Here are a few posts from last week's Greenpage that might be worth your time...
Triumph from tragedy: how Greece's theatre roared out of a national crisis
Stage | The Guardian: After a three-day visit, it would be presumptuous to sum up Athenian theatre. But in that short time, I saw five productions, met numerous artists and learned a lot. My immediate impression was that Athens is a hive of theatrical activity: some 1,500 productions a year covering everything from Aeschylus and Sophocles to Pinter and Albee.
Too much British theatre has indeed been forgotten
Letters | Stage | The Guardian: The lack of popular knowledge of British theatre history is much worse than Joanna Lumley thinks (A rebuke from stage left: young actors ignore our theatrical history, says Lumley, 4 March).
How many readers know Britain lived under government censorship of all publicly performed plays for 400 years until 1968, giving rise to our humorous obsession in this country with innuendo, often centred around suggestively shaped fruit and vegetables, to be slipped past the lord chamberlain’s censor?
Ground Breaker Tana Douglas
SoundGirls.org: Tana Douglas is known as the first woman roadie and got her start working Production in 1973 when Philippe Petit rigged a steel cable between the towers at the northern entrance to the Sydney Harbor Bridge. (Kathy Sander another roadie got her start in 1974 touring with Elton John). Without realizing it she had just done her first gig.
Column: In the American theater, will highly paid artistic directors survive?
Chicago Tribune: In the 1980s, the Theatre Communications Group, a trade association for nonprofit theaters, wanted to explore the future of the so-called resident theater movement — the network of professional, nonprofit theaters that had transformed the cultural landscape of America’s cities since Margo Jones, a.k.a. the Texas Tornado, and her revolutionary doings at her groundbreaking Theatre ’47 in Dallas.
Who did they ask? Artistic directors, of course.
Women Count V: Women Hired Off-Broadway 2014/15 through 2018/19
urban excavations: The Women Count report series collects and publishes analyses of production credits to assess gender parity in theater hiring decisions. Since 2014 we have asked: whose plays are being done, who is directing them, and how many women are being hired for theatrical off-stage roles in New York’s theaters beyond Broadway? The goal of the report series is to change the conversation from anecdotes to action plans to support advocacy efforts on behalf of women playwrights, performers, and off-stage theater workers.
No comments:
Post a Comment