Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

16 results

  • Introduction

  • Edited by Julia Listengarten, University of Central Florida, Stephen Di Benedetto, Michigan State University
  • Book:
    The Cambridge Companion to American Theatre since 1945
    Published online:
    20 August 2021
    Print publication:
    09 September 2021, pp 1-16

  • Summary

    The Cambridge Companion to American Theatre since 1945 provides an overview and analysis of developments in the organization and practices of American theatre. It examines key demographic and geographical shifts post-1945 American theatre experienced in spectatorship and addresses the economic, social, and political challenges theatre artists have faced across cultural climates and geographical locations. Specifically, it explores artistic communities, collaborative practices, and theatre methodologies across mainstream, regional, and experimental theatre practices, forms, and expressions. As American theatre has embraced diversity in practice and representation, the volume examines the various creative voices, communities, and perspectives that prior to the 1940s had been mostly excluded from the theatrical landscape. This diversity has led to changing dramaturgical and theatrical languages that take us in to the twenty-first century; these shifting perspectives and evolving forms of theatrical expressions paved the ground for contemporary American theatrical innovation.

The Cambridge Companion to American Theatre since 1945
  • Edited by Julia Listengarten, Stephen Di Benedetto
  • Published online:
    20 August 2021
    Print publication:
    09 September 2021
  • The Cambridge Companion to American Theatre since 1945 provides an overview and analysis of developments in the organization and practices of American theatre. It examines key demographic and geographical shifts American theatre after 1945 experienced in spectatorship, and addresses the economic, social, and political challenges theatre artists have faced across cultural climates and geographical locations. Specifically, it explores artistic communities, collaborative practices, and theatre methodologies across mainstream, regional, and experimental theatre practices, forms, and expressions. As American theatre has embraced diversity in practice and representation, the volume examines the various creative voices, communities, and perspectives that prior to the 1940s was mostly excluded from the theatrical landscape. This diversity has led to changing dramaturgical and theatrical languages that take us in to the twenty-first century. These shifting perspectives and evolving forms of theatrical expressions paved the ground for contemporary American theatrical innovation.

  • Stumbling in the Dark: Facets of Sensory Perception and Robert Wilson's ‘H.G.‘ Installation

  • Stephen Di Benedetto
  • Journal:
    New Theatre Quarterly / Volume 17 / Issue 3 / August 2001
    Published online by Cambridge University Press:
    15 January 2009, pp. 273-284
    Print publication:
    August 2001

  • The ways in which we receive and perceive what we taste, hear, touch, and smell all serve as potential resources for our understanding of an artistically mediated event. Though some modes of perception are more usually associated with the visual than the performing arts, the development of forms of Live Art has begun to challenge our understanding of how the conventions of theatricalizing experience can be modulated. Using methodologies drawn from a phenomenological perspective, Stephen Di Benedetto here examines the way in which Robert Wilson's installation, H.G., presented at the Clink, near London Bridge, in 1995, triggered a journey in sensory perception for its spectators, and served as an exemplar of the ways in which the full range of sensory resources can be ‘theatrically’ deployed. Stephen Di Benedetto, having received his PhD from Goldsmiths College, University of London, for his thesis on Playwriting as a Visual Art, is currently an Assistant Professor of Theatre History at the School of Theatre, University of Houston, and is now actively engaged in research on the body in contemporary Live Art and new Irish and English playwriting.