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  1. Experimenters, rebels, and disparate voices
    the theatre of the 1920s celebrates American diversity
    Erschienen: 2003
    Verlag:  Praeger, Westport, Conn. [u.a.]

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 0313324662
    RVK Klassifikation: HU 1780
    Schriftenreihe: Contributions in drama and theatre studies ; 99
    Schlagworte: American drama; American drama; Experimental drama, American; Theater; Cultural pluralism in literature; Difference (Psychology) in literature; African Americans in literature; Ethnic groups in literature; Minorities in literature; Dissenters in literature
    Weitere Schlagworte: Lawson, John Howard (1894-1977)
    Umfang: XVII, 196 S
    Bemerkung(en):

    Includes bibliographical references and index

    Machine generated contents note: IntroductionArthur Gewirtz and James J. Kolb ix --Part I: Experimenters, Rebels, and Disparate Voices --1. Searching for "The Big American Play": The Theatre Guild Produces John Howard Lawson's Processional -- Beverle Bloch 3 --2. The Idiosyncratic Theatre of John Howard Lawson -- John D. Shout 13 --3. Glitzing the Proletariat: John Howard Lawson's Plays of the 1920s -- Michael C. O'Neill 23 --4. Direction by Design(er): Robert Edmond Jones and the New Provincetown Players -- Jane T. Peterson 31 --5. Glitter, Glitz, and Race: The Production of Harlem -- Freda Scott Giles 39 --6. Disparate Voices: African American Theatre Critics of the 1920s -- Freda Scott Giles 47 --7. Garland Anderson and Appearances: The Playwright and His Play -- Alan Kreizenbeck 55 8. The First Serious Dramas on Broadway by African American Playwrights -- Jeanne-Marie A. Miller 71 --9. Theatre and Community: The Significance of Howard University's 1920s Drama Program -- Scott Zaluda 83 --10. "To Doubt Is Fatal": Eva Le Gallienne and the Civic Repertory Theatre, 1926-1932 -- Estelle Aden 93 --11. Sophie Treadwell's Play Machinal: Strategies of Reception and Interpretation -- Kornelia Tancheva 101 --12. Sophie Treadwell's Summer with Boleslavsky and Lectures for the American Laboratory Theatre -- Jerry Dickey 111 --13 On "The Verge" of a New Form: The Cabinet of Dr. Caligari and Susan Glaspell's Experiments in The Verge -- Steven Frank 119 --14. They Knew What They Wanted: American Theatre's Use of Nonverbal Communication Codes to Marginalize Non-Native Characters in the 1920s -- Beverly Bronson Smith 131 --15. The Poet Lore Plays: A New Chinese Voice. But How New? -- Dave Williams 139 Part II: Theatre and Set Design --16. Against the Tide: Mordecai Gorelik and the New York Theatre of the 1920s-Processional, Nirvana, The Moon -- is a Gong, and Loudspeaker -- Anne Fletcher 149 --17. "Another Revolution to Be Heard From": Jane Heap and the International Theatre Exposition of 1926 -- John Bell 157 --18. Architecture for the Twentieth Century: Imagining the Theatre in the 1920s -- William F. Condee 167.

    Machine generated contents note: Introduction -- Arthur Gewirtz and James J. Kolb ix --Part I: Experimenters, Rebels, and Disparate Voices --1. Searching for "The Big American Play": The Theatre Guild Produces John Howard Lawson's Processional -- Beverle Bloch 3 --2. The Idiosyncratic Theatre of John Howard Lawson -- John D. Shout 13 --3. Glitzing the Proletariat: John Howard Lawson's Plays of the 1920s -- Michael C. O'Neill 23 --4. Direction by Design(er): Robert Edmond Jones and the New Provincetown Players -- Jane T. Peterson 31 --5. Glitter, Glitz, and Race: The Production of Harlem -- Freda Scott Giles 39 --6. Disparate Voices: African American Theatre Critics of the 1920s -- Freda Scott Giles 47 --7. Garland Anderson and Appearances: The Playwright and His Play -- Alan Kreizenbeck 55 8. The First Serious Dramas on Broadway by African American Playwrights -- Jeanne-Marie A. Miller 71 --9. Theatre and Community: The Significance of Howard University's 1920s Drama Program -- Scott Zaluda 83 --10. "To Doubt Is Fatal": Eva Le Gallienne and the Civic Repertory Theatre, 1926-1932 -- Estelle Aden 93 --11. Sophie Treadwell's Play Machinal: Strategies of Reception and Interpretation -- Kornelia Tancheva 101 --12. Sophie Treadwell's Summer with Boleslavsky and Lectures for the American Laboratory Theatre -- Jerry Dickey 111 --13 On "The Verge" of a New Form: The Cabinet of Dr. Caligari and Susan Glaspell's Experiments in The Verge -- Steven Frank 119 --14. They Knew What They Wanted: American Theatre's Use of Nonverbal Communication Codes to Marginalize Non-Native Characters in the 1920s -- Beverly Bronson Smith 131 --15. The Poet Lore Plays: A New Chinese Voice. But How New? -- Dave Williams 139 Part II: Theatre and Set Design --16. Against the Tide: Mordecai Gorelik and the New York Theatre of the 1920s-Processional, Nirvana, The Moon -- is a Gong, and Loudspeaker -- Anne Fletcher 149 --17. "Another Revolution to Be Heard From": Jane Heap and the International Theatre Exposition of 1926 -- John Bell 157 --18. Architecture for the Twentieth Century: Imagining the Theatre in the 1920s -- William F. Condee 167
  2. Experimenters, rebels, and disparate voices
    the theatre of the 1920s celebrates American diversity
    Erschienen: 2003
    Verlag:  Praeger, Westport, Conn. [u.a.]

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    Signatur:
    1 A 503282
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 0313324662
    RVK Klassifikation: HU 1780
    Schriftenreihe: Contributions in drama and theatre studies ; 99
    Schlagworte: American drama; American drama; Experimental drama, American; Theater; Cultural pluralism in literature; Difference (Psychology) in literature; African Americans in literature; Ethnic groups in literature; Minorities in literature; Dissenters in literature
    Weitere Schlagworte: Lawson, John Howard (1894-1977)
    Umfang: XVII, 196 S
    Bemerkung(en):

    Includes bibliographical references and index

    Machine generated contents note: IntroductionArthur Gewirtz and James J. Kolb ix --Part I: Experimenters, Rebels, and Disparate Voices --1. Searching for "The Big American Play": The Theatre Guild Produces John Howard Lawson's Processional -- Beverle Bloch 3 --2. The Idiosyncratic Theatre of John Howard Lawson -- John D. Shout 13 --3. Glitzing the Proletariat: John Howard Lawson's Plays of the 1920s -- Michael C. O'Neill 23 --4. Direction by Design(er): Robert Edmond Jones and the New Provincetown Players -- Jane T. Peterson 31 --5. Glitter, Glitz, and Race: The Production of Harlem -- Freda Scott Giles 39 --6. Disparate Voices: African American Theatre Critics of the 1920s -- Freda Scott Giles 47 --7. Garland Anderson and Appearances: The Playwright and His Play -- Alan Kreizenbeck 55 8. The First Serious Dramas on Broadway by African American Playwrights -- Jeanne-Marie A. Miller 71 --9. Theatre and Community: The Significance of Howard University's 1920s Drama Program -- Scott Zaluda 83 --10. "To Doubt Is Fatal": Eva Le Gallienne and the Civic Repertory Theatre, 1926-1932 -- Estelle Aden 93 --11. Sophie Treadwell's Play Machinal: Strategies of Reception and Interpretation -- Kornelia Tancheva 101 --12. Sophie Treadwell's Summer with Boleslavsky and Lectures for the American Laboratory Theatre -- Jerry Dickey 111 --13 On "The Verge" of a New Form: The Cabinet of Dr. Caligari and Susan Glaspell's Experiments in The Verge -- Steven Frank 119 --14. They Knew What They Wanted: American Theatre's Use of Nonverbal Communication Codes to Marginalize Non-Native Characters in the 1920s -- Beverly Bronson Smith 131 --15. The Poet Lore Plays: A New Chinese Voice. But How New? -- Dave Williams 139 Part II: Theatre and Set Design --16. Against the Tide: Mordecai Gorelik and the New York Theatre of the 1920s-Processional, Nirvana, The Moon -- is a Gong, and Loudspeaker -- Anne Fletcher 149 --17. "Another Revolution to Be Heard From": Jane Heap and the International Theatre Exposition of 1926 -- John Bell 157 --18. Architecture for the Twentieth Century: Imagining the Theatre in the 1920s -- William F. Condee 167.

    Machine generated contents note: Introduction -- Arthur Gewirtz and James J. Kolb ix --Part I: Experimenters, Rebels, and Disparate Voices --1. Searching for "The Big American Play": The Theatre Guild Produces John Howard Lawson's Processional -- Beverle Bloch 3 --2. The Idiosyncratic Theatre of John Howard Lawson -- John D. Shout 13 --3. Glitzing the Proletariat: John Howard Lawson's Plays of the 1920s -- Michael C. O'Neill 23 --4. Direction by Design(er): Robert Edmond Jones and the New Provincetown Players -- Jane T. Peterson 31 --5. Glitter, Glitz, and Race: The Production of Harlem -- Freda Scott Giles 39 --6. Disparate Voices: African American Theatre Critics of the 1920s -- Freda Scott Giles 47 --7. Garland Anderson and Appearances: The Playwright and His Play -- Alan Kreizenbeck 55 8. The First Serious Dramas on Broadway by African American Playwrights -- Jeanne-Marie A. Miller 71 --9. Theatre and Community: The Significance of Howard University's 1920s Drama Program -- Scott Zaluda 83 --10. "To Doubt Is Fatal": Eva Le Gallienne and the Civic Repertory Theatre, 1926-1932 -- Estelle Aden 93 --11. Sophie Treadwell's Play Machinal: Strategies of Reception and Interpretation -- Kornelia Tancheva 101 --12. Sophie Treadwell's Summer with Boleslavsky and Lectures for the American Laboratory Theatre -- Jerry Dickey 111 --13 On "The Verge" of a New Form: The Cabinet of Dr. Caligari and Susan Glaspell's Experiments in The Verge -- Steven Frank 119 --14. They Knew What They Wanted: American Theatre's Use of Nonverbal Communication Codes to Marginalize Non-Native Characters in the 1920s -- Beverly Bronson Smith 131 --15. The Poet Lore Plays: A New Chinese Voice. But How New? -- Dave Williams 139 Part II: Theatre and Set Design --16. Against the Tide: Mordecai Gorelik and the New York Theatre of the 1920s-Processional, Nirvana, The Moon -- is a Gong, and Loudspeaker -- Anne Fletcher 149 --17. "Another Revolution to Be Heard From": Jane Heap and the International Theatre Exposition of 1926 -- John Bell 157 --18. Architecture for the Twentieth Century: Imagining the Theatre in the 1920s -- William F. Condee 167