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DIVHow theatrical representations of the U.S. have shaped national identity /div
This book investigates the translation field as a hybrid space for the competing claims between the colonisers and the colonised. By tracing the process of the importation and appropriation of Irish drama in colonial Korea, this study shows how the intervention of the competing agents – both the colonisers and the colonised – formulates the strategies of representation or empowerment in the rival claims of the translation field. This exploration will be of great interest to students and scholars of theatre and performance studies, translation studies, and Asian studies.
Nationalism and Youth in Theatre and Performance explores how children and young people fit into national political theatre and, moreover, how youth enact interrogative, patriotic, and/or antagonistic performances as they develop their own relationship with nationhood. Children are often seen as excluded from public discourse or political action. However, this idea of exclusion is false both because adults place children at the center of political debates (with the rhetoric of future generations) and because children actively insert themselves into public discourse. Whether performing a national anthem for visiting heads of state, creating a school play about a country’s birth, or marching in protest of a change in public policy, young people use theatre and performance as a means of publicly staking a claim in national politics, directly engaging with ideas of nationalism around the world. This collection explores the issues of how children fit into national discourse on international stages. The authors focus on national performances by/for/with youth and examine a wide range of performances from across the globe, from parades and protests to devised and traditional theatre. Nationalism and Youth in Theatre and Performance rethinks how national performance is defined and offers previously unexplored historical and theoretical discussions of political youth performance.
In 1928, Hilton Edwards and Micheál mac Liammóir founded the Dublin Gate Theatre, which quickly became renowned for producing stylistically and dramaturgically innovative plays in a uniquely avant-garde setting. While the Gate’s lasting importance to the history of Irish theater is generally its introduction of experimental foreign drama to Ireland, Van den Beuken shines a light on the Gate’s productions of several new Irish playwrights, such as Denis Johnston, Mary Manning, David Sears, Robert Collis, and their patrons Edward and Christine Longford. Having grown up during an era of political turmoil and bloodshed that included the creation of an independent yet—in many ways—bitterly divided Ireland, these dramatists chose to align themselves with an avant-garde theater that explicitly sought to establish Dublin as a modern European capital. In examining an extensive corpus of archival resources, Van den Beuken reveals how the Gate Theatre became a site of avant-garde nationalism in the Ireland’s tumultuous first post-independence decades.
Chinese National Cinema, written for students by a leading scholar, traces the formation, negotiation and problematization of the national on the Chinese screen over ninety years.
This major new study presents a political and cultural history of some of Ireland's key national theatre projects from the 1890s to the 1990s. Impressively wide-ranging in coverage, Theatre and the State in Twentieth-Century Ireland: Cultivating the People includes discussions on: *the politics of the Irish literary movement at the Abbey Theatre before and after political independence; *the role of a state-sponsored theatre for the post-1922 unionist government in Northern Ireland; *the convulsive effects of the Northern Ireland conflict on Irish theatre. Lionel Pilkington draws on a combination of archival research and critical readings of individual plays, covering works by J. M. Synge, Sean O'Casey, Lennox Robinson, T. C. Murray, George Shiels, Brian Friel, and Frank McGuinness. In its insistence on the details of history, this is a book important to anyone interested in Irish culture and politics in the twentieth century.
Bringing together political theory and literary works, this study recreates the political climate which made the 1960s an unforgettable era for young black Americans. A chapter on "The Many Shades of Black Nationalism," for instance, explains: why black nationalism is known by more than a dozen different names; how events in Africa influenced black nationalism in America; why Malcolm X's death had a greater impact on nationalism than did his life; and how the United States government unwittingly became nationalism's ally. Another chapter explores the bitter feud between the dominant factions of the 1960s-cultural and revolutionary nationalists. This feud erupted in both verbal and armed warfare and generated an abundance of political theory and literary works, much of which is out of circulation but is examined in the study. Nationalist poetry, theater, and fiction are each treated in separate chapters which exemplify the aesthetic and political concerns of this memorable period in American history and letters. Aside from its unique combination of artistic and political works, what makes this book important is the current revival of nationalist sentiment in African American life and arts. Though this revival is closely identified with the nationalism of the 1960s, it lacks the focus of that period. This study explains what gave the nationalism of the 1960s its focus, how that focus was expressed in art forms, and why 1960s nationalism continues to influence the African American identity and will probably do so well into the twenty-first century.
This book argues that US theatre in the 20th century embraced the theories and practices of internationalism as a way to realize a better world and as part of the strategic reform of the theatre into a national expression. Live performance, theatre internationalists argued, could represent and reflect the nation like no other endeavour.
In 1928, Hilton Edwards and Micheál mac Liammóir founded the Dublin Gate Theatre, which quickly became renowned for producing stylistically and dramaturgically innovative plays in a uniquely avant-garde setting. While the Gate’s lasting importance to the history of Irish theater is generally attributed to its introduction of experimental foreign drama to Ireland, Van den Beuken shines a light on the Gate’s productions of several new Irish playwrights, such as Denis Johnston, Mary Manning, David Sears, Robert Collis, and Edward and Christine Longford. Having grown up during an era of political turmoil and bloodshed that led to the creation of an independent yet in many ways bitterly divided Ireland, these dramatists chose to align themselves with an avant-garde theater that explicitly sought to establish Dublin as a modern European capital. In examining an extensive corpus of archival resources, Van den Beuken reveals how the Gate Theatre became a site of avant-garde nationalism during Ireland’s tumultuous first post-independence decades.
From its earliest appearance in the mid-1600s, the lyric theater form of zarzuela captivated Spanish audiences with its witty writing and lively musical scores. Clinton D. Young’s Music Theater and Popular Nationalism in Spain, 1880–1930 persuasively links zarzuela’s celebration of Spanish history and culture to the development of concepts of nationalism and national identity at the dawn of the twentieth century. As a weak Spanish government focused its energy on preventing a recurrence of mid-nineteenth-century political upheavals, the project of articulating a national identity occurred at the popular level, particularly in cultural venues such as the theater. Zarzuela suited this aim well, depicting the lives of everyday citizens amid the rapidly changing norms brought about by industrialization and urbanization. It also integrated regional differences into a unified vision of Spanish national identity: a zarzuela performance set in Madrid could incorporate forms of music and folk dancing native to areas of the country as far distant as Andalucía and Catalonia. A true “music of the people” (música popular), zarzuela offered its audiences an image of what a more modern Spain might look like. Zarzuela alone could not create a unified concept of Spanish identity, particularly with competition from new forms of mass culture and the rise of the Primo de Rivera dictatorship in the 1920s. Yet, as this riveting study shows, it made an indelible contribution to popular culture and nationalism. Young’s history brings to life the stories, songs, and evolving contexts of a uniquely Spanish art form.