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Albert Wertheim - One of the best experts on this subject based on the ideXlab platform.
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Staging the War: American Drama and World War II
2004Co-Authors: Albert WertheimAbstract:Introduction 1. Getting Involved: American Drama on the Eve of World War II 2. The Drama of the War Years 3. The Dramatic Art of Uncle Sam: The Government, the Drama, and the War 4. Airing the War: World War II Radio Plays 5. The Aftermath Notes Bibliography Primary Texts Secondary Sources Index
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The Dramatic Art of Uncle Sam: The Government, Drama, and World War II
2004Co-Authors: Albert WertheimAbstract:On 14 June 1943, the reigning glitterati of the day--Eleanor Roosevelt, Mayor LaGuardia, the Duke and Duchess of Windsor--were at the 46'h Street Theatre in New York to witness the Broadway Production of five one-act plays written and enacted by enlisted men. The performance, called The Army Play by Play, was the remarkable product of the U.S. Army and the genius of famed producer John Golden. In his introduction to published version of the plays, Golden explains how, working with the Army Special Service Staff, he created the John Golden-Second Service Command One-Act Prize Play Contest, which garnered 115 original playscripts from American soldiers at Army camps around the nation (x-xii). (1) A selection committee that included Elmer Rice and Russei Crouse chose the five best scripts. Golden asserted that staging the plays "became my patriotic duty" (xii-xiii). The five scripts chosen were mounted and presented on Broadway to raise funds for the Soldiers and Sailors Club. The opening performance earned $100,000, and the plays were subsequently staged for President Roosevelt at Hyde Park. They officially opened on 2 August 1943 at the MArtin Beck Theatre in New York, where they ran for 40 performances; and later were produced at theatres and army bases around the country. One wonders what sort of instructions Crouse, Rice, and the others on the selection panel might have given about the desired criteria for choosing scripts. One also wonders about the 110 scripts not chosen. Their whereabouts are not known; and it would be illuminating to know what issues they raised. But the five surviving and published scripts that comprise The Army Play by Play were written and performed, for the most pArt, by first time playwrights and by inexperienced, non-professional actors all drawn from the military. The five one-acters of The Army Play by Play thus provide a unique glimpse of wArtime military life and the war effort as it is seen and dramatized by servicemen. In pArt, Golden's enthusiastic and somewhat magniloquent praise is apt. He writes: The plays that you are about to read are, in a sense, folk-plays, for they express with disarming simplicity, the sentiments, the expressions spoken, listened to and lived through by our boys in the service--gleaned from their experiences as characters pArticipating in the greatest drama the world has ever known. And so it is that these "little plays," born of this great Drama, tell the story, not of death, but of living calmly, alongside death, and laughing at it. (xiii). What is interesting about the five plays are the topics they cover and those they do not. Did the selection committee favor pArticular issues? Is there a reason the atrocities being committed in Europe and Asia were barely mentioned or that the cultural diversity among the troops arises often? We are not likely to know the answers to these questions. It is important to recognize that what we do have in The Army Play by Play is a government initiative to use drama in shaping both civilian and troop attitudes toward World War II and American involvement in that war. It is also important as well to value The Army Play by Play as five Dramatic Artifacts that register in fairly undiluted ways the feelings, issues, and points of view of not untalented enlisted men who were encouraged by the military to express themselves through playwriting and whose plays were subsequently performed by ordinary soldiers rather than professional actors. Filled as they are with personal and patriotic feelings of American soldiers, the plays were highly effective vehicles for boosting the morale of both military and civilian audiences because performances would seem to present truth unvarnished by any professional training or prior agendas by either playwrights or performers. Three of the five plays contained in The Army Play by Play center on barracks life. Where E'er We Go by Pfc. …
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The Dramatic Art of Athol Fugard: From South Africa to the World
2002Co-Authors: Albert WertheimAbstract:Introduction 1. Early Work and Early Themes 2. The Port Elizabeth Plays: The Voice with Which We Speak from the HeArt 3. 'Acting' Against ApArtheid 4. Dimetos: Fugard's First Problem Play 5. The Drama as Teaching and Learning: Trauerspiel, Tragedy, Hope and Race 6. The Other Problem Plays 7. Writing to Right: Scripting ApArtheid's Demise 8. Where Do We, Where Do I, Go from Here?: Performing a New South Africa Works Cited Index
William Daw - One of the best experts on this subject based on the ideXlab platform.
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LibGuides: Introduction to Dramatic Art: THEA 0810 - Oakland Campus: Home
2012Co-Authors: William DawAbstract:This guide is designed to support student research for Vivian Appler's Introduction to Dramatic Art class.
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LibGuides: Introduction to Dramatic Art: THEA 0810 - Oakland Campus: Scholarly Information
2012Co-Authors: William DawAbstract:This guide is designed to support student research for Vivian Appler's Introduction to Dramatic Art class.
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LibGuides: Introduction to Dramatic Art: THEA 0810 - Oakland Campus: Writing & Citing
2012Co-Authors: William DawAbstract:This guide is designed to support student research for Vivian Appler's Introduction to Dramatic Art class.
James A. Knapp - One of the best experts on this subject based on the ideXlab platform.
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Phenomenology and Images : Static and Transformative Images in Shakespeare's Dramatic Art
Criticism, 2012Co-Authors: James A. KnappAbstract:As early as 1794, Walter Whiter set out to explain how Shakespeare's im ages illuminate his plays by drawing on John Locke's then-novel theory of the association of ideas.1 Subsequent scholar, ranging from Edward Dowden and A. C. Bradley to Caroline Spurgeon, G. Wilson Knight, and Robert Heilman, stressed the importance of images to the formal, thematic, and affective power of Shakespeare's Dramatic Art.2 More recent scholarship has been no less concerned with the playwright s visual imagery, although scholars have increasingly focused on how Shakespeare's Art explores the character of early modern visuality and the visual culture of the early mod ern era more generally.3 In the brief space of this essay, I examine Shake speare's attention to the phenomenality of images: the way images are experienced perceptually and how they influence the perception of events. In keeping with the topic of this special issue on "Shakespeare and Phe nomenolosrv." mv nArticular aim is to show how ShakesDeare's attention to
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Static and Transformative Images in Shakespeare's Dramatic Art
Criticism, 2012Co-Authors: James A. KnappAbstract:Phenomenology and ImagesAs early as 1794, Walter Whiter set out to explain how Shakespeare's images illuminate his plays by drawing on John Locke's then-novel theory of the association of ideas.1 Subsequent scholar, ranging from Edward Dowden and A. C. Bradley to Caroline Spurgeon, G. Wilson Knight, and Robert Heilman, stressed the importance of images to the formal, thematic, and affective power of Shakespeare's Dramatic Art.2 More recent scholarship has been no less concerned with the playwright's visual imagery, although scholars have increasingly focused on how Shakespeare's Art explores the character of early modern visuality and the visual culture of the early modern era more generally.3 In the brief space of this essay, I examine Shakespeare's attention to the phenomenality of images: the way images are experienced perceptually and how they influence the perception of events. In keeping with the topic of this special issue on "Shakespeare and Phenomenology," my pArticular aim is to show how Shakespeare's attention to images as phenomena can be illuminated by reading the plays in dialogue with the work of modern phenomenologists such as Emmanuel Levinas, Maurice Merleau-Ponty, and Jean-Luc Marion.Phenomenology offers a pArticularly fruitful language through which to interrogate Shakespeare's attention to the complexity of our experience with images because images and visual perception are central to phenomenological inquiry. Examples of the key concepts in the work of Levinas, Merleau-Ponty, and Marion include, respectively, the face-to-face encounter, the chiasm (or intertwining of visible and invisible), and the icon as a saturated phenomenon.4 Though phenomenology extends to the whole arena of embodied experience and all the senses, the prevalence of such concepts in phenomenological thought points to the importance of vision and visibility to the tradition. The same can be said for Shakespeare, a literary Artist writing for a form - Dramatic theater - that is overtly visual. While acknowledging language as Shakespeare's medium, recent Shakespeare criticism has stressed that the visuality of the theater is central to its power.5 In what follows, I explore how phenomenology might illuminate our understanding of Shakespeare's images.ITo begin, consider Duke Theseus's musings on the relationship between apprehension and comprehension after hearing of the lovers' newfound concord in A Midsummer Night's Dream:I never may believe theseAntique fables, nor these fairy toys.Lovers and madmen have such seething brains,Such shaping fantasies, that apprehendMore than cool reason ever comprehends.Such tricks hath strong imagination,That if it would but apprehend some joy,It comprehends some bringer of that joy;Or in the night, imagining some fear,How easy is a bush supposed a bear!(5.1.2-6, 18-22)6Theseus offers this explanation in order to dismiss "strong imagination" in favor of "cool reason," the faculty capable of discerning truth from illusion. According to Theseus, the Athenian lovers' sudden and collective change of heArt after one night in the forest can only be a product of the "shaping fantasies" of "strong imagination." For comparison, he offers the example of the bear and bush, both things (potentially present, "given" to perception) and images (known by their shape or figure). As things perceived as visual images, bear and bush produce (and are produced by) different cognitive responses: one runs from a bear out of fear (knowing it to be dangerous) but not a bush (even if its outline resembles a bear's). Theseus reveals that the conditions for apprehension (perception), as well as for comprehension (understanding), obtain in the interaction between the entire sensible visual field and the pArticular observer's mind: an ostensibly present bush seen "in the night" is perceived as a presumably absent bear because the observer is "imagining some fear. …
Joseph M. Siry - One of the best experts on this subject based on the ideXlab platform.
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modern architecture for Dramatic Art frank lloyd wright s new theatre 1931 2009
Art Bulletin, 2014Co-Authors: Joseph M. SiryAbstract:AbstractFrom 1931 Frank Lloyd Wright developed what he termed the “New Theatre” as the rethinking of an ideal building for drama. Wright saw the theater as a culturally essential medium whose survival had been threatened by film. Like other modernist architects, Wright imagined removing the proscenium stage and shaping an amphitheater of seating around a projecting stage to convey the unity of performance and audience. While self-consciously modern in its form, his solution for an ideal theater, realized in Dallas as the Kalita Humphreys Theater in 1959, drew on cultural memories of historic theater architecture, including Greek and Elizabethan models.
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Modern Architecture for Dramatic Art: Frank Lloyd Wright's “New Theatre,” 1931–2009
The Art Bulletin, 2014Co-Authors: Joseph M. SiryAbstract:AbstractFrom 1931 Frank Lloyd Wright developed what he termed the “New Theatre” as the rethinking of an ideal building for drama. Wright saw the theater as a culturally essential medium whose survival had been threatened by film. Like other modernist architects, Wright imagined removing the proscenium stage and shaping an amphitheater of seating around a projecting stage to convey the unity of performance and audience. While self-consciously modern in its form, his solution for an ideal theater, realized in Dallas as the Kalita Humphreys Theater in 1959, drew on cultural memories of historic theater architecture, including Greek and Elizabethan models.
Chris Emlynjones - One of the best experts on this subject based on the ideXlab platform.
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poets on socrates stage plato s reception of Dramatic Art
2007Co-Authors: Chris EmlynjonesAbstract:There is an ambiguity at the heArt of Plato's attitude to Dramatic Art in Athens in the fifth and fourth centuries BCE: he strongly disapproves of it as not leading to knowledge and truth; yet at the same time he presents Socrates in his dialogues as dominating a Dramatically-imagined 'stage' in which his interlocutors interact with him. In founding his Academy on the periphery of Athens, Plato nevertheless wishes to displace the conventional theatre in the centre of Athens with his own, i.e to reverse the conventional polarity of periphery and centre.
