Where Has the Political Theatre in Israel Gone? Rethinking the Concept of Political Theatre Today

2018 ◽  
Vol 37 (1) ◽  
pp. 191-208
Author(s):  
Shulamith Lev-Aladgem
Keyword(s):  
The Political ◽  
Political Theatre

scholarly journals Māori Election Petitions of the 1870s: Microcosms of Dynamic Māori and Pākehā Political Forces

2021 ◽  
Author(s):  
Paerau Warbrick
Keyword(s):  
New Zealand ◽  
The Political ◽  
Political Theatre ◽  
High Stakes ◽  
Economic Interests ◽  
Political Relationships ◽  
Political Forces ◽  
Legal Challenges ◽  
Group Politics ◽  
Provincial Politics

Māori election petitions to the 1876 Eastern Māori and the 1879 Northern Māori elections were high-stakes political manoeuvres. The outcomes of such challenges were significant in the weighting of political power in Wellington. This was a time in New Zealand politics well before the formation of political parties. Political alignments were defined by a mixture of individual charismatic men with a smattering of provincial sympathies and individual and group economic interests. Larger-than-life Māori and Pākehā political characters were involved in the election petitions, providing a window not only into the complex Māori political relationships involved, but also into the stormy Pākehā political world of the 1870s. And this is the great lesson about election petitions. They involve raw politics, with all the political theatre and power play, which have as much significance in today’s politics as they did in the past. Election petitions are much more than legal challenges to electoral races. There are personalities involved, and ideological stances between the contesting individuals and groups that back those individuals. Māori had to navigate both the Pākehā realm of central and provincial politics as well as the realm of Māori kin-group politics at the whānau, hapū and iwi levels of Māoridom. The political complexities of these 1870s Māori election petitions were but a microcosm of dynamic Māori and Pākehā political forces in New Zealand society at the time.

A People's Theater on Skid Row

2017 ◽  
Vol 68 (9) ◽  
pp. 58
Author(s):  
Walda Katz-Fishman
Keyword(s):  
United States ◽  
Los Angeles ◽  
Working Class ◽  
The United States ◽  
The Political ◽  
Skid Row ◽  
Political Theatre ◽  
Monthly Review ◽  
The World

In Acting Like It Matters, James McEnteer gives a compassionate account of John Malpede—actor, activist, and co-creator of the political theatre troupe the Los Angeles Poverty Department (LAPD)—and of the Skid Row community that is the organization's heart and soul. The story of Malpede and the LAPD is one of life as art and art as life, and its protagonists are the dehumanized homeless citizens of Los Angeles and their compatriots in cities across the United States and the world, who represent a growing part of today's global working class pushed out of the formal economy.Click here to purchase a PDF version of this article at the Monthly Review website.

Cheerful History: the Political Theatre of John McGrath

2002 ◽  
Vol 18 (4) ◽  
pp. 313-324 ◽  
Author(s):  
Drew Milne
Keyword(s):  
Samuel Beckett ◽  
Karl Marx ◽  
The Political ◽  
Political Theatre ◽  
Harold Pinter ◽  
Performance Criticism ◽  
Direct Address ◽  
University Of Cambridge ◽  
And Performance

In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

The ‘Art‘ of Political Theatre-Making for Educational Contexts

1995 ◽  
Vol 11 (43) ◽  
pp. 277-291 ◽  
Author(s):  
Nicolas Whybrow
Keyword(s):  
Political Efficacy ◽  
The Political ◽  
Youth Work ◽  
Political Theatre ◽  
Theatre Companies ◽  
Theatre In Education

In NTQ 39 (August 1994) Nicolas Whybrow provided an analysis of ideological changes which have recently occurred in the organization and running of schools and youth clubs. He went on to discuss the ways in which theatre in education (TIE) and theatre in youth work – commonly grouped under the title of Young People's Theatre (YPT) – were being affected by these changes. Here, in the second of two articles, he shifts his perspective towards the standpoint of theatre companies themselves, with a view to locating where the political efficacy of their practices might lie. Nicolas Whybrow is a lecturer at the Workshop Theatre, School of English, Leeds University.

scholarly journals The Poetics of Playing

2014 ◽  
Vol 26 (1) ◽  
pp. 8-19
Author(s):  
Anneli Saro
Keyword(s):  
Social Interaction ◽  
Final Part ◽  
Modern World ◽  
The Political ◽  
Political Theatre

Despite the seemingly general agreement that we are still living in a post- orpost-post-modern world andmany contemporary performancesarebased on theprinciplesofpostdramatic theatre, researchers have noticed certain changes in the poetics of theatricallanguage, which havenot, so far, been described and analysed. Thisarticleseeksto search for apoeticsof playing?that isto say, implicit principlesof producingand perceivingcontemporaryperformances (non-mimetic forms of playing are beyond the scope of this investigation).These principles in themselves are not necessarily new or contemporary, although theircombinations often create such an impression. The article consists of three parts. The firstexplores the term 'poetics' and the second the poetics of playing. The final part provides anempirical analysis of an example of the new poetics of playing. The political theatre projectUnified Estonia Assembly developed the structures and strategies of politics and performingarts to their extremes, at the same time creating a powerful representation of political games.By being a kind of exceptional theatrical event, it helped to exemplify how performers caninfluence participants or society and how ambivalence as a strategy can be emphasized incomprehension and social interaction. Thepoeticsof playing in Unified EstoniaAssembly wasbased on fluid conceptions of players, roles and participants, playing and reality, and thisfluidity also created astrongsenseof ambivalenceboth duringtheplayingand afterwards.

The Political Theatre of David Edgar

2011 ◽  
Author(s):  
Janelle Reinelt ◽  
Gerald Hewitt
Keyword(s):  
The Political ◽  
Political Theatre

Hamlets without Hamlet

2011 ◽  
Author(s):  
Margaret Litvin
Keyword(s):  
First Century ◽  
The Political ◽  
Political Theatre ◽  
Arab Politics ◽  
Twenty First Century ◽  
Anglo American

This concluding chapter reveals a recent convergence between the political concerns of Anglo-American intellectuals and their Arab counterparts. For many Anglo-American intellectuals, recent events have thrust the Arab and Muslim worlds into focus, for better or worse, particularly in their experience of modern Arab politics: the feeling of being ruled rather than represented by one's own government. The chapter thus looks at the applications of political theatre today and how Hamlet is, once again, finding his way onto the modern Arab stage. Amid this discussion of Hamlet and twenty-first-century politics, the chapter also considers whether or not there will continue to be a distinct Arab Hamlet tradition.

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