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5 books match the query 'McCarroll, Sarah'
Theatre Symposium, Vol. 23
Theatre and YouthDavid S. Thompson
University of Alabama Press, 2015
The first set of essays draws from robustly diverse sources: the work of Frank Wedekind in nineteenth-century Germany, Peter Pan’s several stage incarnations, Evgeny Shvarts’s antitotalitarian plays in Soviet Russia, and Christopher Marlowe’s Dido, Queen of Carthage, whose depictions of childhood comment on both the classical period as well as Marlowe’s own Elizabethan age.
The second part of the collection explores and illustrates how youth participate in theatre, the cognitive benefits youth reap from theatre practice, and the ameliorating power of theatre to help at-risk youth. These essays show fascinating and valuable case studies of, for example, theatre employed in geography curricula to strengthen spatial thinking, theatre as an antidote to youth delinquency, and theatre teaching Latinos in the south strategies for coping in a multilingual world.
Rounding out this exemplary collection are a pair of essays that survey the state of the art, the significance of theatre-for-youth programming choices, and the shifting attitudes young Americans are bringing to the discipline. Eclectic and vital, this expertly curated collection will be of interest to educators and theatre professionals alike.
Theatre Symposium, Vol. 26
In Other Habits: Theatrical CostumeSarah McCarroll
University of Alabama Press, 2018
Stage costumes reveal character. They tell audiences who the character is or how a character functions within the world of the play, among other things. Theatrical costuming, however, along with other forms of theatre design, has often been considered merely a craft, rather than part of the deeply systemic creation of meaning onstage. In what ways do our clothes shape and reveal our habits of behavior? How do stage costumes work to reveal one kind of habit via the manipulation of another? How might theatre practitioners learn to most effectively exploit this dynamic? Theatre Symposium, Volume 26 analyzes the ways in which meaning is conveyed through costuming for the stage and explores the underlying assumptions embedded in theatrical practice and costume production.
THEATRE SYMPOSIUM, VOLUME 26
MICHELE MAJER
Plus que Reine: The Napoleonic Revival in Belle Epoque Theatre and Fashion
CAITLIN QUINN
Creating a Realistic Rendering Pedagogy: The Fashion Illustration Problem
ALY RENEE AMIDEI
Where'd I Put My Character?: The Costume Character Body and Essential Costuming for the Ensemble Actor
KYLA KAZUSCHYK
Embracing the Chaos: Creating Costumes for Devised Work
DAVID S. THOMPSON
Dressing the Image: Costumes in Printed Theatrical Advertising
LEAH LOWE
Costuming the Audience: Gentility, Consumption, and the Lady’s Theatre Hat in Gilded Age America
JORGE SANDOVAL
The RuPaul Effect: The Exploration of the Costuming Rituals of Drag Culture in Social Media and the Theatrical Performativity of the Male Body in the Ambit of the Everyday
GREGORY S. CARR
A Brand New Day on Broadway: The Genius of Geoffrey Holder’s Artistry and His Intentional Evocation of the African Diaspora
ANDREW GIBB
On the [Historical] Sublime: J. R. Planché’s King John and the Romantic Ideal of the Past
Theatre Symposium, Vol. 27
Theatre and EmbodimentEdited by Sarah McCarroll
University of Alabama Press, 2019
Theatre is inescapably about bodies. By definition, theatre requires the live bodies of performers in the same space and at the same time as the live bodies of an audience. And, yet, it’s hard to talk about bodies. We talk about characters; we talk about actors; we talk about costume and movement. But we often approach these as identities or processes layered onto bodies, rather than as inescapably entwined with them. Bodies on the theatrical stage hold the power of transformation. Theatre practitioners, scholars, and educators must think about what bodies go where onstage and what stories which bodies to tell.
The essays in Theatre Symposium, Volume 27 explore a broad range of issues related to embodiment. The volume begins with Rhonda Blair’s keynote essay, in which she provides an overview of the current cognitive science underpinning our understanding of what it means to be “embodied” and to talk about “embodiment.” She also provides a set of goals and cautions for theatre artists engaging with the available science on embodiment, while issuing a call for the absolute necessity for that engagement, given the primacy of the body to the theatrical act.
The following three essays provide examinations of historical bodies in performance. Timothy Pyles works to shift the common textual focus of Racinian scholarship to a more embodied understanding through his examination of the performances of the young female students of the Saint-Cyr academy in two of Racine’s Biblical plays. Shifting forward in time by three centuries, Travis Stern’s exploration of the auratic celebrity of baseball player Mike Kelly uncovers the ways in which bodies may retain the ghosts of their former selves long after physical ability and wealth are gone. Laurence D. Smith’s investigation of actress Manda Björling’s performances in Miss Julie provides a model for how cognitive science, in this case theories of cognitive blending, can be integrated with archival theatrical research and scholarship.
From scholarship grounded in analysis of historical bodies and embodiment, the volume shifts to pedagogical concerns. Kaja Amado Dunn’s essay on the ways in which careless selection of working texts can inflict embodied harm on students of color issues an imperative call for careful and intentional classroom practice in theatre training programs. Cohen Ambrose’s theorization of pedagogical cognitive ecologies, in which subjects usually taught disparately (acting, theatre history, costume design, for example) could be approached collaboratively and through embodiment, speaks to ways in which this call might be answered.
Tessa Carr’s essay on "The Integration of Tuskegee High School" brings together ideas of historical bodies and embodiment in the academic theatrical context through an examination of the process of creating a documentary theatre production. The final piece in the volume, Bridget Sundin’s exchange with the ghost of Marlene Dietrich, is an imaginative exploration of how it is possible to open the archive, to create new spaces for performance scholarship, via an interaction with the body.
Theatre Symposium, Vol. 28
Theatre and CitizenshipEdited by Andrew Gibb
University of Alabama Press, 2020
A collection of essays whose authors reach beyond simple definitions of citizenship as determined by documents and legal rights
The scholarly conference from which this publication emerged was circulated in the waning months of 2018, following a summer of urgent and emotional debate surrounding new US immigration policies regarding immigrant family separations, arguments fueled on one side by fears about the loss of social cohesion, and on the other by photographs of incarcerated children. Given the then-prevailing political atmosphere, editor Andrew Gibb anticipated that a good number of submissions might draw connections between the patterns, policies, and histories of immigration on the one hand, and theatrical or otherwise performance-centered expressions of citizenship, whether inclusive or exclusionary, on the other. In retrospect, what could have been foreseen is that theatre scholars, educators, and professionals would interpret recent events against a wider and more complex backdrop. The ultimate result of that initial call is this volume, a collection of essays whose authors reach beyond simple definitions of citizenship as determined by documents and legal rights, and who engage in larger conversations about what citizenship can mean, and how such meanings are expressed through theatre and performance.
Interestingly, while none of the authors published herein take up immigration as a central issue, they all make use of some combination of three particular analytical frameworks, all of which happen to be pertinent to the current immigrant experience and attempts to regulate it: bodies, institutions, and technologies.
Theatre Symposium, Vol. 31
Theatre and the PopularEdited by Chase Bringardner
University of Alabama Press, 2024
A new issue of the longstanding theatre journal, documenting conversations that traverse disciplinary boundaries
The essays in the thirty-first volume of Theatre Symposium traverse disciplinary boundaries to explore what constitutes the “popular” in theater and performance in an increasingly frenetic and mediated landscape. Amid the current resurgence of populist discourse and the enduring impact of popular culture, this volume explores what is considered popular, how that determination gets made, and who makes it. The answers to these questions shape the structures and systems of performance in an interaction that is reciprocal, intricate, and multifaceted. Productions often succeed or fail based on their ability to align with what is popular—sometimes productively, sometimes clumsily, sometimes brazenly, and sometimes tragically.
In our current moment, what constitutes the popular profoundly affects the real world politically, economically, and socially. Controversies about the electoral college system hinge on the primacy of the “popular” vote. Streaming services daily update lists of their most popular content and base future decisions on opaque measures of popularity. Social media platforms broadcast popular content across the globe, triggering new products, social activism, and political revolutions.
The contributors to this volume engage with a range of contemporary and historical examples and argue with clarity and acuity the interplay of performance and the popular. Theatre and performance deeply engage with the popular at every level—from audience response to box office revenue. The variety of methodologies and sites of inquiry showcased in this volume demonstrates the breadth and depth of the popular and the importance of such work to understanding our present moment onstage and off.
CONTRIBUTORS
Mysia Anderson / Chase Bringardner / Elizabeth M. Cizmar / Chelsea Curto / Janet M. Davis / Tom Fish / Kyla Kazuschyk / Sarah McCarroll / Eleanor Owicki / Sunny Stalter-Pace / Chelsea Taylor / Chris Woodworth