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  • 1
    Online Resource
    Online Resource
    〈i〉Misalliance〈/i〉: Sex, Socialism and the Collectivist Poet
    Project MUSE ; 1974
    In:  Modern Drama Vol. 17, No. 2 ( 1974), p. 125-139
    Details
    In: Modern Drama, Project MUSE, Vol. 17, No. 2 ( 1974), p. 125-139
    Type of Medium: Online Resource
    ISSN: 1712-5286
    URL: Article
    DOI: 10.1353/mdr.1974.0027
    Language: English
    Publisher: Project MUSE
    Publication Date: 1974
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  • 2
    Online Resource
    Online Resource
    〈i〉Sean O'Casey: A Bibliography of Criticism〈/i〉 by E. H. Mikhail (review)
    Project MUSE ; 1973
    In:  Modern Drama Vol. 16, No. 1 ( 1973), p. 108-109
    Details
    In: Modern Drama, Project MUSE, Vol. 16, No. 1 ( 1973), p. 108-109
    Type of Medium: Online Resource
    ISSN: 1712-5286
    URL: Article
    DOI: 10.1353/mdr.1973.0057
    Language: English
    Publisher: Project MUSE
    Publication Date: 1973
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  • 3
    Online Resource
    Online Resource
    Book Reviews
    University of Toronto Press Inc. (UTPress) ; 1991
    In:  Modern Drama Vol. 34, No. 4 ( 1991-12-01), p. 566-587
    Details
    In: Modern Drama, University of Toronto Press Inc. (UTPress), Vol. 34, No. 4 ( 1991-12-01), p. 566-587
    Abstract: Benjamin 8ennett Theater As Problem: Modern Drama and its Place in Literature, reviewed by Sharon Marie Carnicke Sue-Ellen Case, Performing Feminisms: Feminist Critical Theory and Theatre, reviewed by Jeannette Laillou Savona Richard Schechner, Performance Theory, reviewed by Michael J. Sidnell Estelle Manette Raben, Major Strategies in Twentieth Century Drama: Apocalyptic Vision, Allegory and Open Form, reviewed by Rosette C. Lamont Richard C. Beacham, Adolphe Appia, reviewed by J. L. Styan Richard C. Beacham, ed.,Adolphe Appia: Essays, Scenarios, and Designs, reviewed by J. L. Styan Nick Worrall, Modernism to Realism on the Soviet Stage, reviewed by Catherine Schuler Pia Kleber and Colin Visser, eds., Re-interpreting Brecht: His Influence on Conemporary Drama and Film, reviewed by John Fuegi Elizabeth Eright, Postmodern Brecht: A Re-Presentation, reviewed by Eileen Fischer Jonathan Kalb, Beckett in performance, reviewed by Toby Silverman Zinman Peter Norrish, New Tragedy and Comedy in France. 1945-70, reviewed by John H. Reilly Anne Ubersfeld, Vinaver dramaturge, reviewed by Rosette C. Lamont
    Type of Medium: Online Resource
    ISSN: 0026-7694 , 1712-5286
    URL: Article
    DOI: 10.3138/md.34.4.566
    RVK:
    AP 60100
    Language: English
    Publisher: University of Toronto Press Inc. (UTPress)
    Publication Date: 1991
    SSG: 9,3
    SSG: 7,24
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  • 4
    Online Resource
    Online Resource
    Aesthetic Prejudice in Modern Drama
    University of Toronto Press Inc. (UTPress) ; 2001
    In:  Modern Drama Vol. 44, No. 1 ( 2001-03-01), p. 16-30
    Details
    In: Modern Drama, University of Toronto Press Inc. (UTPress), Vol. 44, No. 1 ( 2001-03-01), p. 16-30
    Abstract: The aesthetic prejudice chiefly in question is that subordination or suppression of the performing subject that is particularly associated with realism in modern drama. It stands revealed as such not only in the staging but also in the performative elements of the verbal texts in which dramatic realism, rather paradoxically, defined itself. The incommensurability of an act of representation and a corresponding embodiment of a performing subject is often made quite obvious in the juxtaposition of modern dramas and their operatic versions, and it is a given in the aesthetics of physical theatre. In the earlier twentieth century, such aesthetic issues were so embroiled in fateful political struggles as to induce such crises of representation as those instanced here: the transmutation, in Walter Benjamin's theory, that brought with it an acceptance of didactic performance; the severe problems encountered in Marc Blitzstein's operatic and remedial transformation of Lillian Hellman's flawed aesthetic in The Little Foxes and its associated moral blindness; and the divergent theatre practices of W.B. Yeats and T.S. Eliot with respect to speech, music, and dance. In these instances, performativity versus discourse is a critical issue, and it remains so in contemporary practice, though hardly the dangerous one that it has been in the past.
    Type of Medium: Online Resource
    ISSN: 0026-7694 , 1712-5286
    URL: Article
    DOI: 10.3138/md.44.1.16
    RVK:
    AP 60100
    Language: English
    Publisher: University of Toronto Press Inc. (UTPress)
    Publication Date: 2001
    SSG: 9,3
    SSG: 7,24
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  • 5
    Online Resource
    Online Resource
    Semiotic arts of theatre
    Walter de Gruyter GmbH ; 2008
    In:  Semiotica Vol. 2008, No. 168 ( 2008-01-01)
    Details
    In: Semiotica, Walter de Gruyter GmbH, Vol. 2008, No. 168 ( 2008-01-01)
    Type of Medium: Online Resource
    ISSN: 0037-1998 , 1613-3692
    URL: Article
    DOI: 10.1515/SEM.2008.002
    RVK:
    EQ 1000
    Language: Unknown
    Publisher: Walter de Gruyter GmbH
    Publication Date: 2008
    detail.hit.zdb_id: 2044265-8
    SSG: 7,11
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  • 6
    Online Resource
    Online Resource
    Beckett’s Sacrifice of Archaic Theatre on the Altar of Modernism
    Consortium Erudit ; 1969
    In:  @nalyses. Revue des littératures franco-canadiennes et québécoise ( 1969-12-31)
    Details
    In: @nalyses. Revue des littératures franco-canadiennes et québécoise, Consortium Erudit, ( 1969-12-31)
    Abstract: Moderniste dans l’âme, Beckett doute trop du concept de la cohérence et de la continuité du soi pour l’accepter comme base d’expression artistique, mais il affirme néanmoins avec force la réalité des souffrances du soi, même si celui-ci est illusoire. Ses tentatives de situer ses premiers textes simultanément à l’extérieur et à l’intérieur du soi se sont heurtées à des impasses stylistiques. Lancé dans le théâtre, Beckett a forgé ses technologies scéniques, les conventionnelles comme les nouvelles, en une poétique théâtrale révolutionnaire lui permettant d’exprimer le « pas moi ». Son approche implacable du théâtre a coûté cher aux interprètes, comme Beckett l’a reconnu lui-même pour Catastrophe. Abstract Like other modernists, Beckett rejected the supposed coherence and continuity of the self as a foundation of artistic expression but affirmed the actuality of the torments of a possibly-delusory selfhood. His early attempts to situate his writing simultaneously inside and outside selfhood were vexed by stylistic impasses. But stumbling into theatre, Beckett forged its existing technologies and new ones into a revolutionary, technologically-based theatre poetics, through which to express the “Not I”. This effort demanded ruthlessness and came at high cost to theatre artists, as Beckett acknowledged fully in his Catastrophe.
    Type of Medium: Online Resource
    ISSN: 1715-9261
    URL: Article
    DOI: 10.18192/analyses.v2i3.676
    Language: Unknown
    Publisher: Consortium Erudit
    Publication Date: 1969
    detail.hit.zdb_id: 2440429-9
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  • 7
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    Online Resource
    Being Classical in North America: The Stratford Festival 1988
    University of Toronto Press Inc. (UTPress) ; 1989
    In:  Journal of Canadian Studies Vol. 23, No. 4 ( 1989-01), p. 109-118
    Details
    In: Journal of Canadian Studies, University of Toronto Press Inc. (UTPress), Vol. 23, No. 4 ( 1989-01), p. 109-118
    Type of Medium: Online Resource
    ISSN: 0021-9495 , 1911-0251
    URL: Article
    DOI: 10.3138/jcs.23.4.109
    Language: English
    Publisher: University of Toronto Press Inc. (UTPress)
    Publication Date: 1989
    detail.hit.zdb_id: 2066542-8
    SSG: 7,26
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  • 8
    Online Resource
    Online Resource
    Used Words
    University of Toronto Press Inc. (UTPress) ; 1993
    In:  Canadian Theatre Review Vol. 75 ( 1993-06), p. 4-7
    Details
    In: Canadian Theatre Review, University of Toronto Press Inc. (UTPress), Vol. 75 ( 1993-06), p. 4-7
    Abstract: On stage and off, performance and signification are the two inextricable functions of words. The re-discovery of the generally performative functions of language gave rise to Speech Act Theory just a few decades ago but, on different terms, verbal performativeness has been known to poetics from antiquity. Since then, literature has usually been supposed to be a social practice that privileges the performative use of words in ways somewhat different from such non-literary performatives as contracts, threats, sales pitches, greetings, and so on. In non-literary usages, performances are the effects of words in their real world contexts. But in theatre, literature and other such “hollow” instances – as J.L. Austin calls them (Austin 1975, 22) – there is a secondary context in which words make things happen in a virtual world. But (pace Austin) the primary context is not thereby dissolved, and in it the more or less adept use of the verbal medium itself is a focus of attention and a potential source of pleasure. And when – as in the recital of poetry or the telling of jokes – the acoustic channel is used, the pleasure is twofold: not only in the linguistic play but also in its vocalization; and most acutely in the relation between these two aspects of utterance, as poor Eliza Doolittle is so harshly compelled to acknowledge – though scarcely to good effect. In plays in performance, not only are words supposed to make things happen in the fictive worlds they construct but they are also what we have come to hear: “a certain number of lines recited with just gesture and elegant modulation”, said Dr Johnson.
    Type of Medium: Online Resource
    ISSN: 0315-0836 , 1920-941X
    URL: Article
    DOI: 10.3138/ctr.75.001
    Language: English
    Publisher: University of Toronto Press Inc. (UTPress)
    Publication Date: 1993
    SSG: 9,3
    SSG: 7,26
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  • 9
    Online Resource
    Online Resource
    Two Views: Simons’ Short Plays
    University of Toronto Press Inc. (UTPress) ; 1976
    In:  Canadian Theatre Review Vol. 9 ( 1976-01), p. 18-20
    Details
    In: Canadian Theatre Review, University of Toronto Press Inc. (UTPress), Vol. 9 ( 1976-01), p. 18-20
    Abstract: Between The Elephant and the Jewish Question (produced in the Western Region DDF in 1968) and Crahdance (produced first in Seattle the following year) Beverley Simons made some discoveries. In Elephant her characters are still in cocoons, neatly enfolded in the situations and heard speech of their Jewishness; they are well-observed and feelingly represented hut still rather stickily emhedded in the form of a few hundred “Jewish plays”. In Crahdance occurred the splendid emergence of Sadie Golden, a new birth, sentiently female, perceiving Plath-like: “Mama’s gone a-hunting She’s taken off her own white skin… .” With her Sadie Golden. Beverley Simons also emerged: a playwright shaping the dramatic form from the inside out — to excellent effect in the treatment of Sadie’s salesmen, the observed and the felt existences delicately balanced. Sadie’s perceptions and Sadie’s world intricately related in the presentation. The end of the play is rather contrived (a recurrent feature). Simons relying on a coup de theatre to get Sadie safely coffined.
    Type of Medium: Online Resource
    ISSN: 0315-0836 , 1920-941X
    URL: Article
    DOI: 10.3138/ctr.9.003
    Language: English
    Publisher: University of Toronto Press Inc. (UTPress)
    Publication Date: 1976
    SSG: 9,3
    SSG: 7,26
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  • 10
    Online Resource
    Online Resource
    Robert Wallace. Producing Marginality: Theatre and Criticism in Canada
    University of Toronto Press Inc. (UTPress) ; 1991
    In:  Theatre Research in Canada Vol. 12, No. 1 ( 1991-01), p. 104-107
    Details
    In: Theatre Research in Canada, University of Toronto Press Inc. (UTPress), Vol. 12, No. 1 ( 1991-01), p. 104-107
    Type of Medium: Online Resource
    ISSN: 1196-1198 , 1913-9101
    URL: Article
    DOI: 10.3138/tric.12.1.104
    Language: English
    Publisher: University of Toronto Press Inc. (UTPress)
    Publication Date: 1991
    detail.hit.zdb_id: 2008871-1
    SSG: 9,3
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