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Oscar Wilde's society comedy An Ideal Husband (1 895) depends on social reputation to regulate characters' actions. Applying the carceral (prison) model of the Panopticon to this play reveals the impact of Michel Foucault's surveillance state on the characters, demonstrating that intimate, heterosexual relationships are measured against an ideal, and disciplined and punished through the threat of social ostracism. Here, a successful marriage is based on good behavior, flawless reputation, and strong socioeconomic status, defining the institution as itself a Panopticon within the broader Panopticon of society. Played out on stage before an audience, the Panopticon of high society-within that of the theater-is further regulated and disciplined by the audience. The audience of An Ideal Husband thus experiences, and participates in, surveil - lance of and by heteronormative high society, just as Wilde experiences its regulation of homosexuality. [ABSTRACT FROM AUTHOR]

This article examines the ways in which simulation, mimicry and camouflage contributed to deportees' survival and allowed them to subvert Nazi oppression. The camp society seemed permeated by ritual-like, theatrical and symbolic action, which shaped human relationality and power relations. I explore simulation and camouflage as survival strategies, offering a reflection on the meaning of performing in the camps. Conceiving the Lager as a space of performance, I contend that actors constructed clandestine codes of signification, taught to each other and constantly improved, which allowed them to deceive the perpetrator, resist the dehumanizing ethos, and foster ingroup solidarity. [ABSTRACT FROM AUTHOR]

Copyright of Tempo (1413-7704) is the property of Universidade Federal Fluminense, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

• We evaluated a theater-based training approach to improve cultural humility. • The training was developed from findings of a statewide survey of CBT clinicians. • Training included didactics, review of videos, and improvising with trained actors. • Findings suggest the training is acceptable, feasible, and potentially effective. • Suggestions and materials to integrate findings into clinical practice are included. The present study investigated the acceptability, feasibility, and potential effectiveness of using theater as an interdisciplinary tool to train mental health clinicians to discuss race and racism with Black youth clients. The training was developed using findings from a statewide survey of clinicians' perceived barriers and facilitators to discussing race and racism. Development survey data were analyzed to generate didactic content that addressed common misperceptions and to develop scripted performances of interactions between a therapist and two Black youth clients. Mental health clinicians and clinical supervisors (N = 23) from community mental health organizations viewed and responded to the videos of the scripted scenes before the training. Black clinician collaborators co-presented didactic information and facilitated small-group breakouts. Trained actors improvised participant suggestions in the large group, and breakouts allowed for debriefing, discussing, and practicing through improvisation with actors. The training was evaluated with a pre- and posttraining survey. Training significantly improved multicultural counseling self-efficacy (measured by the Multicultural Counseling Self-Efficacy Scale—Racial Diversity form; t [13] = –5.83, p <.001), decreased concerns about counseling Black clients (measured by the Concerns About Counseling Racial Minority Clients scale; t [13] = 7.05, p <.001), and improved intentions to discuss race and racism with Black clients specifically, t (13) = –6.11, p <.001, as well as all clients of color, t (13) = –3.16, p =.008. Qualitative and quantitative measures converged to suggest that the training was highly acceptable (M = 4.7, SD = 0.6) and appropriate (M = 4.7, SD = 0.6). We end with clinical implications. [ABSTRACT FROM AUTHOR]

This is a film review of Ghostlight (2024), directed by Kelly O'Sullivan. [ABSTRACT FROM AUTHOR]

E-learning has become a popular approach today. However, in drama/theater classes where exercises, rehearsals, and 'productions' are done on stage, such an approach was considered impossible, until Covid-19 pandemic strike occurred. The purpose of this paper is to reveal how acting classes dealt with the disruption, the process of selecting and implementing online meeting platforms, the new 'lesson plan' to finish the classes, the challenges due to the changes, and evaluation for future practices. The nature of the study is both explanatory and evaluative by action research. Primary data were collected using personal observations and questionnaires. Secondary data were taken from library research pertaining drama/theater, e-learning, online teaching, action research, thematic analysis, etc. By flipping from offline to online learning, acting classes turned out to be manageable. Radical and innovative adaptations should be made to make classes work online, including flipping offline to online meetings, implementing screen/camera knowledge, and using online platforms such as Google Meet, Zoom, WA, and LINE. Moreover, despite the fact that initially online meeting was threatening to the students and the teacher alike, using online meeting platforms for acting classes as blended learning was a good challenge, given appropriate situations and purposes. [ABSTRACT FROM AUTHOR]

The craze for historical pageants staged in Britain by local communities at the beginning of the twentieth century stimulated a widespread public engagement with historical costume. As well as thousands of performers, and tens of thousands of spectators, pageants involved hundreds of local people in sewing parties who spent months making the costumes required for these outdoor re-enactments of episodes of local history. This article investigates how pageant costumes were designed, made or sourced, on the large scale required, and the cost implications this involved. Whilst costume designers were acknowledged, the employment of professional dressmakers and milliners often necessary to complete the work received less recognition. Florence Edwards, a professional theatrical dressmaker, is one of the few who can be identified. The role of the London theatrical costumier Willie Clarkson, a supplier to many pageants, is also examined. During pageant preparations, local people actively researched dress history, and in the case of Emily Ashdown her interest led to a lifelong career as a dress historian. [ABSTRACT FROM AUTHOR]

Bread and Puppet (B&P) Theater is one of the oldest, most influential, and well-known puppet theaters both in the United States and abroad and has been at the forefront of puppetry, performance, and political protest for more than half a century. B&P also functions as a site of tension in prefigurative political theory, between creative world building and alternative decision-making structures. B&P fosters a powerful lived experience of prefigurative politics. The political process of envisioning alternative realities took place through performance, puppets, and the shifting sense of temporality in an isolated location. At the same time, B&P operates in a state of flux, at the center of a constant stream of apprentices, volunteers, and audience members. They rely on hierarchical decision-making to facilitate order, which challenges the prefigurative ideal of a democratic community. B&P models a mediated form of prefigurative politics in which a hierarchical governance structure and creative world building exist in tension with one another. The theater has worked within this tension to survive and even flourish. B&P complicates prefigurative politics in social movement theory and practice, as the hierarchy helps preserve some sense of order but conflicts with the more egalitarian vision of the world represented in their performances. B&P's intervention in prefigurative politics offers lessons to social movements and artistic practices in the contemporary resurgence of prefigurative politics. [ABSTRACT FROM AUTHOR]

Theater proposes an alternative reality and different possible identities offering a framework of how representation works in performances, and it further provides an understanding of the transformative potential of enactment. The attempt to retrieve and re-write women's histories through performances develops a culture of reconstructive capacities that resists absorption into the dominant culture. In theater, women have asserted their own vision and exercised their own viewpoints, expanding feminist space and communicating with spectators by employing publicly encoded signs. The folk theater of India, in particular, provides a public space to the (silenced) subaltern to assert agency and question the modalities of power, exclusion, images, and strategies that marginalize women. The paper examines Indian women's roles on stage and in the folk theater of Chhattisgarh from the 1980s onwards and shows how feminist performances redefine gender binaries and contest popular consciousness. By voicing women's perspectives, the women performers and women narrators of the epic Mahabharata in folk performances restructure and alter the stage. This paper explores themes of gender, power, construction of theatrical space, and the shifts in feminist positioning created by Teejan Bai and other women Pandwani performers and Kathagayakas. [ABSTRACT FROM AUTHOR]

Copyright of Dialogos (14159945) is the property of Universidade Estadual de Maringa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of XVIIe Siècle is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Nowadays we face a struggle between the perceptions of civil rights. Whether it is generation-related, gender or cultural-motivated, or others, we face the fact that although rights and freedoms are being mediatized and accessible for anyone, people understand these rights differently. Therefore, it is important to find a way to help children understand these rights. The article develops an argument for recognizing the importance of children's rights for citizenship education. It also outlines a perspective on how children's rights can be taught as civil rights using theater pedagogy methods. [ABSTRACT FROM AUTHOR]

Medical improvisation (improv) is increasingly being used to teach physicians, nurses, and other caregivers how to better communicate with patients and other members of the healthcare team. This article describes how improvisational activities were incorporated within an existing pharmacy practice lab course and how to implement improv games targeting specific communication skills. Three hours of improvisational activities were incorporated into a semester-long pharmacy practice lab course. Partner games such as "the mirror" and group games such as "out-of-order story" were played and connected to communication skills related to counseling or taking a patient's history. Additional activities were introduced targeting specific areas of weakness identified in a formative assessment. A survey was used to assess student perceptions of the improv activities. Students were largely able to connect the skills learned in improv to pharmacy, and some provided examples of how they were already implementing these skills in practice. This article provides a user manual so that faculty with little to no improv experience can include these activities in their communications courses. [ABSTRACT FROM AUTHOR]

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Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Interface - Comunicação, Saúde, Educação is the property of Fundacao UNI and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author discusses plays written by classical Greek authors from a theater historian's perspective. He explores the tendency for translators of such classical works to recreate the Greeks in the forms and fashions of the drama of their own time, the significance of a sense of theater, and the failure of writers and critics to recognize the visual subtext of a play, and the involvement of a visual subtext and a spoken text in surviving Greek tragedy.

Despite gerontology's growing interest in culture, relatively little attention has been given to older adults' participation in theater. This paper addresses this gap by developing field theory as an analytical tool to conceptualize processes of cultural disengagement in later life. Ten older individuals (60+ years) were invited to investigate their access to three different theater spaces in Vienna. The investigation was documented through participatory observations, qualitative interviews, and photo diaries. The results highlight three specific sets of rules that are relevant in theater: Rules about 1) the ageing body, 2) mobility, and 3) subjectivities. Furthermore, these rules are age-coded, which means that many of the rules visitors in theaters have to follow to be able to participate in theater are not easily followed by older adults. Finally, this article outlines the potential of field theory for gerontology and highlights the importance of studying processes of cultural disengagement in later life. [ABSTRACT FROM AUTHOR]

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Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This analysis situates Charlotte Brontë's narrative representation of performance venues and stagecraft in Villette (1853) within the architectural and social histories of nineteenth-century British theater. Emphasis on the spatial elements of theatrical venues and the spectacular lighting and stage effects afforded by these structures contributes to critical examinations of the novel's many instances of performance. The role played by theaters in the production of national identity, consumer culture, and conventional femininity highlights their social dynamics as experienced by Lucy Snowe, providing semiotically rich sites of cultural critique. Lucy's alienation from her fellow audience members disrupts the projections of cultural unity and collectivity fostered by nineteenth-century theaters, just as recasting stage effects as gothic tropes disrupts the potential marriage plot. Ultimately, Villette's narrative representations of theatrical realism critique both the limitations of mid-century literary realism and the inhospitality of public spaces to single, middle-class women who resist the conventional role prescribed by their gender and class. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Critical interventions by black, third world, and/or postcolonial feminists against the homogenizing tendencies of majoritarian narratives of women have led to the emergence of intersectional feminist scholarship and its endeavour to postulate women's stories along the interfaces of race, class, caste, and gender hierarchies. Historicizing social and material bodies has been a constant engagement here, resulting in the analysis of symbiotic processes of subject formation and otherization, thereby entailing a confrontation with the heterogeneous nature of violence and its functioning in such processes. Using such scholarship, this article seeks to comprehend the interplay of various forms of violence in the historical production of given identities and spaces relegated to the bodies of the Other - the Other of Hindu elite women. To do so, this article explores the sub-world of women in the commercial theatre of Bengal during the late colonial period (late 19th to early 20th century). Through a close and critical reading of the writings of one of the most popular actresses of Bengali theatre during those times, Binodini Dasi, the article illuminates the ways in which violence has functioned on the actress to reproduce an otherized body. For the second objective, the article analyses how the actress subverts through the act of writing such subjection of violence. It can be argued that the actresses' writings do not specifically symbolize an unadulterated agential voice; instead, the effect of violence is such that the interiorities of the actress emanate anguish, inhabiting a liminal space between resistance and subversion. [ABSTRACT FROM AUTHOR]

Around the middle of the nineteenth century, in the context of an extensive project to reform opera, German composer Richard Wagner began to envision a new kind of theater building that finally saw the light in 1876 in Bayreuth as the Festspielhaus. In the following century, Italian architect Aldo Rossi evoked its characteristic features in his reconstruction project of the Carlo Felice Opera House in Genoa, a building that had been partially destroyed during World War II and was reopened to the public in 1991. At the same time, he restored the relationship between architecture and the city that Wagnerian precepts had more or less consciously eliminated. By revisiting the time that separates the two buildings, and specifically the changes that the most important playhouses underwent, this essay attempts to capture the distinctive elements of the Wagnerian playhouse in order to evaluate what remains of them, what was omitted, and what was subtracted from later buildings that either exist only as projects or that were in fact actualized. [ABSTRACT FROM AUTHOR]

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Human trafficking for sexual exploitation and bonded labour are major problems in third-world countries, including South Asian countries. This paper addresses the situation of trafficked women who are dehumanized and treated as colonized subjects even after seventy-five years of the end of colonialism in South Asia. Dukhini a play of the Ajoka Theatre, Pakistan, represents the humiliation of trafficked women and lays bare the patriarchal structures manipulating women of the subaltern class into subjugation. This critical study of the text of Dukhini and its stage performance, argues that the experiences of women under male domination and of colonized subjects or slaves are analogous. Dukhini, thus, is the visual version of feminists’ textual objectification of women as bodies for their exploitation and validates that the objectification of women as bodies is the major cause of their oppression in patriarchal societies. Dukhini’s success crossed the borders of South Asia and made alliances with Pakistani, Indian, and Bangladeshi audience appreciation. This success, however, has not put a stop to human trafficking; women are still bought and sold. This study, therefore, strongly recommends meaningful involvement in anti-trafficking interventions by community-based organisations, such as the Ajoka Theatre. Further, and more importantly, collaborative public efforts at all levels for awareness about the harms of trafficking, and strict enforcement of anti-trafficking policies, are some of the much-needed strategies for eradicating the trafficking of women. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Theater photographs as a visual source of theater history have been consistently collected in the National Museum since 1924. Historical images created by studios after 1859 give only limited evidence of the appearance of characters in theater plays. The article describes the specifics of recording and technical limitations in studios until the end of the long 19th century. The first professional photographer working for one theater - Josef Heinrich. Between 1936 and 1950, he filmed 405 productions of all National Theater ensembles. Originally a reportage photographer of the Czechoslovak press office, Čestmír Jírů stood on the sidelines of the researchers' interest. After documenting political events and working for a postcard manufacturer, he took a unique set of lifestyle photos of actors of all generations - at home, at hobby work, with family members. [ABSTRACT FROM AUTHOR]

Copyright of Laboreal is the property of Laboreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)