DOCSLIB.ORG

Theatermakers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatermakers AUGUST 1–5, 2018 THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST Association for Theatre in Higher Education Annual Conference Boston, Massachusetts “AN ESSENTIAL WORK for theatre management, producing and arts administration students...a welcome addition to our curriculum.”—Steven Chaikelson, Director, MFA Theatre Management & Producing Program, Columbia University School of the Arts “SHOULD BE IN EVERY INDUSTRY CLASS AT COLLEGES AND UNIVERSITIES AROUND THE COUNTRY! I’m looking forward to using it as a base text in multiple classes.”—Lisa Dozier King, Director, BFA Theatre Management Program, University of Miami “WILL BE SURE TO HAVE A LIFE IN THEATRE SCHOOLS NATIONWIDE… CERTAIN TO SERVE AS A BIBLE for the trade moving forward.” —Megan Lohne, Stagebuddy “INVALUABLE and ENTERTAINING – A MUST READ for aspiring Broadway managers and producers!” —Charlotte St. Martin, President, the Broadway League Stop by the Allworth Press booth in the Exhibit Hall to meet the author! For more info, visit www.broadwaygeneralmanager.com and www.allworth.com TABLE OF CONTENTS “AN ESSENTIAL WORK for theatre management, producing and arts administration students...a welcome addition to our curriculum.”—Steven Chaikelson, Director, MFA Theatre Management & ATHE President’s Welcome Letter . 5 Producing Program, Columbia University School of the Arts ATHE Vice President for Conference 2018 Letter . 7 ATHE Mission and Goals . 8 ATHE Focus Group Representatives and Conference Planners . 9 ATHE Governing Council . 11 2018 Conference Committee . 11 Leadership Institute Information . 12 First-Time Attendees . 13 ATHE Annual Membership Meeting . 14 ATHE Awards Ceremony . .14 Keynote Speakers . 15 All-Conference Plenaries . 16 Performances . 18 Paid Workshops . 20 Excursions and Performances Series . 24 All-Conference Events . 28 Focus Group Pre-Conferences . 31 List of Sponsors . 33 List of Advertisers . 34 List of Exhibitors . 35 Conference Registration Hours . 37 Hotel Information and Map . 37 Exhibit Hall Hours and Map . 42 ATHE Conference Mobile App . 43 ATHE 2019 Conference—Orlando . 44 All Conference Schedule at a Glance . 46 Session Key . 52 Concurrent Sessions . 54 Index of Speakers . 190 “SHOULD BE IN EVERY INDUSTRY CLASS AT COLLEGES AND UNIVERSITIES AROUND THE COUNTRY! I’m looking forward to using it as a base text in multiple classes.”—Lisa Dozier King, Director, BFA Theatre Management Program, University of Miami “WILL BE SURE TO HAVE A LIFE IN THEATRE SCHOOLS NATIONWIDE… CERTAIN TO SERVE AS A BIBLE for the trade moving forward.” —Megan Lohne, Stagebuddy “INVALUABLE and ENTERTAINING – A MUST READ for aspiring Broadway managers and producers!” ATHE Conference 2018 Program Graphics: Kevin McGroarty —Charlotte St. Martin, President, the Broadway League Program Layout and Design: Larry Bell Program Proofreading and Copyediting: Jessica Hinds-Bond Special Thanks: Kate Chisholm, Managing Editor, SDC Journal; Kareem Khubchandani; Boston Business Printing Cover image licensed under Creative Commons Attribution 2.0 (generic). Image can be found at Stop by the Allworth Press booth in the Exhibit Hall to meet the author! pxhere.com/en/photo/364288; photographer is unlisted. Photo has been retouched and colorized for layout purposes. For more info, visit www.broadwaygeneralmanager.com and www.allworth.com CONTEMPORARY | GLOBAL | ESSENTIAL Your source for • interviews with leading directors, curators, and writers • creative dossiers by cutting-edge theatermakers • engaging articles and provocative, in-depth criticism • new plays by international authors such as Guillermo Calderón, Theater tom sellar, editor Toshiki Okada, and Nobel laureate Elfriede Jelinek published by duke university press on behalf of Subscribe today. yale school of drama Three issues annually and yale repertory theatre Individuals: $30 | Students: $20 | Single issues: $12 To subscribe, email [email protected] or visit dukeupress.edu/theater. THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST | ATHE 2018 | AUGUST 1-5 | BOSTON, MA WELCOME TO THE 2018 ATHE ANNUAL CONFERENCE Walking throughout the city of Boston, we are continually reminded of the revolutionary spirit that defines much of this region’s history. Some stories have been told with more gusto than others. Many of us have heard about the “party” in which tea was thrown overboard in protest of English taxes or the raising of twin lanterns in a nearby church tower to warn about English troops crossing the Charles River. Few of us have encountered stories about the Wampanoag, who fought unsuccessfully to maintain their lands and preserve their way of life from the encroachment of white settlers. Not everyone knows about the campaign to integrate Boston’s public schools in the 1970s and 1980s, a generation after the US Supreme Court’s ruling in Brown v. Board of Education. Boston is a reminder that revolution can happen both quickly and painfully slowly. It can open the doors to diversity and inclusion and, at the same time, expose the deep divisions of society and seemingly turn back the clock. To put it simply, revolution is never easy and is not always good. We gather at a moment in which students, faculty, artists, and audiences are asking, “What does revolution look like in 2018?” Is it knitting and wearing a hat as you assemble on the National Mall? Is it “taking a knee” during the national anthem? Is it explicitly writing for underrepresented actors when creating new works for the stage and screen? Is it employing social media to encourage folks to see, cite, hear, and ultimately “follow” a new generation of visionaries? We gather at a moment in which the promotion of ethics and social responsibility, especially within the arts, is proving to be a revolutionary act. Whether it is #MeToo, Time’s Up, or “50/50 in 2020,” among other initiatives, there is increasing attention to the fact that positive social change through the arts mandates positive social change within the arts, such as rooting out harassment, sexual misconduct, bias, and prejudice. Regardless of our individual political beliefs, we know that there is power in the arts. We understand the importance of community and how the arts help to connect people and bridge differences. We gather to renew our sense of purpose as educators, scholars, and artists and, of course, to contemplate revolution. Harvey Young ATHE President THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST | ATHE 2018 | AUGUST 1-5 | BOSTON, MA 5 THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST On behalf of the 2018 Conference Committee, welcome to Boston! When we wrote our call for papers in spring 2017, we could only speculate on where we would be at the moment of the conference—how the political and cultural energies following the 2016 US presidential election would play out on public stages, in the classrooms and rehearsal halls of our schools, and in our lives as artists, teachers, and scholars in the year ahead. It has been a privilege beyond reckoning to witness the work of ATHE’s members—individually and through focus groups—since that time. From the proposals, to ranking processes, to development of pre-conferences, the response to the conference theme “Theatres of Revolution: Performance, Pedagogy, and Protest” has been nothing short of inspiring. Through the collaborative efforts of the Conference Committee, we’ve assembled a series of plenaries, workshops, performances, and special events around our theme. Drawing on the city of Boston for its historical significance in the US American Revolution and for its legacy of both academic excellence and artistic innovation, we aim to explore revolutions at the multiple intersections of politics, theatre education, and professional practice. We have put together an Excursions and Performances Series to explore how contemporary and historical enactments of US foundational stories perform race and gender—as well as erasure of the land’s history before colonization—raising complex questions concerning representation and revolution. In a culminating roundtable, we invite dialogue in how these questions resonate with casting practices, season planning, performance practices, and pedagogies, as well as contemporary trends in theory and scholarship. We offer six paid workshops from local and international artists who advance revolutions on multiple fronts—from the use of digital technologies in education and performance to political and cultural revolutions and revolutionary performance strategies. We are thrilled to offer a keynote from sisters Quiara Alegría Hudes and Gabriela Sanchez, who will discuss their Latinx Casting Manifesto and other aspects of their work as activists and artists. Our plenaries aim to further dialogue between leaders in higher education and in the profession and to advance fights for justice through concrete action steps. We offer performances by Sister Sylvester, History Matters/Back to the Future, and History Alive from Salem, MA, and we support focus group pre- conferences on topics ranging from immersive theatre to self-care as revolution. Finally, we are proud to offer platforms for the Jubilee 2020 initiative, revolutionary work by Ireland’s Gaiety School, as well as artists and scholars from around the world. As witness to the work of the Conference Committee, focus groups, and members this year, I have never been prouder to be a part of this association and to work with you in the field of theatre in higher education. I look forward to experiencing the fruits of your
Load more

Recommended publications
  • Black Women, Natural Hair, and New Media (Re)Negotiations of Beauty
    “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies—Doctor of Philosophy 2019 ABSTRACT “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe At the intersection of social media, a trend in organic products, and an interest in do-it-yourself culture, the late 2000s opened a space for many Black American women to stop chemically straightening their hair via “relaxers” and begin to wear their hair natural—resulting in an Internet-based cultural phenomenon known as the “natural hair movement.” Within this context, conversations around beauty standards, hair politics, and Black women’s embodiment have flourished within the public sphere, largely through YouTube, social media, and websites. My project maps these conversations, by exploring contemporary expressions of Black women’s natural hair within cultural production. Using textual and content analysis, I investigate various sites of inquiry: natural hair product advertisements and internet representations, as well as the ways hair texture is evoked in recent song lyrics, filmic scenes, and non- fiction prose by Black women. Each of these “hair moments” offers a complex articulation of the ways Black women experience, share, and negotiate the socio-historically fraught terrain that is racialized body politics
    [Show full text]
  • Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance Sarah Lucie The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3828 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ACTING OBJECTS STAGING NEW MATERIALISM, POSTHUMANISM AND THE ECOCRITICAL CRISIS IN CONTEMPORARY PERFORMANCE by SARAH LUCIE A dissertation submitted to the Graduate Faculty in Theatre and Performance in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2020 © 2020 SARAH LUCIE All rights reserved ii Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance by Sarah Lucie This manuscript has been read and accepted by the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________________________________________________________________ Date Peter Eckersall Chair of Examining Committee __________________________________________________________________________ Date Peter Eckersall Executive Officer Supervisory Committee: Erika Lin Edward Miller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance by Sarah Lucie Advisor: Peter Eckersall I investigate the material relationship between human and nonhuman objects in performance, asking what their shifting relations reveal about our contemporary condition.
    [Show full text]
  • History of the Tidewater Striders, 1977-1981
    1977 Introduction by Mel Williamsclub had a debt of $391, which consisted mainly of ex- Raymond Ochs, in his History of the Tidewater Striders, penses owed to a sporting goods company for shirts and noted that by August the club had 116 members, which trophies. Several club members, particularly Grey and included 24 females. As the number of members in the Bocrie, donated funds to the club to help pay expenses. Tidewater Striders continued to increase, the governance The following line actually appeared in the flyer for the of the club would gradually evolve. Northwest River 9-mile race that year: Club Operations ENTRY FEE: Entry fee will consist of $2.00 donation Perusal of the newsletter for this year revealed only two to the poor Tidewater Striders. officers: However, the future looked bright. Later in the year the President –Don Grey president noted that the Shamrock Marathon may become a prominent East Coast event and will afford the club sub- President-elect – Bob Jennings stantial financial benefits as this was to be the last year the However, recall from the previous year that the President- Rotarians will be involved in its production. elect was to serve as the secretary. No mention of a trea- A general meeting of the club convened in February. The surer was uncovered. Don Grey served as president until club, which had been meeting monthly, decided to meet August, resigning because of heavy business responsibili- bimonthly in the future. General meetings continued to ties and the feeling he could not devote sufficient attention be held at Old Dominion University, with a morning run to the club.
    [Show full text]
  • Updated 2019 Completemedia
    April 15, 2019 Dear Members of the Media, On behalf of the Boston Athletic Association, principal sponsor John Hancock, and all of our sponsors and supporters, we welcome you to the City of Boston and the 123rd running of the Boston Marathon. As the oldest annually contested marathon in the world, the Boston Marathon represents more than a 26.2-mile footrace. The roads from Hopkinton to Boston have served as a beacon for well over a century, bringing those from all backgrounds together to celebrate the pursuit of athletic excellence. From our early beginnings in 1897 through this year’s 123rd running, the Boston Marathon has been an annual tradition that is on full display every April near and far. We hope that all will be able to savor the spirit of the Boston Marathon, regardless whether you are an athlete or volunteer, spectator or member of the media. Race week will surely not disappoint. The race towards Boylston Street will continue to showcase some of the world’s best athletes. Fronting the charge on Marathon Monday will be a quartet of defending champions who persevered through some of the harshest weather conditions in race history twelve months ago. Desiree Linden, the determined and resilient American who snapped a 33-year USA winless streak in the women’s open division, returns with hopes of keeping her crown. Linden has said that last year’s race was the culmination of more than a decade of trying to tame the beast of Boston – a race course that rewards those who are both patient and daring.
    [Show full text]
  • Minutes of the 22Nd USATF Annual Meeting
    Minutes of the 22nd USATF Annual Meeting Opening Session There were speeches from candidates for the contested offices: President: Sam Bell, Bob Bowman, William November 30, 2000 – Kiva Auditorium Guy, Kim Haines and Bill Roe. Vice President: Terry Crawford, Dee Jensen, PRESIDENT’S WELCOME and Fred Newhouse. President Patricia Rico called the meeting to order at 9:30 AM in the Convention Center at MINUTES Kiva Auditorium in Albuquerque, NM. She Motion: (Emerick/W. Hickman) Approve Los welcomed all to the 2000 USATF Opening Angeles Annual Meeting minutes as Session. Rico emphasized the past, present published with the correction to include the and future manifested in this years Convention approval of the 1999 Law & Legislation at theme: Securing the Future of the World’s #1 the closing session. APPROVED. Track and Field Team. IAAF UPDATE ASSOCIATION WELCOME Mr. Robert Hersh, IAAF delegate, spoke of Ron Mascareñas, New Mexico Association attending the party in honor of Samaranch of president, welcomed all the attendees and the IOC in Luzanne. Hersh spoke of the introduced the Acoma Pueblo performers in a continued numbers of the participants of the traditional ceremonial dance. sport, and the continuity of the programs. There will be prize structure changes, and ATTENDANCE the IAAF is looking at potential changes in Roll call was taken and a quorum was present. race walk rules among other things. Drug issues are still at the forefront. ANNOUNCEMENTS Walter High, Membership chair, asked the FINANCIAL REPORT following chairs to please meet with him as Larry James, along with Jim Elias and Ed soon as possible: Hawaii, Iowa, Michigan, Koch, announced that their report is Snake River, Minnesota, San Diego, South published in the book.
    [Show full text]
  • Victorian Marathon Club Newsletter
    VICTORIAN MARATHON CLUB. WINTER 1988 Vol.20 No.2 NEWSLETTER JUNE 1988 Price $ 2- I ^1 ISSN 1030 CO MARATHON TIME IS HERE AGAIN !! ABOVE: FISHERMENS BEND IN 1187 Registered by Australia Post Publication No.VBH 0488 RUNNING GROUPS. Any regular local running groups are invited to list where and when in our page. Send details to: VMC Office, 598 High St., E.KEW 3102. The VMC gets numerous requests from our members for training advice and running contacts. Person to assist with your requests is FRED LESTER, VMC General Sec., an A.F.T.C.A. Accredited Coach Grade 2. NOTE; A runner is any person who moves faster than their walking pace, for what purpose is innaterial ! QQNCBRNINrc ATJ. MCMBJ HUNNERS - REGULAR CB BEGINNERS: The V.M.C. has a Special Women’s Task Force to assist in the development of Women’s Distance Running, for mutual enjoyment, encouragement and good health. They are endeavouring to foster the development of locality groups for running and training together, for getting to know similar groups in different areas and to develop a positive and independent attitude in their pursuit of sport. If you are having a problem in making contact with running groups or feel that you are not getting the satisfaction you are looking for, you can drop us a line for advice and assistance, together with a Stamped Self Addressed Envelope for a reply, to : 598 High Street. E. KEW 3102. REGULA RUNNERS, GREENSBQROUGH is a Women’s Running Group - all ages & abilities. Group meets on Wednesday 9.00am at Willinda Park, G’borough.Beginners welcome, child minding provided.
    [Show full text]
  • Curriculum Vitae [PDF]
    1 CURRICULUM VITAE 1. John Emigh Professor Theatre, Speech, and Dance and English 2. 3591 Pawtucket Ave Riverside, RI 02915 3. Education: Ph. D. Tulane University (Theatre: Theory and Criticism) 1971 Dissertation: "Love and Honor,1636: A Comparative Study of Corneille's Le Cid and Calderón's Honor Plays" M.F.A. Tulane University (Theatre: Directing) 1967 Thesis: "Analysis, Adaptation, and Production Book of Georg Büchner's Woyzeck" B.A. Amherst College (English and Dramatic Arts) 1964 Thesis: Production of Samuel Beckett's "Waiting for Godot" Additional education and training: 1999-2000 – I Gusti Ngurah Windia (private study, Balinese masked dance]–7/99, 7/01 1983-84 - Intensive workshop in Feldenkrais technique - 1/84 1976-77 - Valley Studio Mime School (corporal mime) - 8/76 - Kristen Linklater and the Working Theatre (intensive workshop in voice and movement for the stage) - 6/77 1974-75 - I Nyoman Kakul (private study, Balinese masked dance -12/74-4/75 1971-72 - American Society for Eastern Arts (Balinese music and dance, Javanese shadow puppetry) - 6-8/72, also 8/76 1967-68 - Columbia University (voice) - 7-8/67 1966-67 - Circle in the Square Theatre School (acting) - 7-8/66 1961-62 - University of Malaga, Spain (curso para estranjeros)-12/61-2/62 4. Professional Appointments: Brown University: 1990- Professor of Theatre, Speech, and Dance and of English 1987- 92 Chairperson, Department of Theatre, Speech, and Dance 1974- 90 Associate Professor of English and Theatre Arts (1986: Theatre, Speech and Dance); Associate Director, University
    [Show full text]
  • 2010 Joint Conference of the National Popular Culture and American Culture Associations
    2010 Joint Conference of the National Popular Culture and American Culture Associations March 31 – April 3, 2010 Rennaisance Grand Hotel St. Louis Delores F. Rauscher, Editor & PCA/ACA Conference Coordinator Jennifer DeFore, Editor & Assistant Coordinator Michigan State University Elna Lim, Wiley-Blackwell Editor Additional information about the PCA/ACA available at www.pcaaca.org 2 Table of Contents The 2009 National Conference Popular Culture Association & American Culture Association Area Chairs ___________________ 5 PCA/ACA Board Members _______________________________ 13 Officers _______________________________________________ 13 Executive Officers ______________________________________ 13 Past & Future Conferences _______________________________ 14 Conference Papers for Sale; Benefits Endowment _____________ 15 Exhibit Hours __________________________________________ 15 Business & Board Meetings _______________________________ 16 Film Screenings ________________________________________ 18 Dinners, Get-Togethers, Receptions, & Tours ________________ 23 Roundtables ___________________________________________ 25 Special Sessions ______________________________________________ 29 Schedule Overview ______________________________________ 33 Saturday ____________________________________________________ 54 Daily Schedule _________________________________________ 77 Wednesday, 12:30 P.M. – 2:00 P.M. ____________________________ 77 Wednesday, 2:30 P.M. – 4:00 P.M. ____________________________ 83 Wednesday, 4:30 P.M. – 6:00 P.M. ____________________________
    [Show full text]
  • F9 Production Information 1
    1 F9 PRODUCTION INFORMATION UNIVERSAL PICTURES PRESENTS AN ORIGINAL FILM/ONE RACE FILMS/PERFECT STORM PRODUCTION IN ASSOCIATION WITH ROTH/KIRSCHENBAUM FILMS A JUSTIN LIN FILM VIN DIESEL MICHELLE RODRIGUEZ TYRESE GIBSON CHRIS ‘LUDACRIS’ BRIDGES JOHN CENA NATHALIE EMMANUEL JORDANA BREWSTER SUNG KANG WITH HELEN MIRREN WITH KURT RUSSELL AND CHARLIZE THERON BASED ON CHARACTERS CREATED BY GARY SCOTT THOMPSON PRODUCED BY NEAL H. MORITZ, p.g.a. VIN DIESEL, p.g.a. JUSTIN LIN, p.g.a. JEFFREY KIRSCHENBAUM, p.g.a. JOE ROTH CLAYTON TOWNSEND, p.g.a. SAMANTHA VINCENT STORY BY JUSTIN LIN & ALFREDO BOTELLO AND DANIEL CASEY SCREENPLAY BY DANIEL CASEY & JUSTIN LIN DIRECTED BY JUSTIN LIN 2 F9 PRODUCTION INFORMATION PRODUCTION INFORMATION TABLE OF CONTENTS THE SYNOPSIS ................................................................................................... 3 THE BACKSTORY .............................................................................................. 4 THE CHARACTERS ............................................................................................ 7 Dom Toretto – Vin Diesel ............................................................................................................. 8 Letty – Michelle Rodriguez ........................................................................................................... 8 Roman – Tyrese Gibson ............................................................................................................. 10 Tej – Chris “Ludacris” Bridges ...................................................................................................
    [Show full text]
  • America's Japan and Japan's Performing Arts Barbara Thornbury
    America's Japan and Japan's Performing Arts Barbara Thornbury Published by University of Michigan Press Thornbury, B.. America's Japan and Japan's Performing Arts: Cultural Mobility and Exchange in New York, 1952-2011. Ann Arbor: University of Michigan Press, 2013. Project MUSE., https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/22764 Access provided by University of Michigan @ Ann Arbor (18 Mar 2017 21:32 GMT) Introduction It may not be their, but it is certainly our Japan.1 Q: Can you tell us a little more about what Americans perceive as Japan- ness? A: For instance, it could be things like the stage set is extremely elaborately designed and constructed. Q: Is it a kind of fetishism? A: Well, you could say so.2 Eiko and Koma are quintessentially Japanese, and also longtime New York residents.3 This book is a study of the images and myths that have defined and shaped the reception of Japan- related theater, music, and dance in the United States since the postwar 1950s. In the mid- 1980s, at the height of fierce trade tensions between the United States and Japan, Clyde Haberman reported in the New York Times, “Japanese contend that the trouble is not their lingering restrictions so much as American laziness in attempting to penetrate this country’s markets. Learn our language, Prime Minister Ya suhiro Nakasone has said many times. Study our culture. ‘Americans don’t try hard enough’ is a favorite catch phrase.” Haberman contended, “The accusation infuriates many American executives, who feel that they could watch Kabuki plays all day and still get nowhere.”4 The executives’ angry sarcasm was rooted in a paradoxical fact.
    [Show full text]
  • Cambridge University Press 978-1-108-42646-6 — Bertolt Brecht in Context Edited by Stephen Brockmann Index More Information
    Cambridge University Press 978-1-108-42646-6 — Bertolt Brecht in Context Edited by Stephen Brockmann Index More Information Index Academy of the Arts, xvii, xx, 34, 98, 99, 100, Augsburg, xiii, xviii, 11, 17, 18, 20, 21, 22, 23, 24, 101, 102 25, 27, 36, 41, 42, 43, 45, 50, 51, 52, 55, 65, 66, Adams, John, works by 131, 151, 183, 191, 202, 327, 328 Dr. Atomic, 218 Austria, xix, xxviii, 89, 156, 218, 340 Adorno, Theodor W., 76–77, 127, 128, 196, 283, 304 Babylon Berlin, 42, 193 African National Congress, 208 Bach, Johann Sebastian, 53, 196 Agami, Danielle, 220 Bach, Johann Sebastian, works by agitprop, 40, 60, 160, 161, 164, 196, St. Matthew Passion, 53 209, 263 Bachmann, Ingeborg, 156 AIDS, 215 Bacon, Francis, works by A-I-Z, 135, 138 The New Organon, 27 Akiho, Andy, 219 Baden-Baden, 193, 197 Alberts, Jürgen, works by Baden-Baden Music Festival, xviii, 54, 159, 195 Hitler in Hollywood: Looking for the Ideal Badiou, Alain, works by Script, 275 Five Lessons on Wagner, 194 Allert de Lange (publishing house), 94 Bai Juyi, 184, 185 Allfree, Claire, 318 Banholzer, Paula, xviii, 22, 23 Altefrohne, Silke, 286 Bänkelsang, 22 Althusser, Louis, 128 Bantu People’s Theatre, 210 Amette, Jacques-Pierre, works by Barnett, David, 220, 293 Brecht’s Mistress, 276 Barthes, Roland, 128, 129, 331 Amin, Idi, 207 Baum, Kurt, 210 Amsterdam, 89 Bausch, Pina, xvi, 163 andcompany&Co., 288 Bautzen Festival, 307 André, Naomi, 221, 222 Bavaria, xviii, 22, 24, 275 anti-fascism, 10, 44, 45, 91, 92, 151, 160, 204, 228, Baxter Theatre, 215 242, 259 Bayreuth Festival, 53, 54, 218, 219 anti-Semitism, 71 BBC, 206 Archer, Robyn, xxvi Beaton, Alistair, 323 Arendt, Hannah, 278 Bebel, August, 203 Aristotle, 8, 28, 152, 270 Becher, Johannes R., 63, 71, 92, 102, 197 Armstrong, Louis, 6 Becher, Johannes R., works by Arons, Wendy, xxvii Winter Battle, 63, 83 Arribas, Sonia, 167 Beckett, Samuel, 163, 228 Artaud, Antonin, xxv, 163, 228, 253 Beckmann, Max, 34 Ashcroft, Peggy, 205, 206 Bel, Jérôme, 286 Auden, W.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title On Queens and Monsters: Science Fiction and the Black Political Imagination Permalink https://escholarship.org/uc/item/9k96x3gv Author Davis, Jalondra Alicia Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE On Queens and Monsters: Science Fiction and the Black Political Imagination A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnic Studies by Jalondra Alicia Davis September 2017 Dissertation Committee: Dr. Jayna Brown, Chairperson Dr. Jodi Kim Dr. Erica Edwards Copyright by Jalondra Alicia Davis 2017 The Dissertation of Jalondra Alicia Davis is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to thank my committee chair, Jayna Brown for your time, support, and careful readings of my writing for these past four years. I would like to thank past and current committee members Jodi Kim, Eric Edwards, Dylan Rodriguez and Ashon Crawley for your thoughtful comments and questions as I made my way through this project. Thank you to the ETST comrades who so generously gave your food, showers, and couches during my years of commuting. Great thanks to all of the faculty, students, and staff at California State University, Dominguez Hills and University of California, Riverside who have offered me your brilliance, humor, advice, and friendship. Special thanks also to off-campus mentors and my Black Women Write group members, who each held me up through this more times than you know. Thank you to my family, who supported me, believed in me, and helped make my doctorate possible even when you didn’t quite understand my work.
    [Show full text]