Theatre in Revolution
Author: Nancy Van Norman Baer
Publisher:
Published: 1991
Total Pages: 216
ISBN-13:
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Author: Nancy Van Norman Baer
Publisher:
Published: 1991
Total Pages: 216
ISBN-13:
DOWNLOAD EBOOKAuthor: Odai Johnson
Publisher: University of Iowa Press
Published: 2017-05-15
Total Pages: 296
ISBN-13: 1609384946
DOWNLOAD EBOOK2017 Theatre Library Association Freedley Award Finalist In this remarkable feat of historical research, Odai Johnson pieces together the surviving fragments of the story of the first professional theatre troupe based in the British North American colonies. In doing so, he tells the story of how colonial elites came to decide they would no longer style themselves British gentlemen, but instead American citizens. London in a Box chronicles the enterprise of David Douglass, founder and manager of the American Theatre, from the 1750s to the climactic 1770s. How he built this network of patrons and theatres and how it all went up in flames as the revolution began is the subject of this witty history. A treat for anyone interested in the world of the American Revolution and an important study for historians of the period.
Author: Mechele Leon
Publisher: University of Iowa Press
Published: 2009-10
Total Pages: 198
ISBN-13: 1587298910
DOWNLOAD EBOOKFrom 1680 until the French Revolution, when legislation abolished restrictions on theatrical enterprise, a single theatre held sole proprietorship of Molière’s works. After 1791, his plays were performed in new theatres all over Paris by new actors, before audiences new to his works. Both his plays and his image took on new dimensions. In Molière, the French Revolution, and the Theatrical Afterlife, Mechele Leon convincingly demonstrates how revolutionaries challenged the ties that bound this preeminent seventeenth-century comic playwright to the Old Regime and provided him with a place of honor in the nation’s new cultural memory. Leon begins by analyzing the performance of Molière’s plays during the Revolution, showing how his privileged position as royal servant was disrupted by the practical conditions of the revolutionary theatre. Next she explores Molière’s relationship to Louis XIV, Tartuffe, and the social function of his comedy, using Rousseau’s famous critique of Molière as well as appropriations of George Dandin in revolutionary iconography to discuss how Moliérean laughter was retooled to serve republican interests. After examining the profusion of plays dealing with his life in the latter years of the Revolution, she looks at the exhumation of his remains and their reentombment as the tangible manifestation of his passage from Ancien Régime favorite to new national icon. The great Molière is appreciated by theatre artists and audiences worldwide, but for the French people it is no exaggeration to say that the Father of French Comedy is part of their national soul. By showing how he was represented, reborn, and reburied in the new France—how the revolutionaries asserted his relevance for their tumultuous time in ways that were audacious, irreverent, imaginative, and extreme—Leon clarifies the important role of theatrical figures in preserving and portraying a nation’s history.
Author: Heather S. Nathans
Publisher: Cambridge University Press
Published: 2003-07-17
Total Pages: 264
ISBN-13: 9780521825085
DOWNLOAD EBOOKThis 2003 book examines the growth and influence of the theatre in the development of the young American Republic.
Author: Jane Milling
Publisher: Cambridge University Press
Published: 2004
Total Pages: 574
ISBN-13: 0521650682
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Author: Jared Brown
Publisher: Cambridge University Press
Published: 2007-02-01
Total Pages: 240
ISBN-13: 9780521033824
DOWNLOAD EBOOKWhether moralistic or satirical, the plays of the American Revolution offer unique insights into the sympathies and fears of both loyal and dissident parties, and so serve as a telling document of a socially turbulent age. Brown's extensive research coheres into an invaluable theatrical and historical chronicle that should prove a useful resource for those working in the field.
Author: Robert Sanford Brustein
Publisher: W. W. Norton & Company
Published: 1971
Total Pages: 194
ISBN-13: 9780871400451
DOWNLOAD EBOOKUsing his extraordinary grasp of the theatre, Robert Brustein, Dean of the Yale Drama School and prize-winning critic, examines campus turmoil, radicalism versus liberalism, the fate of the free university, and the new revolutionary life style. Brustein sees American society as profoundly decadent, and those radicals from whom creative and rational alternatives should come as being increasingly dominated by sentimentality and false emotionalism. His observations are often controversial, always timely and interesting.
Author: Holly Hughes
Publisher: University of Michigan Press
Published: 2015-11-30
Total Pages: 243
ISBN-13: 0472068636
DOWNLOAD EBOOKScripts, interviews, photos, and critical commentary documenting the riotous beginnings of this long-lived experimental theater space for women
Author: George Oberkirsh Seilhamer
Publisher:
Published: 1889
Total Pages: 422
ISBN-13:
DOWNLOAD EBOOKAuthor: Lynn Mally
Publisher: Cornell University Press
Published: 2000
Total Pages: 280
ISBN-13: 9780801437694
DOWNLOAD EBOOKDuring the Russian Revolution and Civil War, amateur theater groups sprang up in cities across the country. Workers, peasants, students, soldiers, and sailors provided entertainment ranging from improvisations to gymnastics and from propaganda sketches to the plays of Chekhov. In Revolutionary Acts, Lynn Mally reconstructs the history of the amateur stage in Soviet Russia from 1917 to the height of the Stalinist purges. Her book illustrates in fascinating detail how Soviet culture was transformed during the new regime's first two decades in power. Of all the arts, theater had a special appeal for mass audiences in Russia, and with the coming of the revolution it took on an important role in the dissemination of the new socialist culture. Mally's analysis of amateur theater as a space where performers, their audiences, and the political authorities came into contact enables her to explore whether this culture emerged spontaneously "from below" or was imposed by the revolutionary elite. She shows that by the late 1920s, Soviet leaders had come to distrust the initiatives of the lower classes, and the amateur theaters fell increasingly under the guidance of artistic professionals. Within a few years, state agencies intervened to homogenize repertoire and performance style, and with the institutionalization of Socialist Realist principles, only those works in a unified Soviet canon were presented.