Besides detailing the study's discursive and theoretical parameters, chapter one introduces the playwrights and begins to describe their professional and sociocultural environment. The word Fascism originated from the word ‘Faeces’ an ancient military symbol of an axe and a bundle of sticks. Office of the Dean “Its design is a Neoclassical interpretation of the Roman Forum. Drawing upon these disciplines, I conducted a historical ethnography of first six months of the war in order to answer these questions: Why did the American public experience a profound disengagement from the injustice enacted against ethnic Japanese? Coleridge's "Principles of Genial Criticism". My dissertation examines how black women from the late nineteenth century through the end of the twentieth century stage migrations toward an American West. 3 (1977), p. 190. In "Race, Gender and Class: The Whitman Sisters and The politics of Performance and Management," I show that in their repertory and off-stage business dealings, the Whitman Sisters destabilized race and gender norms by the upholding certain standards about class, respectability and uplift in order to resist hegemonic forces. In this dissertation, I provide a historical narrative of their achievements and use black feminist theories, feminist theories of performance, and theories of class and popular culture to analyze the many layers of performance in which the Whitman Sisters participated, on and off stage. As a corrective to recent critical trends that render the geopolitical space of the border into metaphor, I begin my analysis by situating Selena and her posthumous iconization within the political economic struggles of the Texas-Mexico border region from which Selena emerged and ultimately took part in re-imagining. Taking up this more nuanced approach to representations of the vernacular, the dissertation interrogates the conditions of production leading up to and governing the New York premiere of Hurston's folk concert, revealing how she struggled to maintain artistic control over her program amidst the regulations and impositions of her wealthy white patron. Using a combination of methods commonly used in sociology and theatre studies (including statistical analysis, case studies and historiography), Gray Zones and Black Holes documents the decline of playwriting and original Czech play production in Czechoslovakia during the normalization, while also exploring the complex responses individual playwrights had to the difficult and often isolating work conditions brought about by normalization censorship. I show that these four black women manipulated their race, gender and class to resist hegemonic forces while achieving success. Architecture Ben-Ghiat, R., ‘Why Are So Many Fascist Monuments Still Standing in Italy?’, The New Yorker, 5th October 2017 , 01/05/2019. Wells's early activism and newspaper work in Memphis, Tennessee. Migration is used to analyze how black women through traditional theatrical and everyday performances have imagined and reconfigured the West as a space of possibilities for social, economic, and political freedom. It is a study of their cultural production seen through the paradigm of theatre and performance. Grand Et Vrai: Portrayals of Victor Hugo's Dramatic Characters in the 19th Century Italian Opera, Something to vote for: Theatricalism in the United States Women's Suffrage Movement. Neoclassicism is renowned for its grandiose and imposing edifices inspired and adapted from the age of Classical antiquity, it prioritised the grace of scale and embraced the elegance of simple geometric forms focusing in on especially the Doric Order. Furthermore, because race and gender discourses are key sites of American society's construction of identity and difference, this project implies some of the patterns to the construction, interpretation and expression of identity and difference in effect in this country at the end of the millennium. *You can also browse our support articles here >, “Differences in the perception of national socialist and classicist architecture”, Max Page, ‘The Roman Architecture Mussolini, Still Standing’, The Boston Globe, 13. Earlier version of “Krier on Speer” published as “Vorwärts, Kameraden, Wir Müssen Zurück”, in Oppositions, volume 24 (1981), Spring; reprinted in: “Oppositions Reader”, Edited by K. M. Hays, Princeton Architectural Press, New York, 1998, p. 401-411. This dissertation uses the methods and theories of theatre historians to highlight the underexamined evacuation period preceding the mass internment of Japanese Americans during World War II. Gender and Performative Language in Aeschylus's Agamemnon and Shakespeare's Macbeth, White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen (of Color), Talkshow Performance Practices and the Display of Identity, Valentine de St.-Point: "La Femme Integrale" and Her Quest for a Modern Tragic Theatre in L'Agonie de Messaline (1907) and La Metachorie (1913), Ghanaian Popular Theatre: A Historical Ethnography of the Ghanaian Concert Party, 1865 to 1965, Politics and Performance in the Contemporary United States: The Cases of Activist-Produced Performance, the NEA Four, and Miss Saigon, Ireland's National Theatres: Political Performance and the Origins of the Irish Dramatic Movement, Faith in Theatre: Run by Christians in the United States and Canada and Their Strategies for Faith-Art Integration, The Neighborhood Playhuse 1915-27: A History and Analysis, Feminist Performances of Discourse in the Age of Eloquence: Caussin, Corneille, and Jeanne Des Anges, Performing and Writing Feminist Subjectivity in th Careers of Elizabeth Robins, Isadora Duncan and Virginia Woolf, 1891-1941, Maria Irene Fornes and Her Critics: A Pragmatic Feminist Perspective, Dan Rice's Aspirational Project: The Nineteenth-Century Circus Clown and Middle-Class Formation, The Hermaphrodites's Occupation: Theatricality and Queerness in Seventeenth- and Eighteenth-Century London, Satirical Theory and Dramatic Practice: Towards a New Model of Satire in Performance, The Press on Chicago Theater: Influencing an Emergent Style, Changing the Script: Orality, Literacy in the Performance Strategies of the York Cycle, Ben Jonson, and Richard Steele, Borderline and Narcissistic Rage and Emptiness: Their Dramatization and Drama Therapy, School of Communication All Rights Reserved. Figure 3. The 68 metre courtyard as seen in Figure 3[7], with high wall niches and robust columns exaggerated the contorted scale of the building aiding the psychological and physical belittlement of anyone who entered. The Third Reich did not want their wealth and power demonstrated in diluted amounts instead they aimed to use certain cities as a nucleus of their dominance, an explosion of clinical grandeur and austere severity. [1] Lars Olof Larssen, ‘Classicism in the Architecture of the XXth century’, in Leon Krier, Albert Speer: Architecture 1932-1942, (Brussels: Archives d’Architecture Moderne), 1985, (231-245), p. 244. The project's final chapter delineates late twentieth century American theater's definition of success and the application of those ideas in the playwrights' careers, considering how America's race/gender relations and concepts of Black womanhood affect both. However, unlike Germany the Neoclassical style was less abrasive with the already existing architecture. Do you have a 2:1 degree or higher? You can view samples of our professional work here. [1] This means that existent but tenuous links can be made between both architectural movements and political standpoints as they exert influence on each other. … The mentoring structures within theatres that were so successful in encouraging the writing and production of new Czech plays in the 1960s were effectively dismantled during the two decades of the normalization, and the loss of these mentoring structures continues to negatively affect playwriting in the post-Communist era. Thus, my project contributes to and reveals the productive linkages among the fields of popular performance, Latina/o, American, women's and cultural studies. 1, 1981, p. 33–42. Given its central preoccupation with how meaning is constructed, this study draws primarily on the methods of theatrical semiotics, exploring how meaning was produced in suffrage theatricals through the manipulation of signs such as costumes, settings, props, and actors. From pro suffrage skits to spectacular mass parades, the thousands of theatricals staged on behalf of the U.S. women's suffrage movement in the 1910s have been largely overlooked, even though theatricals were a characteristic form of activism in these years. In chapter one, my close analysis of Selena's final concert in Houston, Texas reveals how her dynamic and deeply hybrid performances productively disrupt prevailing assimilationist crossover narratives that frame her career. However, a style unmistakably dripping in the blood of sordid crimes and assembled to impose a might of a state cannot be absolved by just stripping it of its Fascist symbols like they did in Italy, architecture in particular Neoclassicism was able to unite people even when they were fighting for the darkest means. This dissertation explores the constitutive relationship between the Latina body and the body politic in the United States. The rules of neoclassical playwriting were inspired from an interpretation of Pope's "Essay on Man". Purpose of Drama Verisimilitude is the appearance of truth or that the play must be believable. I also reconstruct a possible show based on personal accounts and reviews. Why suffragists adopted theatricals so enthusiastically, and what this explosion tells us about the political and cultural uses of theater, are the focus of this dissertation. However, “Krier sees architecture as an “immediate source of ideological values by means of which the new conditions of life may be envisaged”[16], he suppresses the moral judgement and uneasiness that many enforce upon Neoclassicism in order to dissect the Spartan stripped back purity of the architecture disregarding its tyrannical birth forgiving it for its part it had to play as an “instrument of policy”[17]. Archival and ethnographic research, theatre and performance theories, black feminist theories, and migration histories are included in this project to analyze how black women have produced knowledge for and about themselves. The third case study focuses on Toronto Workshop Productions, which, unlike Theatre Passe Muraille, tried and failed to anticipate changes in Toronto's urban political economy during the 1980s. I show how in these years, on the Toby circuit and during the Depression, the Whitman Sisters continued to uphold the values discussed in the previous chapter despite the decline of the company. Hays, K. M., Extracts from “Krier on Speer”, Architectural Review, volume 173 (1983), pages 33-38. Scholars from numerous disciplines including political science, sociology, and anthropology have investigated each main component of this study-the unconstitutional disenfranchisement of Japanese Americans after the "sneak attack" on Pearl Harbor and the theatricalization of everyday life caused by political spectacles-but never before for the combined purpose of examining the spectacles staged by the United States government and mass media about the "Japanese problem" on the wartime home front. Figure 2. This chapter disrupts contemporary notions of mobility and progress by revealing that although these young, black women are inheritors of an earlier generation's imagination of an American West, they are ironically the most closely policed and most reliant on metaphoric migrations. The Whitman Sisters were the highest paid act on the Negro Vaudeville circuit, Theater Owners Booking Association (Toby), and one of the longest surviving touring companies (1899-1942). I show that they drew from not only Euro-American traditions and the short history of African Americans on stage, but also from the long tradition of African American performance. Although not all Neoclassical architecture can be tagged with the term fascist architecture, the majority of Fascist architecture is Neoclassical in nature and style, this pollutes the elegance and grandeur of the facades of all those not rooted in authoritarian propaganda. 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