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Theatre and Ideology

Staging The Merchant of Venice at the Hungarian National Theatre in 1940 and 1986

Zoltán Imre

zsidó’ [The Venetian Jew] Apart from paraphrasing Hamlet, the Hungarian theatre critic Tamás Koltai posed these questions quite straightforwardly in his review of the performance of The Merchant of Venice in 1986. His questions referred to

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Actualising History

Responsibilities with Regard to the Future in Arthur Miller's The Crucible

Aamir Aziz and Frans Willem Korsten

Bertolt Brecht's ideas about the powers of theatre are an aesthetic and political elaboration of Marx's views about the role of philosophy, which famously was that philosophy should not reflect on the nature of reality but intervene in it. 1 This

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Özlem Özmen

Shakespeare’, 1 Lear constitutes a viable source for Pascal’s adaptation, which also deals with the theme of disillusionment by portraying a group of Yiddish theatre actors that witness the loss of interest in the Yiddish theatre specifically in New York

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Shakespeare's Fools

A Piece in a Peacebuilding Mosaic

Maja Milatovic-Ovadia

young people strung across the Omarska community theatre space. Lengthy applause. Forty young people storm the stage and bow. This was the end of a four-month-long theatre project entitled Shakespeare's Comedies – A Midsummer Night's Dream (2013), run

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Gustavo H. Dalaqua

what Boal offers is precisely a theory and a practical scheme that attempt first and foremost to combine representation and democracy. 1 This article retrieves the practice of the Chamber in the Square (CIS) proposed by Boal in Legislative Theatre

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Shylock and the Nazis

Continuation or Reinvention?

Alessandra Bassey

Eighty-five years ago, in 1933, Dr Walter Stang, a theatre critic and member of the National Socialist German Workers Party, claimed that ‘National socialism … would ensure the development of completely new forms in the German Theatre’. 1

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Capacity for character

Fiction, ethics and the anthropology of conduct

Jonas Tinius

Method acting is one of the most popular theatrical rehearsal systems, according to which actors seek intense identification with characters. In this article, I draw on fieldwork with a professional contemporary German theatre to suggest an alternative view. Rather than training to merge with characters, actors understand characters as a ‘repertoire of fiction’ they freely draw upon to compose themselves. Training for characters thus facilitates the to detach and appropriate traits of different, imagined and real, persons. It is thus an active and reflected stance that minds the gap between actor and character, rather than a passive and predominantly embodied taking on by actors of fictional characters and their traits. Informed by discussions on the notion of conduct in the anthropology of ethics, this article investigates how training the ‘capacity for character’ can inform anthropological understandings of detachment, reflexivity and personhood.

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Laughter in the Ghetto

Cabarets from a Concentration Camp

Lisa Peschel

been accessible to scholars for decades, but most of the prisoners’ works for the theatre were thought lost. From 2004 to 2008, however, during my interviews with survivors who were involved in the cultural life of the ghetto, several previously unknown

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Mark Ingram

Pascale Goetschel, Renouveau et décentralisation du théâtre 1945-1981 (Paris: Presses Universitaires de France [avec le concours du Comité d’histoire du ministère de la Culture et des Institutions culturelles], 2004).

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Reclaiming the Actress's Authority over Theatre Creation

The Autobiography of Polish Actress Irena Solska (1875–1958)

Natalia Yakubova

This article considers the autobiography of the famous Polish actress Irena Solska (1875-1958) as a response to the masculinisation of creativity in twentieth-century theatre, which was a result of the affirmation of the director-centred model. In her autobiography, Solska constructs the image of her creativity with the help of characteristics traditionally marked as 'feminine'. Taking into consideration the theatrical context of the 1930s to the 1950s, the period in which she wrote her text, I regard such a construction as subversive. Solska refused to conform to the new aesthetic norms of the period, which insisted on the dissociation of women's creativity from their embodiment and sexuality. She expressed nostalgia for the full creative status women artists enjoyed under the actor-centred paradigm, but which was lost as a result of the introduction of the director-centred model. Solska questioned the pejorative connotation of the actor-centred theatre as 'feminised' and, by purely literary means, reaffirmed such characteristics as embodiment, impulsiveness and disruptiveness.