Results 211 to 220 of about 6,513 (258)
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Chekhov and the Contemporary Theatre
Modern Drama, 1981In recent years we have seen a new appreciation of Chekhov's plays on the part of general audiences as well as students of drama. Directors have emphasized Chekhov's contemporary quality, and critics have attempted to define elements in his dramatic techniques that link him with Beckett, Pinter, and other contemporary playwrights.
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Classics and Contemporary Theatre
Theatre Survey, 2006Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development.
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The Drama Review, 1978
What is particularly Italian about the theatre that is produced in Italy? What characteristics make it different—recognizable—to the foreign spectator?After the war, Italian theatre was scarcely significant for its innovations. An effort to restore tradition in theatre absorbed most creative energies. Three outstanding influences belong to this period.
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What is particularly Italian about the theatre that is produced in Italy? What characteristics make it different—recognizable—to the foreign spectator?After the war, Italian theatre was scarcely significant for its innovations. An effort to restore tradition in theatre absorbed most creative energies. Three outstanding influences belong to this period.
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Locating Austen in Contemporary Theatre
This chapter explores the appeal of Austen’s fiction for stage dramatization, contextualizing such adaptations historically but concentrating on contemporary approaches to her work. The chapter examines three theatrical reimaginings of Austen’s most popular novel: Pride and Prejudice by feminist writer-comedian Sara Pascoe (2017); Pride and Prejudice* (openaire +2 more sources
1995
When Patricia Van Kirk founded the Front Room Theater in Seattle in 1980, she knew that lesbians did not comprise a large part of Seattle theatre audiences. In fact, they rarely attended the theatre. ‘Why would you?’ Van Kirk asked. ‘You don’t see yourself up there.
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When Patricia Van Kirk founded the Front Room Theater in Seattle in 1980, she knew that lesbians did not comprise a large part of Seattle theatre audiences. In fact, they rarely attended the theatre. ‘Why would you?’ Van Kirk asked. ‘You don’t see yourself up there.
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Contemporary Theatres in Europe
2006List of illustrations Notes on contributors Acknowledgements Foreword Janelle Reinelt Introduction Joe Kelleher and Nicholas Ridout 1. Human Stuff: Presence, Proximity and Pretend Joe Kelleher 2. Investigating the Entrails: Post-Operatic Music Theatre in Europe Nick Till 3.
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