Angelo Beolco (Ruzante). The Veteran (Parlamento de Ruzante) and Weasel (Bilora): Two One-Act Renaissance Plays. Ed. and trans. Ronnie Ferguson. (Studies in Italian Culture: Literature in History, 17.) New York: Peter Lang, 1995. 140 pp. $46.95.

1997 ◽  
Vol 50 (4) ◽  
pp. 1216-1217
Author(s):  
Nancy Dersofi
Keyword(s):  
New York ◽  
Italian Culture ◽  
One Act

Ashton, Frederick William Mallandaine (1904–1988)

2018 ◽  
Author(s):  
Geraldine Morris
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Mixed Media ◽  
English Music ◽  
Ballets Russes ◽  
One Act

Frederick Ashton was a British choreographer and dancer whose work significantly contributed to the development and identity of The Royal Ballet. Along with its founder, Ninette de Valois, and music director, Constant Lambert, Ashton is regarded as one of its main architects and more broadly as a major creator of British ballet style. He was the company’s principal choreographer between 1935 and 1970, and its director from 1963. Inheriting the avant-gardism of the Ballets Russes, he pushed and molded it to suit his own purposes. Concentrating chiefly on one-act works, his main stimulus was dance itself; ballet movement was central to his work. Even when he used narrative, he did so largely to explore dance. As a frequent collaborator with other modernist artists, he created works that were innovative and occasionally challenging: In 1934, he made the dances for Gertrude Stein’s opera Four Saints in Three Acts and, in 1937, her ballet A Wedding Bouquet, while in 1950 he choreographed Illuminations for the New York City Ballet to Benjamin Britten’s setting of Arthur Rimbaud’s poems. Despite the reservations of Constant Lambert and the English music press, he used four of Stravinsky’s scores, two of which were in mixed media: Persephone (1961) and Le Rossignol (The Nightingale) (1981).

Physical and Psychological Partner Aggression Across a Decade: A Growth Curve Analysis

2004 ◽  
Vol 19 (1) ◽  
pp. 3-16 ◽  
Author(s):  
Patti A. Timmons Fritz ◽  
K. Daniel O’Leary
Keyword(s):  
New York ◽  
Physical Aggression ◽  
Curve Analysis ◽  
Psychological Aggression ◽  
Growth Curve Analysis ◽  
Prevalence Rates ◽  
Partner Aggression ◽  
Cross Sectional ◽  
One Act

The course of physical and psychological partner aggression was investigated over a decade in 203 wives from Suffolk County, New York. Wives reported on their own and on their partners’ aggression at one month before marriage and 6, 18, 30, and 120 months after marriage. This follow-up is the longest period over which partner aggression has been examined. Prevalence rates of wife’s report of wife- and husband-perpetrated physical aggression were 48% and 35% at premarriage, and 13% and 10% ten years later. Using HLM, husband- and wife-perpetrated physical aggression were found to decrease on average approximately one act of aggression per month, regardless of severity and even when controlling for changes in marital satisfaction. There was no significant pattern of change in psychological aggression. These findings are consistent with cross-sectional analyses, and suggest that physical partner aggression decreases in community samples of couples.

The Plays of David Mamet: Games of Manipulation and Power

1988 ◽  
Vol 4 (13) ◽  
pp. 77-89 ◽  
Author(s):  
Henry I. Schvey
Keyword(s):  
New York ◽  
American Business ◽  
Pulitzer Prize ◽  
Harold Pinter ◽  
David Mamet ◽  
Royal Court ◽  
Business Values ◽  
Lincoln Center ◽  
World Premiere ◽  
One Act

David Mamet, born in Chicago in 1947, is one of the most talented and eagerly watched young playwrights in America today, whose work has also found a ready response among British audiences. After such plays asSexual Perversity in Chicago(1974).American Buffalo(1975) andEdmond(1982), hisGlengarry Glen Ross(1982), dedicated to Harold Pinter, had its world premiere in London at the National's Cottesloe Theatre, and subsequently won the Pulitzer prize for the best American play in 1984. In the same year,American Buffalo(seen briefly on Broadway in 1977) won an award for best revival, while the London production ofEdmond, which opened at the Royal Court in December 1985, was favourably received by English critics in contrast to its mixed reception in New York. In addition to Mamet's work for the stage, he has written the screenplays for the filmsThe VerdictandThe Postman Always Rings Twice. Noteworthy for their sensitivity to the nuances and rhythms of American speech, including its unmistakable penchant for banalities and obscenities. Mamet's best plays, as the accompanying essay demonstrates, carry with them an implicit attack on American business values, usually through a confrontation between two individuals, one of whom tries to exploit or dominate the other. The interview which follows was conducted in New York City on 2 January 1986 following a performance of Mamet's latest work, a double bill of one–act plays entitledThe ShawlandPrairie du Chien, selected by Mamet's friend and close associate at the Goodman Theatre in Chicago, Gregory Mosher, to reopen the Mitzi E. Newhouse Theater at Lincoln Center in New York.

Tarantella for U.S., Italian American, and Cosmopolitan Markets

2017 ◽  
Author(s):  
Incoronata Inserra
Keyword(s):  
United States ◽  
New York ◽  
American Culture ◽  
New Age ◽  
The United States ◽  
World Music ◽  
Italian American ◽  
Complex Process ◽  
Italian Culture ◽  
Anglo American

This chapter illustrates the export of tarantella to the United States by focusing on the work of New York–based artist Alessandra Belloni, particularly her tarantella dance performance and her “Rhythm Is the Cure” dance workshop. The chapter examines Belloni’s work both within a world music framework and from a woman-centered, New Age perspective. This work includes a complex process of adaptation of the Southern Italian rhythms, since it enhances an exotic image of Italy as it often emerges in Anglo-American culture, while at the same time adding a woman’s perspective to it. Belloni’s reinterpretation of tarantella plays a particularly significant role within the Italian-American cultural scene. The second part of the chapter situates Belloni’s work within the larger process of post-WWII Italian migration to the United States, while also discussing larger issues of representation of (southern) Italian culture within the Anglo-American context.

“It Brought the World to this Coast”: The World Premiere of Eugene O'Neill'S Lazarus Laughed at the Pasadena Community Playhouse

1988 ◽  
Vol 29 (1) ◽  
pp. 1-36 ◽  
Author(s):  
W.D. King
Keyword(s):  
New York ◽  
The World ◽  
World Premiere ◽  
One Act

Almost two years after its completion in May of 1926, Eugene O'Neill's Lazarus Laughed received its premiere production—not in New York. This “Play for an Imaginative Theatre,” clearly the most theatrically demanding of all of O'Neill's works, made its first appearance in California, at the Pasadena Community Playhouse, opening April 9, 1928. Not since the days when his earliest one-act plays were produced at the Wharf Theatre in Provincetown, Massachusetts, had an O'Neill play failed to result in a New York production.

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