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Despite a shared history and many common present practices, the relationship between theatre and film often remains uncertain. Does a close study of film enrich an understanding of drama on the stage? What ongoing connections do theatre and film maintain, and what elements do they borrow from each other? Does the relative popularity and accessibility of film lead to an increased scholarly defensiveness about qualities exclusive to theatrical performances? Do theatre and film demand two different kinds of attention from spectators, or do audiences tend to experience both in the same ways? The essays in “Theatre Symposium: Volume 19” present this dynamic coexistence of theatre and film, and examine the nature of their mutual influence on each other. Bruce McConachie, in his contribution to the collection, “Theatre and Film in Evolutionary Perspective,” argues that the cognitive functions used to interpret either media arise from the same evolutionary foundation, and that therefore the viewing experiences of theatre and film are closely linked to each other. In “Robert Edmond Jones: Theatre and Motion Pictures, Bridging Reality and Dreams,” Anthony Hostetter and Elisabeth Hostetter consider Jones’ influential vision of a “theater of the future,” in which traditional stage performances incorporate mediated video material into stage productions. Becky Becker’s “Nollywood: Film and Home Video, of the Death of Nigerian Theatre,” by focusing on the current conversation in Nigeria, discusses the anxiety generated by a film and video industry burgeoning into and displacing theatre culture These and the six other essays in “Theatre Symposium: Volume 19” shed light on the current state of affairs—the collaborations and the tensions—between two distinctly individual yet inextricably related artistic media.
Stage properties are an often-ignored aspect of theatrical productions, in part because their usage is meant to be seamlessly integrated into the performance instead of a focal point for the audience. The contributors illuminate many aspects of this largely ignored yet crucial part of the theatre.
A substantive exploration of theatrical costume Stage costumes reveal character. They tell audiences who the character is or how a character functions within the world of the play, among other things. Theatrical costuming, however, along with other forms of theatre design, has often been considered merely a craft, rather than part of the deeply systemic creation of meaning onstage. In what ways do our clothes shape and reveal our habits of behavior? How do stage costumes work to reveal one kind of habit via the manipulation of another? How might theatre practitioners learn to most effectively exploit this dynamic? Theatre Symposium, Volume 26 analyzes the ways in which meaning is conveyed through costuming for the stage and explores the underlying assumptions embedded in theatrical practice and costume production. THEATRE SYMPOSIUM, VOLUME 26 MICHELE MAJER Plus que Reine: The Napoleonic Revival in Belle Epoque Theatre and Fashion CAITLIN QUINN Creating a Realistic Rendering Pedagogy: The Fashion Illustration Problem ALY RENEE AMIDEI Where'd I Put My Character?: The Costume Character Body and Essential Costuming for the Ensemble Actor KYLA KAZUSCHYK Embracing the Chaos: Creating Costumes for Devised Work DAVID S. THOMPSON Dressing the Image: Costumes in Printed Theatrical Advertising LEAH LOWE Costuming the Audience: Gentility, Consumption, and the Lady’s Theatre Hat in Gilded Age America JORGE SANDOVAL The RuPaul Effect: The Exploration of the Costuming Rituals of Drag Culture in Social Media and the Theatrical Performativity of the Male Body in the Ambit of the Everyday GREGORY S. CARR A Brand New Day on Broadway: The Genius of Geoffrey Holder’s Artistry and His Intentional Evocation of the African Diaspora ANDREW GIBB On the [Historical] Sublime: J. R. Planché’s King John and the Romantic Ideal of the Past
The essays gathered together in Volume 15 of the annual journal Theatre Symposium investigate how, historically, the theatre has been perceived both as a source of moral anxiety and as an instrument of moral and social reform. Essays consider, among other subjects, ethnographic depictions of the savage “other” in Buffalo Bill’s engagement at the Columbian Exposition of 1893; the so-called “Moral Reform Melodrama” in the nineteenth century; charity theatricals and the ways they negotiated standards of middle-class respectability; the figure of the courtesan as a barometer of late nineteenth and early twentieth-century moral and sexual discourse; Aphra Behn’s subversion of Restoration patriarchal sexual norms in The Feigned Courtesans; and the controversy surrounding one production of Tony Kushner Angels in America, during which officials at one of the nation’s more prominent liberal arts colleges attempted to censor the production, a chilling reminder that academic and artistic freedom cannot be taken for granted in today’s polarized moral and political atmosphere.
Papers solicited from the presenters for the cancelled 2020 Southeastern Theatre Conference.
This ground breaking collection of essays is the first to examine the phenomenon of how, in the twenty-first century, Shakespeare has been experienced as a 'live' or 'as-live' theatre broadcast by audiences around the world. Shakespeare and the 'Live' Theatre Broadcast Experience explores the precursors of this phenomenon and its role in Shakespeare's continuing globalization. It considers some of the most important companies that have produced such broadcasts since 2009, including NT Live, Globe on Screen, RSC Live from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh Theatre Company Live, and Cheek by Jowl, and examines the impact these broadcasts have had on branding, ideology, style and access to Shakespeare for international audiences. Contributors from around the world reflect on how broadcasts impact on actors' performances, changing viewing practices, local and international Shakespearean fan cultures and the use of social media by audience members for whom “liveness” is increasingly tied up in the experience economy. The book tackles vexing questions regarding the 'presentness' and 'liveness' of performance in the 21st century, the reception of Shakespeare in a globally-connected environment, the challenges of sustaining an audience for stage Shakespeare, and the ideological implications of consuming theatre on screen. It will be crucial reading for scholars of the 'live' theatre broadcast, and enormously helpful for scholars of Shakespeare on screen and in performance more broadly.
Illustrates how theatre's engagement with politics changes over time
The eleven original essays in Volume 22 of Theatre Symposium examine facets of the historical and current business of theatre.
A new issue of the longstanding theatre journal, documenting conversations that traverse disciplinary boundaries The essays in the thirty-first volume of Theatre Symposium traverse disciplinary boundaries to explore what constitutes the "popular" in theater and performance in an increasingly frenetic and mediated landscape. Amid the current resurgence of populist discourse and the enduring impact of popular culture, this volume explores what is considered popular, how that determination gets made, and who makes it. The answers to these questions shape the structures and systems of performance in an interaction that is reciprocal, intricate, and multifaceted. Productions often succeed or fail based on their ability to align with what is popular--sometimes productively, sometimes clumsily, sometimes brazenly, and sometimes tragically. In our current moment, what constitutes the popular profoundly affects the real world politically, economically, and socially. Controversies about the electoral college system hinge on the primacy of the "popular" vote. Streaming services daily update lists of their most popular content and base future decisions on opaque measures of popularity. Social media platforms broadcast popular content across the globe, triggering new products, social activism, and political revolutions. The contributors to this volume engage with a range of contemporary and historical examples and argue with clarity and acuity the interplay of performance and the popular. Theatre and performance deeply engage with the popular at every level--from audience response to box office revenue. The variety of methodologies and sites of inquiry showcased in this volume demonstrates the breadth and depth of the popular and the importance of such work to understanding our present moment onstage and off. CONTRIBUTORS Mysia Anderson / Chase Bringardner / Elizabeth M. Cizmar / Chelsea Curto / Janet M. Davis / Tom Fish / Kyla Kazuschyk / Sarah McCarroll / Eleanor Owicki / Sunny Stalter-Pace / Chelsea Taylor / Chris Woodworth
Addresses the ways that theatre both shapes cross-cultural dialogue and is itself, in turn, shaped by those forces. Globalization may strike many as a phenomenon of our own historical moment, but it is truly as old as civilization: we need only look to the ancient Silk Road linking the Far East to the Mediterranean in order to find some of the earliest recorded impacts of people and goods crossing borders. Yet, in the current cultural moment, tensions are high due to increased migration, economic unpredictability, complicated acts of local and global terror, and heightened political divisions all over the world. Thus globalization seems new and a threat to our ways of life, to our nations, and to our cultures. In what ways have theatre practitioners, educators, and scholars worked to support cross-cultural dialogue historically? And in what ways might theatre embrace the complexities and contradictions inherent in any meaningful exchange? The essays in Theatre Symposium, Volume 25 reflect on these questions. Featured in Theatre Symposium, Volume 25 “Theatre as Cultural Exchange: Stages and Studios of Learning” by Anita Gonzalez “Certain Kinds of Dances Used among Them: An Initial Inquiry into Colonial Spanish Encounters with the Areytos of the Taíno in Puerto Rico” by E. Bert Wallace “Gertrude Hoffmann’s Lawful Piracy: ‘A Vision of Salome’ and the Russian Season as Transatlantic Production Impersonations” by Sunny Stalter-Pace “Greasing the Global: Princess Lotus Blossom and the Fabrication of the ‘Orient’ to Pitch Products in the American Medicine Show” by Chase Bringardner “Dismembering Tennessee Williams: The Global Context of Lee Breuer’s A Streetcar Named Desire” by Daniel Ciba “Transformative Cross-Cultural Dialogue in Prague: Americans Creating Czech History Plays” by Karen Berman “Finding Common Ground: Lessac Training across Cultures” by Erica Tobolski and Deborah A. Kinghorn