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Edward Albee as Theatrical and Dramatic Innovator offers eight essays and a major interview by important scholars in the field that explore this three-time Pulitzer prize-winning playwright’s innovations as a dramatist and theatrical artist. They consider not only Albee’s award-winning plays and his contributions to the evolution of modern American drama, but also his important influence to the American theatre as a whole, his connections to art and music, and his international influence in Spanish and Russian theatre.

Contributors: Jackson R. Bryer, Milbre Burch, David A. Crespy, Ramon Espejo-Romero, Nathan Hedman, Lincoln Konkle, Julia Listengarten, David Marcia, Ashley Raven, Parisa Shams, Valentine Vasak
Transatlantic Revolutionary Cultures, 1789-1861 argues that the revolutionary era constituted a coherent chapter in transatlantic history and that individual revolutions were connected to a broader, transatlantic and transnational frame. As a composite, the essays place instances of political upheaval during the long nineteenth century in Europe and the Americas in a common narrative and offer a new interpretation on their seeming asynchrony. In the age of revolutions the formation of political communities and cultural interactions were closely connected over time and space. Reciprocal connections arose from discussions on the nature of history, deliberations about constitutional models, as well as the reception of revolutions in popular culture. These various levels of cultural and intellectual interchange we term “transatlantic revolutionary cultures.”

Contributors are: Ulrike Bock, Anne Bruch, Peter Fischer, Mischa Honeck, Raphael Hörmann, Charlotte A. Lerg, Marc H. Lerner, Michael L. Miller, Timothy Mason Roberts, and Heléna Tóth.

black with grime that he occasionally needed to be dunked into the sea to recover its colour. Pirates wore whatever they could” (14). In fictional narratives, the pirates, and particularly their captains, are visually signified through elaborative costumes. However, by emphasising that Cleveland, once

In: Postmodern Pirates

production, La gota de miel (1952) by Léon Chancerel used no set and actors performed in bare feet and black leotards. Young actors spent two and a half years of training exclusively working on their body, without using their voice, adding text only later. The school’s journal, Estudio , published texts

In: The Five Continents of Theatre

mysteriously called throughout the series, is introduced in The Curse of the Black Pearl , by Elizabeth. Conspicuously, the governor’s daughter provides a history lesson to the two pirates Pintel and Ragetti, and the viewer, by explaining that “the Code of the Brethren [was] set down by the pirates Morgan and

In: Postmodern Pirates

concentrate on texts that are considered as classics of pirate fiction and are still in print or available on dvd , like Robert Louis Stevenson’s Treasure Island , James Matthew Barrie’s Peter and Wendy , or movies like Captain Blood and The Black Swan . The texts thus selected were divided into two big

In: Postmodern Pirates
The Distortion of Time and Space in The Goon Show
“It’s all rather confusing, really” was one of the catchphrases used by Spike Milligan in his ground-breaking radio comedy program The Goon Show. In a series of mock-epics broadcast over the course of a decade, Milligan treated listeners to a cosmology governed by confusion, contradictions, fluidity and uncertainty. In The Goon Show’s universe, time and space expand and contract seemingly at will and without notice.

The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought.

Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.

European stage. Born in New York in 1807, he studied in one of the city’s African free schools, a rare opportunity for young blacks in that era ( Boime 1990 ). His father was a preacher, his mother a housewife. In 1820 Aldridge began to work in the African Company, a group founded by William Henry Brown

In: The Five Continents of Theatre

). Pantalone, with his servant, faces a resistant Isabella on a bare stage before a black backdrop. 6. The most famous actors of the Beijing Opera, late Qing Dynasty (1644-1911), shown in the costumes of their most famous roles (painting by Shen Rongpu, 19 th century). PÉCUCHET – Yes, that’s right, except we

In: The Five Continents of Theatre

longer, and the sacred tree is dead. [Black Elk, Holy Man of the Oglala Sioux, Black Elk Speaks , 1931] I don’t put myself in the middle of the circle, at the centre of attention, if I’m beautiful, or if I have a nice voice, or because I’m a good actor. I put myself in the middle of the circle if I have

In: The Five Continents of Theatre