What Can Be Said: The Jenő Janovics Archive in Cluj

"This paper focuses on the documents kept in archive of Jenő Janovics, an artistic director in Hungary and Romania for 30 years. The rich archival materials, kept in Cluj, of this important public figure reflect the turbulent times of history of Hungarian Theater in Cluj in the first half of the 20th century. The study presents a possible approach to this material, also introducing Janovics’s diary’s hermeneutical problems. Keywords: Jenő Janovics, Hungarian Theater Cluj, diary, Hungarian theater history, Jewish "

Conclusion

Building on Angelica Schuyler’s search for “a revelation” in Act I of Hamilton, the editors describe their revelations from the volume, particularly how liminality underpins so many elements of the show, and how that liminality provides a critical basis for the musical’s continued success. The volume’s essays portray three distinct types of liminality. Liminality of place appears in chapters that describe the show’s various roots in Britain and those that track how Miranda moved Hamilton off-stage for the Ham4Ham shows, and then eventually online in its robust internet presence. Liminality of time unites three essays that find roots for Hamilton in theater history, and more specifically, in earlier musicals. The majority of essays deal with Hamilton’s liminality of function, addressing how the show works theatrically. Finally, the editors posit questions about where the show can be placed in terms of systemic racism and equity, competing casting philosophies, and possibilities for continuing scholarship.

Notions of Place, Legend, and Broadway in Monty Python’s Spamalot

This chapter shifts to the Broadway musical Monty Python’s Spamalot (2005). As an adaptation of Monty Python and the Holy Grail, Spamalot adds numerous songs written by Eric Idle and John du Prez. These songs not only send up Arthurian legend but common musical theater tropes, augmenting the “meta” tone of the show for fans of musical theater history as well as Monty Python. Furthermore, the musical incarnation increases many of the roles from the original film and includes new characters, extending the connections to the world of Arthurian legend. The musical’s expanded pantheon of references and musical theater send-ups highlight the interpretive layering in a meaningful way. The author’s analysis triangulates the legend with Holy Grail and Spamalot, arguing that while Monty Python may play fast and loose with ideas of fidelity, their versions of Arthurian legend remain true to the malleable spirit of the tale.

O espólio teatral do dramaturgo português Gervásio Lobato / The Theatrical Collection of the Portuguese Playwright Gervásio Lobato

Resumo: Gervásio Lobato (1845-1895) foi um proeminente dramaturgo português, além de romancista, contista, tradutor e jornalista. Há, contudo, dissonâncias entre a expressiva recepção crítica que sua obra teatral recebeu enquanto o escritor ainda era vivo e o subsequente apagamento de seu nome e de sua dramaturgia nos volumes de história do teatro português publicados a partir de 1960. O artigo tem por objetivos formular algumas hipóteses para explicar este descompasso entre recepção e crítica, além de discorrer sobre a organização do espólio do escritor, pertencente ao Museu Nacional do Teatro e da Dança, em Lisboa. A dificuldade de acesso aos arquivos, a ausência de reedições das peças, a variedade de suportes são alguns entraves que podem ser elencados e que precisam ser resolvidos ao longo do processo de resgate do teatro gervasiano.Palavras-chave: Gervásio Lobato; teatro português; organização de espólio.Abstract: Gervásio Lobato (1845-1895) was a prominent Portuguese playwright, as well as a novelist, short story writer, translator and journalist. There are, however, dissonances between the expressive critical reception that his theatrical work received while the writer was still alive and the subsequent erasure of his name and dramaturgy in the volumes of Portuguese theater history published since 1960. The article aims to formulate some hypotheses to explain this mismatch between reception and criticism, in addition to discussing the organization of the writer’s estate, belonging to the Museum of Theater and Dance, in Lisbon. The difficulty of accessing the archives, the absence of reissues of the plays, the variety of supports are some obstacles that can be listed and that need to be resolved throughout the process of rescuing the Gervasian theater.Keywords: Gervásio Lobato; Portuguese theater; theatrical collection organization.

Creative Meeting on Stage of Three Artists: Eden Palashovsky, Nikolay Evreinov, Eva Zeisel (Episodes from the History of the Hungarian Theatrical Avant-Garde)

Experimental theaters led by Ödön Palasovszky stand out among the attempts to renew the Hungarian theatrical culture of the 1920s. He was the central figure of the creative community that worked under different names, but the performances were results of a collective work. Contemplating on the nature and possibilities of theatrical art, young experimenting artists set themselves the goal of creating a reflective art aiming at the creation of a new society. In search of new ways of expression, they turned to various forms of cabaret, revue, compere-entertainer, choral genres, simultaneous play based on the principle of montage and eurhythmics, and they used many scenic innovations. In my paper, I will focus on the analysis of the staging of Nikolay Evreinov’s monodrama The Theater of the Soul. The performances of the Extraordinary Stage (Rendkívüli Színpad) were built around the typical problems of the modern human. The play by Evreinov was performed only once, on October 3, 1928, during the evening of Happy end. On of the contributors to the stage design was Eva Zeisel (Éva Striker, 1906–2011), who worked in the Soviet Union in the 1930s, and later became a world-famous ceramist in the USA. Since the scenery depicting a living organism was presented on the stage as part of the action, the performance may be considered one of the most original experiments in the Hungarian avant-garde theater history.

Introduction

The introduction outlines the theoretical and historical contexts that shaped the texts examined in Staging Discomfort. The chapter pays significant attention to the role of the revolution’s breed of masculine heteronormativity as a vehicle for creating exclusions based upon the visibility of queer difference. This chapter also outlines (queer) Cuban theater history in order to trace the development of an autochthonous theater, as well as signalling how queer culture resists the repressive aspects of the revolution.

The Concept of NEO Theater Performances: Appreciation for Acting

This research investigates NEO Theatre (NT) by using historical approach. Ithas several significances; i.e. firstly, NT is one of modern theater groups thatinfluences modern theater development in Bandung; secondly, though it is stillrelatively new, the creativity of NT cannot be separated from the history ofFathul A. Husein’s creativity development as its director. By applying methodof history through several stages from heuristics, critics, interpretation, tohistoriography; NT’s creativity pattern can be constructed; it is in accordancewith the aim of this research, to achieve the historical illustration of NT’screativity pattern in realizing the prototype of theater performance entitledTritik Segaris Putih. Fathul A. Husein, as the NT leader, was one of the foundersof theater Actors Unlimited (AUL) established in mid 1990s. Having it ended,Fathul A. Husein, who acted more as a director, founded NT on 18 April 2012.Based on the works Fathul directed since his time in AUL, the creative processof NT shows similar creativity with the Studiklub Theater Bandung (STB). Animportant fact to support this statement is that as a modern theater observerand critic, Fathul had ever joined in some productions of STB during the timeof Suyatna Anirun (RIP) before he decided to join in the founding of AUL. Thus,it can be said that the model of STB theater creativity pattern is also reflectedon the creativity pattern of NT in each of its theater production.Keywords: theater history; theater production; NEO Theater