![]() |
![]() |
Your cart is empty |
||
Showing 1 - 8 of 8 matches in All Departments
Putting food and theatre into direct conversation, this volume focuses on how food and theatre have operated for centuries as partners in the performative, symbolic, and literary making of meaning. Through case studies, literary analyses, and performance critiques, contributors examine theatrical work from China, Japan, India, Greece, Italy, France, Germany, England, the United States, Chile, Argentina, and Zimbabwe, addressing work from classical, popular, and contemporary theatre practices. The investigation of uses of food across media and artistic genres is a burgeoning area of scholarly investigation, yet regarding representation and symbolism, literature and film have received more attention than theatre, while performance studies scholars have taken the lead in examining the performative aspects of food events. This collection looks across dramatic genres, historical periods, and cultural contexts, and at food in all of its socio-political, material complexity to examine the particular problems and potentials of invoking and using food in live theatre. The volume considers food as a transhistorical, global phenomenon across theatre genres, addressing the explosion of food studies at the end of the twentieth century that has shown how food is a crucial aspect of cultural identity.
Putting food and theatre into direct conversation, this volume focuses on how food and theatre have operated for centuries as partners in the performative, symbolic, and literary making of meaning. Through case studies, literary analyses, and performance critiques, contributors examine theatrical work from China, Japan, India, Greece, Italy, France, Germany, England, the United States, Chile, Argentina, and Zimbabwe, addressing work from classical, popular, and contemporary theatre practices. The investigation of uses of food across media and artistic genres is a burgeoning area of scholarly investigation, yet regarding representation and symbolism, literature and film have received more attention than theatre, while performance studies scholars have taken the lead in examining the performative aspects of food events. This collection looks across dramatic genres, historical periods, and cultural contexts, and at food in all of its socio-political, material complexity to examine the particular problems and potentials of invoking and using food in live theatre. The volume considers food as a transhistorical, global phenomenon across theatre genres, addressing the explosion of food studies at the end of the twentieth century that has shown how food is a crucial aspect of cultural identity.
This monograph is a study of American (U.S.) stage representations of dementia mounted between 1913 and 2019. Its imbricated strands are playtexts; audiences as both the targets of the productions (artifacts in the marketplace) and as anticipated determinants of legibility; and medical science, both as has been (and is) known to researchers and, more importantly, as it has been (and is) known to educated general audiences. As the Baby Boom generation finds itself solidly in the category of “Senior,” interest in plays that address personal and social issues around cognitive decline as a potentially frightening and expensive experience, no two iterations of which are identical, have, understandably, burgeoned. This study shines a spotlight on eleven dementia plays that have been produced in the United States over the past century, and seeks, in the words of medical humanities scholar Anne Whitehead, to “open up, and to hold open, central ethical questions of responsiveness, interpretation, responsibility, complicity and care.”Â
'Theatre History Studies' is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre. THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text as well as SIRS From published reviews 'This established annual is a major contribution to the scholarly analysis and historical documentation of international drama. Refereed, immaculately printed and illustrated . . . . The subject coverage ranges from the London season of 1883 to the influence of David Belasco on Eugene O'Neill.' - CHOICE 'International in scope but with an emphasis on American, British, and Continental theater, this fine academic journal includes seven to nine scholarly articles dealing with everything from Filipino theater during the Japanese occupation to numerous articles on Shakespearean production to American children's theater. . . . an excellent addition for academic, university, and large public libraries.' - Magazines for Libraries, 6th Edition
From 1918’s Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005’s The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed “kitchen sink realism”to both support and contest the idea that the home is naturallywomen’s sphere. But there is more to the genre than even its supporterssuggest. In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women’s roles and the importance of their household laboracross lines of class and race in the twentieth century. The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen’s worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort—sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home.
When movies replaced theatre as popular entertainment in the years
1910-20, the world of live drama was wide open for reform. American
advocates and practitioners founded theatres in a spirit of
anticommercialism, seeking to develop an American audience for
serious theatre, mounting plays in what would today be called
"alternative spaces," and uniting for the cause an eclectic group
of professors, social workers, members of women's clubs, bohemians,
artists, students, and immigrants. This rebellion, called the
Little Theatre Movement, also prompted and promoted the college
theatre major, the inclusion of theatre pedagogy in K-12 education,
prototypes for the nonprofit model, and the notion that theatre is
a valuable form of self-expression.
|
![]() ![]() You may like...
Terminator 6: Dark Fate
Linda Hamilton, Arnold Schwarzenegger
Blu-ray disc
![]() R79 Discovery Miles 790
Miss Peregrine's Home for Peculiar…
Eva Green, Asa Butterfield, …
Blu-ray disc
![]() R38 Discovery Miles 380
|