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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.
To mark the thirtieth anniversary of the Theatre History Studies journal, editor Rhona Justice-Malloy and the Mid-America Theatre Conference have collected a special-themed volume covering the past and present of African and African American theatre. Topics included range from modern theatrical trends and challenges in Zimbabwe and Kenya, and examining the history and long-range impact of Paul Robeson’s groundbreaking and troubled life and career, to gender issues in the work of Ghanaian playwright Efo Kodjo Mawugbe, and the ways that 19th-century American blackness was defined through Othello and Desdemona. This collection fills a vacancy in academic writing. Readers will enjoy it; academics can incorporate it into their curriculum; and students will find it helpful and illuminating.
Theatre History Studies (THS) is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference THEATRE HISTORY STUDIES, VOLUME 37 STEFAN AQUILINA Meyerhold and The Revolution: A Reading through Henri Lefebvre’s Theories on “Everyday Life” VIVIAN APPLER “Shuffled Together under the Name of a Farce”: Finding Nature in Aphra Behn’s The Emperor of the Moon KRISTI GOOD Kate Soffel’s Life of Crime: A Gendered Journey from Warden’s Wife to Criminal Actress PETER A. CAMPBELL Staging Ajax’s Suicide: A Historiography BRIAN E. G. COOK Rousing Experiences: Theatre, Politics, and Change MEGAN LEWIS Until You See the Whites of Their Eyes: Brett Bailey’s Exhibit B and the Consequences of Staging the Colonial Gaze PATRICIA GABORIK Taking the Theatre to the People: Performance Sponsorship and Regulation in Mussolini’s Italy ILINCA TODORUT AND ANTHONY SORGE To Image and to Imagine: Walid Raad, Rabih Mouré, and the Arab Spring SHULAMITH LEV-ALADGEM Where Has the Political Theatre in Israel Gone? Rethinking the Concept of Political Theatre Today CHRISTINE WOODWORTH “Equal Rights By All Means!”: Beatrice Forbes-Robertson’s 1910 Suffrage Matinee and the Onstage Junction of the US And UK Franchise Movements LURANA DONNELS O’MALLEY “Why I Wrote the Phyllis Wheatley Pageant-Play”: Mary Church Terrell’s Bicentennial Activism JULIET GUZZETTA The Lasting Theatre of Dario Fo and Franca Rame ASHLEY E. LUCAS Chavez Ravine: Culture Clash and the Political Project of Rewriting History NOE MONTEZ The Heavy Lifting: Resisting the Obama Presidency’s Neoliberalist Conceptions of the American Dream in Kristoffer Diaz’s The Elaborate Entrance of Chad Deity
A detailed guide to the collaborative method developed by the acclaimed creators of The Laramie Project and Gross Indecency--destined to become a classic. A Vintage Original. By Moisés Kaufman and Barbara Pitts McAdams with Leigh Fondakowski, Andy Paris, Greg Pierotti, Kelli Simpkins, Jimmy Maize, and Scott Barrow. For more than two decades, the members of Tectonic Theater Project have been rigorously experimenting with the process of theatrical creation. Here they set forth a detailed manual of their devising method and a thorough chronicle of how they wrote some of their best-known works. This book is for all theater artists—actors, writers, designers, and directors—who wish to create work that embraces the unbridled potential of the stage.
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 purpose of MATC is to unite people and organizations in their region with an interest in theatre and to promote the growth and development of all forms of theatre.
Rosemarie K. Bank and Michal Kobialka, eds., Theatre/Performance Historiography: Time, Space, Matter / Reviewed by Danny Devlin
A peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference Introduction —LISA JACKSON-SCHEBETTA, WITH ODAI JOHNSON, CHRYSTYNA DAIL, AND JONATHAN SHANDELL PART I STUDIES IN THEATRE HISTORY Un-Reading Voltaire: The Ghost in the Cupboard of the House of Reason —ODAI JOHNSON Caricatured, Marginalized, and Erased: African American Artists and Philadelphia’s Negro Unit of the FTP, 1936–1939 —JONATHAN SHANDELL Stop Your Sobbing: White Fragility, Slippery Empathy, and Historical Consciousness in Branden Jacobs-Jenkins’s Appropriate —SCOTT PROUDFIT Asia and Alwin Nikolais: Interdisciplinarity, Orientalist Tendencies, and Midcentury American Dance —ANGELA K. AHLGREN PART II WITCH CHARACTERS AND WITCHY PERFORMANCE Editor’s Introduction to the Special Section Shifting Shapes: Witch Characters and Witchy Performances —CHRYSTYNA DAIL To Wright the Witch: The Case of Joanna Baillie’s Witchcraft —JANE BARNETTE Nothing Wicked This Way Comes: Shakespeare’s Subversion of Archetypal Witches in The Winter’s Tale —JESSICA HOLT Of Women and Witches: Performing the Female Body in Caryl Churchill’s Vinegar Tom —MAMATA SENGUPTA (Un)Limited: The Influence of Mentorship and Father-Daughter Relationships on Elphaba’s Heroine Journey in Wicked —REBECCA K. HAMMONDS Immersive Witches: New York City under the Spell of Sleep No More and Then She Fell —DAVID BISAHA PART III Essay from the Conference The Robert A. Schanke Award-Winning Essay, MATC 2020 New Conventions for a New Generation: High School Musicals and Broadway in the 2010s —LINDSEY MANTOAN
Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds. Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays. The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe. Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.