Theatre  (tagged articles)

Come, Sir Boy: Subverting Masculinity Through Cross-Gender Performance

Rachel Chung - I was the wounded soldier in the opening scene of Macbeth, lying spread-eagled on the stage, flaunting my unsightly gashes. I closed my legs self-consciously. Even portraying a hyper-masculine character, I found myself subject to the parameters of feminine performance... Keep Reading »

Intersections of Gender, Race and Nation in Cloud Nine and M. Butterfly

Miriam Cummins - This article contributes to the debate as to whether Cloud Nine by Caryl Churchill and M. Butterfly by David Henry Hwang are ultimately essentialist or anti-essentialist, accentuating or disavowing difference. It argues that both plays are successfully anti-essentialist... Keep Reading »

The Process of Unity in Virginia Woolf's Between the Acts

Hayley E. Tartell - In Virginia Woolf’s Between the Acts, Woolf raises the theme of a progression toward social unification. Through her analysis of repetition, milieu, and the audience’s shared state of distractedness, Woolf enriches her text by emphasizing process rather... Keep Reading »

"All the World's a Stage": Shakespeare's Theatrum Mundi of Romance

Jeremy S. Page - The idea of the Theatrum Mundi (literally the world stage) is an apt metaphor for Shakespeare’s world-view. In many of his plays, characters are shunted about the stage (of the Globe theatre) by external forces, unable to exert control over their own lives. There... Keep Reading »

Nora as a Doll in Henrik Ibsen's A Doll's House

Michael C. Wiseman - In Henrik Ibsen's A Doll's House, Nora Helmer spends most of her on-stage time as a doll: a vapid, passive character with little personality of her own. Her whole life is a construct of societal norms and the expectations of others. Until she comes to the realization... Keep Reading »
 
 

The keyword Theatre is tagged in the following 9 articles.

Gender Roles
2017, Vol. 9 No. 11
Come, Sir Boy: Subverting Masculinity Through Cross-Gender Performance
By Rachel Chung
I was the wounded soldier in the opening scene of Macbeth, lying spread-eagled on the stage, flaunting my unsightly gashes. I closed my legs self-consciously. Even portraying a hyper-masculine character, I found myself subject to the parameters... Read Article »
Gender Roles Feminism Theatre Shakespeare Cross-Gender Casting
Critical Theory
2016, Vol. 8 No. 10
Intersections of Gender, Race and Nation in Cloud Nine and M. Butterfly
By Miriam Cummins
This article contributes to the debate as to whether Cloud Nine by Caryl Churchill and M. Butterfly by David Henry Hwang are ultimately essentialist or anti-essentialist, accentuating or disavowing difference. It argues that both plays are successfully... Read Article »
Gender Race Nationalism Theatre Orientalism Cultural Identity Feminism Edward Said
Virginia Woolf
2015, Vol. 7 No. 07
The Process of Unity in Virginia Woolf's Between the Acts
By Hayley E. Tartell
In Virginia Woolf’s Between the Acts, Woolf raises the theme of a progression toward social unification. Through her analysis of repetition, milieu, and the audience’s shared state of distractedness, Woolf enriches her text by emphasizing... Read Article »
Virginia Woolf Theatre Kant Audience Political Unity
Shakespeare
2010, Vol. 2 No. 12
"All the World's a Stage": Shakespeare's Theatrum Mundi of Romance
By Jeremy S. Page
The idea of the Theatrum Mundi (literally the world stage) is an apt metaphor for Shakespeare’s world-view. In many of his plays, characters are shunted about the stage (of the Globe Theatre) by external forces, unable to exert control over... Read Article »
Shakespeare Othello Romeo And Juliet Globe Theatre
Plautus
2010, Vol. 2 No. 04
The Rocky Horror Picture Show as the Inverted Plautine Comedy
By Cassandra A. Clarke
The first line of Plautus’ epitaph reads: “Postquam est mortem aptus Plautus, comoedia luget, scaena est deserta,” or roughly translated, “since Plautus is dead, comedy mourns, deserted is the stage” (Garrod, 531).&... Read Article »
Roman Comedy Theatre English Plautus Plautine Comedy History Of Comedy Latin Comedy The Rocky Horror Picture Show Trhps
Henrik Ibsen
2010, Vol. 2 No. 03
Nora as a Doll in Henrik Ibsen's A Doll's House
By Michael C. Wiseman
In Henrik Ibsen's A Doll's House, Nora Helmer spends most of her on-stage time as a doll: a vapid, passive character with little personality of her own. Her whole life is a construct of societal norms and the expectations of others. Until she comes... Read Article »
Henrik Ibsen A Doll's House Norwegian Literature Theatre Playwrights
Shakespeare
2010, Vol. 2 No. 02
Michael Cassio as a Foil to Shakespeare's Othello
By Veronika Walker
Theodore Spencer wrote of Shakespeare's Othello, “In presenting the character of Othello to his audience, Shakespeare emphasizes very strongly his grandeur, self-control, and nobility” (Spencer 127-28). This observation demonstrates... Read Article »
Shakespeare Othello Cassio Iago Literary Elements Theatre Plays Drama Foil Characters Foil
Peter Brook
2009, Vol. 1 No. 12
The Development of Theatre: Peter Brook and the Human Connection
By Sawyer A. Theriault
An actor is on stage. He begins to speak, and as he does so the hearts of the audience wrench. The actor is pronouncing his love to a woman through song; or he is swearing revenge against the man who killed his father; or he is staring at the back... Read Article »
Peter Brook Brook Theatre Theater Antonin Artaud Theater Of Cruelty The Empty Space Empty Space Human Connection Aronson
Shakespeare
2009, Vol. 1 No. 10
"Allows itself to anything:" Poor Tom Familiarizing and Enacting Chaos in King Lear
By Leslie S. Lee
In Shakespeare’s King Lear, Poor Tom—a figure of madness, poverty, and linguistic play—acts as the personification of the semi-apocalyptic state into which the social world of the play descends. Edgar first appears fully as Poor... Read Article »
Shakespeare King Lear Poor Tom Theatre Character Development Madness

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