play categories in theatre to motivate audience activity. while much critical attention has been devoted to the controversial nature of

anne charlotte leffler's play sanna kvinnor (true women) (1883), together with other late nineteenth-century plays by women playwrights, is considered a significant historical event in swedish theatre histories, regarded as a successful feminist intervention. this study examines the cultural-specific conditions and agendas that governed the interpretations of sanna kvinnor at the theatres. theoretically

this article argues that an understanding of male same-sex practices in ancient greece point towards a queer desirous spectatorship – a male ‘gayze’. ancient tragic scholarship has often omitted discussion of male same-sex practices, despite using marriage and heterosexual social norms to elucidate meaning in text and performance. this article seeks to redress the exclusion of queer histories and perspectives

this article explores the 2017 performance of harrison david rivers's play, and she would stand like this, and its dramatization of the intersectional marginalization and discrimination endured by a queer family of colour facing aids, through the framework of euripides’ trojan women. it does so via three main perspectives: chosen family, normative discriminations and tragic disidentifications. in its

in lieu of an abstract, here is a brief excerpt of the content: editorial comment:performing minoritarian care laura edmondson i want to think "care" as a problem for thought. —christina sharpe1 the front cover of this special issue on care, carework, and performance features an image from sung-min kim's article on operation babylift (1975), a us mission in which over three thousand vietnamese

abstract:in 1955, mamie till bradley spoke throughout the country on behalf of the national association for the advancement of colored people (naacp) to bring justice to her recently murdered son, emmett till. while most scholarship focuses on bradley's choice to publicize her son's mutilated body, i analyze her understudied naacp-sponsored grief tour and her ensuing public fallout with the organization

abstract:drawing on indigenous feminist theories of futurity and care, interviews with indigenous theatre artists, and a case study on decolonial acts of relational care refused, this article explores how carework in theatre production contracts reveals the labor of indigenous artists to sustain and expand their communities. it explores the informal challenges larissa fasthorse issues to producing

abstract:on december 15, 2019, a group of elderly women from a muslim ghetto on the outskirts of new delhi came out in protest of the police brutalities against minority students who were resisting the recently passed citizenship amendment act (caa). despite the widespread attention it received, the protest eluded attempts to understand it fully within both popular and academic discursive frameworks

abstract:this essay theorizes latine maneras de ser (ways of being) as care through an analysis of si|embra, a 2021 collaborative performance and dance event cultivated between various latine artists and the residents who live and own businesses on west jefferson boulevard in los angeles. i examine the gossip, partying, and dancing of folx on the block during the planning and presentation of si|embra

abstract:this essay tends to the continued lives and potential futures of operation babylift refugees as subjects born from "militarized care,' a framework that resists the binary between violence and care to instead denote the affective and sensorial manifestation of both violence and care. by pairing heidi bub's story of reunion in the documentary daughter from danang with a reparative reading of

abstract:this article examines the peace advocacy of women cross dmz, a korean diasporicled collective of feminist activists who are calling for a formal end to the korean war and the centering of women in peacebuilding processes. during peace symposia in north korea and south korea and walks in 2015, women cross dmz utilized objects—scarves, banners, and quilts—inspired by jogakbo, a korean patchwork-style

in lieu of an abstract, here is a brief excerpt of the content: reviewed by: how to defend yourselfby liliana padilla dan venning how to defend yourself. by liliana padilla. codirected by rachel chavkin, liliana padilla, and steph paul. new york theatre workshop, new york. 03 21, 2023. sexual assault continues to plague college campuses despite the #metoo movement, consent workshops, and protective

in lieu of an abstract, here is a brief excerpt of the content: reviewed by: ibsen's ghost: an irresponsible biographical fantasyby charles busch benjamin gillespie ibsen's ghost: an irresponsible bio-graphical fantasy. by charles busch. directed by carl andress. primary stages, 59e59 theaters, new york. 03 3, 2024. not to be confused with ibsen's ghosts, ibsen's ghost—sardonically advertised

in lieu of an abstract, here is a brief excerpt of the content: reviewed by: making broadway dance by liza gennaro, and: embodied nostalgia: early twentieth century social dance and the choreographing of broadway musical theatre by phoebe rumsey ray miller making broadway dance. by liza gennaro. new york: oxford university press, 2022; pp. 239. embodied nostalgia: early twentieth century social

in lieu of an abstract, here is a brief excerpt of the content: reviewed by: the spectacular theatre of frank joseph galati: reshaping american theatre in chicago, illinois by julie jackson stuart j. hecht the spectacular theatre of frank joseph galati: reshaping american theatre in chicago, illinois. by julie jackson. london: methuen drama, 2024; pp. 215. frank galati died in early 2023 at