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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  [358 journals]   [SJR: 0.101]   [H-I: 2]
  • Book Reviews
    • Abstract: <p>By Amelia Howe Kritzer</p> The work of theatre scholars, at its best, synthesizes views about a particular work or group of works, presenting a sense of the conversations that have developed around it subsequent to its initial reception. Five recent volumes provide a welcome addition to the studies focusing on contemporary drama, attempting to bridge the inherent contradiction between the comprehensive overview and the detailed study. While none fully encompasses the era or area of theatre it seeks to define, each book creates a significant context and gives access to valuable viewpoints. Taken together, they provide a broad historical introduction to the rich field of drama produced in Britain since 1970.The three volumes that take a ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.3.kritzer.html">Read More</a>
      Keywords: English drama
      PubDate: 2013-11-27T00:00:00-05:00
       
  • “A Triumph for Matcham’s Sound Theatre Design”: The
           Grand Opera House and the Staging of Opera in Belfast, 1945-81
    • Abstract: <p>By Ciaran Kennedy</p> Belfast’s Grand Opera House (GOH) opened in 1895 and played a key role in the cultural life of the city throughout the twentieth century and up to the present day. The theatre provides a venue that can host visiting opera, ballet and drama companies, as well as various local ventures such as the Grand Opera Society of Northern Ireland (GOSNI) and Ulster Operatic’s light-opera productions.1Victorian architect Frank Matcham (1854-1920), who was responsible for some 150 theatres in the United Kingdom, designed the GOH, which today is rightly regarded as one of his finest theatres (Walker x. See Fig. 1). Just two of Matcham’s theatres were built in Ireland however: the GOH in Belfast and Dublin’s Theatre Royal, which ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.3.kennedy.html">Read More</a>
      Keywords: Grand Opera House (Belfast, Northern Ireland)
      PubDate: 2013-11-27T00:00:00-05:00
       
  • The Earliest Nuremberg Playbill
    • Abstract: <p>By June Schlueter</p> “… either there is an error in the dating on the playbill … or it is a fake”.Such was the judgment of R.A. Foakes, who, in describing seventeenth-century theatrical activities at the Nuremberg fencing-house, identifies the problem of a surviving advertisement for Die Liebes Süssigkeit verändert sich in Todes Bitterkeit (Love’s Sweetness Turned To Death’s Bitterness) (350n48). In 1863, when Austrian Franz Eduard Hysel published his account of the Nuremberg theatre from 1612 to 1863, he included a facsimile, stating that the playbill, dated Wednesday, the 21st of April, was probably from 1628 (29). That date became an established part of theatre history when Albert Cohn, in English Actors in Germany in the Sixteenth ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.3.schlueter.html">Read More</a>
      Keywords: Playbills
      PubDate: 2013-11-27T00:00:00-05:00
       
  • Shylock and the Use of Stage Doors
    • Abstract: <p>By Mariko Ichikawa</p> Given the source material, there was no possibility that Shylock could have functioned in The Merchant of Venice other than as the villain. 1 Although the impression of villainy is mainly the result of his actions, it is reinforced by the language of the play, both that used by him and that used about him. More than this, however, I want to argue here that the theatrical space in which the play was first performed made its own contribution, even if subliminally, to the audience’s negative response to him. In particular, I hope to show that his status as villain is reinforced not just by the play’s imagery but by the way that some of that imagery is made visible and given a greater intensity through the actual ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.3.ichikawa.html">Read More</a>
      Keywords: Shakespeare, William, 1564-1616
      PubDate: 2013-11-27T00:00:00-05:00
       
  • A Whiff of Lavender: The Theatre Ghost and the Redevelopment of the
           Bristol Old Vic
    • Abstract: <p>By Catherine Hindson</p> 1819: Mr Mcready most respectfully acquaints the ladies and gentlemen of Bristol, and its vicinity, that during the vacation every possible exertion has been made to complete the decorations and embellishments of this theatre, in a style worthy the inhabitants of a city second only to the metropolis of the nation.2011: In March 2011, we started work on a £19.26 million redevelopment project – a scheme that has been promised to the city for almost 20 years. By 2016, when the redevelopment is completed … we will have created a landmark building for Bristol that will welcome audiences from across the country.Considering its rich and often troubled histories of religious settlement, shipping industry, slavery and ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.3.hindson.html">Read More</a>
      Keywords: Theatre Royal (Bristol, England)
      PubDate: 2013-11-27T00:00:00-05:00
       
 
 
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