Fabulous Towson U prof Robyn Quick offers this marvelous guide to selected online resources for dramaturgy and theater history.
Kim Furano’s deft digest of the Grimm’s process, history, and agenda—program dramaturgy for Into the Woods at CENTERSTAGE and Westport Country Playhouse.
The wolf, now piously old and good,
When again he met Red Riding Hood
Spoke: “Incredible, my child,
What kinds of stories are spread. They’re wild.
As though there were, so the lie is told,
A dark murder affair of old.
The Brothers Grimm are the ones to blame.
Confess! It wasn’t half as bad as they claim.”
Little Red Riding Hood saw the wolf’s bite
And stammered: “You’re right, quite right.”
Whereupon the wolf, heaving many a sigh,
Gave kind regards to Granny and waved good-bye.
Rehearsal video and interview with Danielle Ferland, who appeared in the original Broadway production of Into the Woods as Little Red—now returning as the Baker’s Wife in Mark Lamos’ co-production between CENTERSTAGE and Westport Country Playhouse.
~Ralph Waldo Emerson
Can’t decide whether i want this as a t-shirt, or a disclaimer in any printed & online materials, or both. Thanks to @DanRodricks for the initial citation.
Article about the Cyber Narrative Launch, happening tomorrow at Woolly Mammoth Theater in DC. The question being explored: how to incorporate digital media into theatrical experiences? Very important for anyone working in theater today.
With this look at the origins of U.S. Grant’s fearsome nickname, from the NY Times’ “Disunion” series, we take another little peek ahead at the world The Whipping Man will delve into this spring — set against the backdrop of several threads of American history, including the Civil War (currently, of course, amidst its 150th anniversary commemorations).
e-text of
The classic — and widely anthologized — tale of a boy and his automaton — and, according to Freud, who discusses this work in his essay “The Uncanny,” castration anxiety. Automata, by the way, were a happening phenomenon in the C19 — check out Edgar Allan Poe’s “Maelzel’s Chess Player” and Hoffmann’s own “Automata” for other Gothic-tradition examples; for a general discussion of automata, check out The Automata Gallery or this History of Automata.
The work, style, and tone of Hoffmann are proving influential starting points for the production of Into the Woods now rehearsing—both for Mark Lamos and the company in staging the piece, and for the design and production team as they construct the world of the show.
