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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.
"Composing Ourselves: The Little Theatre Movement and the American
Audience" argues that the movement was a national phenomenon, not
just the result of aspirants copying the efforts of the
much-storied Provincetown Players, Washington Square Players,
Neighborhood Playhouse, and Chicago Little Theatre. Going beyond
the familiar histories of the best-known groups, Dorothy Chansky
traces the origins of both the ideas and the infrastructures for
serious theatre that are ordinary parts of the American cultural
landscape today; she also investigates the gender discrimination,
racism, and class insensitivity that were embedded in reformers'
ideas of the "universal" and that still trouble the rhetoric of
regional, educational, and community theatre.
An important piece of revisionist history, "Composing Ourselves
"shows how theatre reform, in keeping with other Progressive Era
activism, took on corporate, conservative society, but did so
inways that were sometimes contradictory. For example, women
constituted the majority of ticket buyers and the bulk of unsung
labor, yet plays by women were considered inferior. Most reformers
were comfortably middle class and sought change that would
eliminate the anomie of modernity but not challenge their
privileged positions.
Chansky deliberates on antifeminist images of women theatergoers in
literature and cartoons and considers the achievements and failures
of the Drama League of America, a network of women's clubs,
following up with a case study of the playwright Alice Gerstenberg
to point out that theatre history has not fully realized the role
of women in the Little Theatre Movement. Even as women were earning
the majority of degrees in newly minted theatre programs, their
paths were barred to most professional work except teaching.
Chansky also considers a blackface production of a play about rural
African Americans, which was a step towards sympathetic portrayals
of minority characters yet still a reinforcement of white upper-
and middle-class perspectives.
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