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Journal Cover Theatre Notebook
  [3 followers]  Follow
    
   Full-text available via subscription Subscription journal
   ISSN (Print) 0040-5523 - ISSN (Online) 2051-8358
   Published by Project MUSE Homepage  [295 journals]
  • Barabas’s Fall
    • Abstract: Early modern play-texts present numerous puzzles for scholars interested in ascertaining how plays were (or may have been) staged. The principal evidence of course for a notional “reconstruction” of practices is the apparatus of stage directions, augmented by indications in the dialogue. In conjunction a joining-of-the-dots is often possible, at least in broad-brush terms. But as is well known, the problem is that stage directions tend to be incomplete, imprecise, inaccurate – or missing altogether; more significantly, even when present they offer only slight and indirect evidence of actual stagecraft. Some stage directions are rather more “literary” than “theatrical” in provenance, and in any case to the extent ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • Shelley’s Unsung Muse: Eliza O’Neill and the Inspiration
           Behind The Cenci
    • Abstract: Scholars have long known that the nineteenth-century actress Eliza O’Neill was a significant factor in Percy Shelley’s decision to compose his 1819 tragedy The Cenci as a performable, stage-worthy drama. Shelley’s previous attempt at writing a play, Prometheus Unbound, was a closet drama that defied any attempt at staging. Within months after composing the bulk of that piece, however, Shelley had penned a completely different work.1 Unlike Prometheus Unbound, The Cenci has been acted with great success on numerous occasions. It has attracted theatre artists as diverse as Aurélien Lugné-Poë, Karel Capek, and Antonin Artaud (Curran 277). What scholars have been slow to recognize is exactly how performances by a ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • Henry Marshall’s Gag Book: Pantomime Routines for Actors in Twentieth
           Century Repertory Theatre
    • Abstract: Partridge in a Pear Tree parody. Row of comics and others behind washing machines. The first day of Christmas my true love sent to me etc. The first day of Christmas I saw on TV … so many washing machines, so many drip drip shirts (Dame washing them) two rubber gloves, and a clock that makes the tea. Include one packet of Daz. Each are produced as mentioned. Eventually porter comes on with trolley of packets. (Get actual number to write parody from)Sevenoaks’s version of the ‘12 Days of Christmas’ which used Chinese takeaway menu items instead of the now usual ‘bra that was made to hold three’ and ‘five toilet rolls’, was also a welcome deviation …The first extract above is from a gag book started in the early ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • Terence Rees
    • Abstract: It is with great personal sadness that I sit down to pen these lines about my dear old friend Terence Rees who passed away on 15th September 2014 at the age of 86. Terence Albert Ladd Rees was born in Barry in the Vale of Glamorgan and was educated at the Universities of Cardiff and London. When I first met him in the late 1970s he was researching and lecturing at the Institute of Laryngology and Otology at University College, London. At that time he was living in Clapham providing him with ample opportunity to research and write about his love for all things associated with nineteenth century theatre and in particular his fascination for the work of W.S. Gilbert and Arthur Sullivan. Terence was one of the first ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • Katharine Worth
    • Abstract: Katharine Worth, who died on 28 January 2015, was a key member of the editorial team of Theatre Notebook from 1987 to 1997, ten years during which editors and contributors alike benefitted from her astute critical and scholarly gifts, her love of the theatre and her generous, collegial support. (She was made an honorary Life Member of the Society for Theatre Research in 1997.) Her service on other editorial boards – the Yeats Annual, and Modern Drama reflected the range of her engagement with theatre and drama, and her work on Irish drama – in particular Wilde, Yeats and Beckett – had international significance, reorienting and enriching the field.Her long career in London’s institutions of Higher Education began ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • The Theatre of David Greig by Clare Wallace (review)
    • Abstract: “Scholarship on Greig’s work shows signs of healthy development since the 2000s” (14), writes Clare Wallace in the introduction to this monograph, the first comprehensive study of one of the most original, influential and productive contemporary playwrights. Wallace herself should take credit for redressing the critical invisibility David Greig suffered in the first part of his career, which began in the early 1990s but, as she observes, was probably obscured by the pervasiveness of the In-Yer-Face label. Wallace devoted a chapter to Greig in her 2006 book Suspect Cultures: Narrative, Identity and Citation in 1990s New Drama (whose title playfully quotes the name of the theatre company he founded with Graham ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • A Jacobean Company and its Playhouse: The Queen’s Servants at the Red
           Bull Theatre (c.1605-1619) by Eva Griffith (review)
    • Abstract: Recent years have seen growing interest in the study of early modern acting companies, inspired by the publication of works such as Scott McMillin and Sally-Beth MacLean’s The Queen’s Men and their Plays (1998). Eva Griffith’s new book is an important contribution to this new wave of theatre history. In its own words, it “fills a major gap concerning the world of Shakespearean drama” by telling the story of Queen Anna’s [sic] players (1603-1619), including chapters on the background of the troupe, its major theatre, the Red Bull, and the troupe’s connections with Queen Anna’s court circle. Despite the troupe’s importance in its own day, its history has received comparatively little scholarly attention. As Griffith ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • Mapping Irish Theatre: Theories of Space and Place by Chris Morash and
           Shaun Richards (review)
    • Abstract: Mapping Irish Theatre makes an exciting case for the primacy of an understanding of the roles of space and place in the evolution of Irish theatre from the nineteenth century up to the present. Morash and Richards open with an acknowledgement of the French structuralist tenor of most of the theories of space they use as a basis for their own project. Henri Lefebvre, Michel Foucault, Pierre Nora, Anne Ubersfeld and Yi-Fu Tuan provide the conceptual tools used throughout to analyse the social, political and cultural significations of the spatial in relation to theatre. Sketching the twentieth-century genealogy of practitioners attentive to theatre as space ranging from Peter Brook in the 1960s back to Alfred Jarry’s ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • The Lively Arts of the London Stage, 1675-1725 ed. by Kathryn Lowerre
           (review)
    • Abstract: Not unlike Kathryn Lowerre’s acclaimed monograph Music and Musicians on the London Stage, 1695-1705 (2009) which charts the use of music in London theatres from the death of Henry Purcell in 1695, this edited collection of essays focuses on a “cross-section of performance history” (1) of the London stage from 1675 to 1723. Lowerre’s unorthodox timeline stems from the often-overlooked fact that theatregoers during this period could choose between an opening night of a play by John Dryden or John Gay, or the first masque by Henry Purcell, or an opera by George Frideric Handel. The volume’s emphasis on “intersection” or “cross-section” can also be observed by the choice of essays which would ordinarily be found ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • The Theatre of Sean O’Casey by James Moran (review)
    • Abstract: The Theatre of Sen O’Casey by James Moran is a comprehensive and refreshing consideration of O’Casey’s drama. Moran’s carefully researched text has avoided the pitfalls of a number of critical works, and a proliferation of websites, which have recycled myths about O’Casey’s life and contribution to Irish drama. Moran provides a sound starting point for the student or general reader to pursue an understanding of O’Casey’s work and the complexities of the background of Irish politics and society in a turbulent and revolutionary period where literature and theatre played a central part in expressing and changing a sense of Irish national identity.The organisation of the text begins with a clear reading of O’Casey’s ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
  • The Sarah Siddons Audio Files: Romanticism and the Lost Voice by Judith
           Pascoe (review)
    • Abstract: Judith Pascoe pursues the alluring voice that was the prime attraction of actress Sarah Siddons with imaginative dedication, intending to discover how the actress sounded and also what it was like to listen to her in the pre-audio recording era. Is this what is meant by an “audio file”? (The term is never directly explained.) To compile it, Pascoe enrols in a “Voices for Actors” class in order to better appreciate vocal technique and commentary thereon. She also engages in numerous other fields of enquiry. These include theatre aesthetics; by the end of her career a new generation of more demonstrative actors over-shadowed the once preeminent Siddons. Pascoe also considers theatre acoustics (theatre capacity ... Read More
      PubDate: 2016-04-12T00:00:00-05:00
       
 
 
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