Cabaret Performance Research Articles

Implementasi Pembelajaran Berbasis Proyek dalam Meningkatkan Kreativitas Belajar Peserta Didik di SMAN 14 Bandung

This research is motivated by the government's efforts to restore post-pandemic learning by implementing an independent curriculum. One of the characteristics of the independent curriculum is implementing project-based learning to support the development of students' character to suit the Pancasila student profile, as is the case at SMAN 14 Bandung which has implemented an independent curriculum by implementing project-based learning. This research aims to obtain an overview of the implementation of project-based learning in increasing students' creativity at SMAN 14 Bandung. This research uses a qualitative approach with descriptive research methods. The general conclusion of this research is to get an overview of project-based learning management in increasing students' creativity at SMAN 14 Bandung. Specific conclusions of this research: project-based learning planning at SMAN 14 Bandung in the form of teaching modules and collaboration project proposals for class X History and Indonesian language subjects, organizing project-based learning at SMAN 14 Bandung involves various elements consisting of the principal, curriculum, teachers, and students, the implementation of project-based learning at SMAN 14 Bandung is running by the project objectives, the results of students' ideas and creativity are in the form of cabaret performances, supervision of project-based learning at SMAN 14 Bandung is carried out by teachers as control of the implementation of project activities, teachers carry out the supervision process starting from preparation, implementation to evaluation of project activities.

You better work! Drag queen performativity and visibility on #dragqueen TikTok

The 2000s brought the proliferation of drag culture in the United States with RuPaul’s Drag Race, drag brunches and drag cabaret performances. In addition to the televisual, specifically reality television, drag queens also have gained visibility on a plethora of social networking sites like TikTok. Moreover, TikTok has gained rapid popularity with young adults since its international inception in 2016. Given that a large majority of TikTok users are in a pivotal stage of identity development, it is crucial to explore and analyse how marginalized groups, such as drag queens, present themselves and who has visibility on the platform. By applying visual thematic analysis and quantitative content analysis to #dragqueen and #drag TikTok videos, I found that TikTok as a platform makes White femme drag the most visible form of drag, and hegemonic performances of femininity (which are racialized and associated with Whiteness) are more likely to gain higher levels of engagement.

The potency of cabaret performance

The cabaret form, which was a popular form of performance practice in the early years of the last century, nowadays most often exists within the margins, but in the view of writer Metod Zupan, An Evening of Dance Solos (NDA Slovenija, 2022) by Dejan Srhoj relocates this form to the field of contemporary dance and explores the current trends in this genre of performance.

Jan Sawka: Theatre of Image and Metaphor

Jan Sawka: Theatre of Image and Metaphor

Review essay: Between the Material and the Ephemeral

Review essay: Between the Material and the Ephemeral

Des Moines Gay Men’s Chorus, Queer Spaces, Collectives Styles, and Activist Dress, 1984 to the Present

During the 1970s, people in the United States founded gay and lesbian choruses for political activism, coming out, and celebration. We examined the history of one of these choruses, the Des Moines Gay Men’s Chorus (DMGMC). We asked, how do their bodies in motion and styling-fashioning-dressing produce, distribute, and negotiate queer representations? How do they appear across space and time? How can these style-fashion-dress acts open multiple interpretations and dialectical subtleties? To answer these questions, we analyzed the original DMGMC slogan T-shirt, the digital archive of historical LGBT T-shirts, performance videos and imagery, song lyrics, news articles, and oral histories. The chorus members negotiated queer sensibilities, choral traditions, activism, and community building through their T-shirts and performance costumes in complex ways. They negotiated queer representations by creating temporary queer spaces during the AIDS crisis and highlighting how community and visibility have been significant in gay history. However, the chorus often prioritized an appropriate kind of gay man via dress, which they reinforced through racial-power dynamics, complex-gender associations related to tuxedos, and cabaret performance outfits that included nun’s habits. The chorus’ various collective styles esthetically represent how gay men’s choruses navigate entanglements of tradition, gayness, and music while reclaiming oppressive symbology.

‘Comme une chanson de Bruant’: marginality, nostalgia and protest during the 1968 years

AbstractThe ‘1968 years’ (1968–1981) witnessed a resurgence of interest in the late 19th-century singer-songwriter and cabaret performer Aristide Bruant (1851–1925). This article explores the social and cultural origins of this Bruant ‘moment’, arguing that it was linked both to a culture of marginality that emerged during the events of May–June 1968 and to a culture of nostalgia (‘la mode rétro’) first identified in 1973. It focuses on five performers who revived or renewed Bruant's legacy during the 1968 years: Mouloudji, Francesca Solleville, Marc Ogeret, François Béranger and Renaud.

Tricity Vogue’s ‘blueing up’ as sedimented resistance: Extravagant costume and the expanded field of dressing up

My focus in this article is to understand the way theatrical costume is performed in subcultural cabaret spaces, specifically The Blue Lady Sings Back by London-based cabaret singer Tricity Vogue. This show premiered at The Royal Vauxhall Tavern in the area of Vauxhall in South London that already has an embedded history of hedonistic pleasure. With reference to Dorita Hannah’s ‘expanded’ notion of costume as a ‘body-object-event’ and Jasbir Puar’s broader understanding of categories of race, gender and sexuality as events and bodily encounters, I seek to understand the way theatrical feminine costume enfolds dissident and marginalized histories of resistant urban space and site. In this show, Tricity Vogue undertakes multiple costume changes that embody various histories and contexts of cabaret performance: as Bollywood dancer Madhuri Dixit, as a European Marlene Dietrich-like cabaret singer and as a Josephine Baker-esque character in a banana skirt. All of this whilst wearing a blue stocking and blue body paint, effectively ‘blueing’ up. This steps into an uncomfortable territory in what could be seen as cultural appropriation, racial stereotyping and speaking for others. This concern also has currency within the contemporary burlesque community who are acutely self-conscious and politicized as regards this kind of costume and performative appropriation. Sara Ahmed’s conceptualization of feminist killjoys (2017) will be employed to better understand these difficult conversations about dressing up with Aoife Monks’ (2010) discussion of multiple costume changes being used as a strategy for ‘undoing’ stereotypes and rethinking a feminist ‘we’. By also drawing on diva studies, which builds on Lauren Berlant’s concept of ‘diva citizenship’, and postcolonial feminism, I will argue that the costumed cabaret body becomes a medium for women to politicize and reframe pleasure through the costumed spectacle of cabaret’s various erotic and exotic muses.

Ballroom Frenzy and the Clodoche Quadrille

For all the lip-service French culture pays to reason and logic, it undergoes periodic eruptions of déraison or unreason. In the wake of Napoleon’s defeat, ballroom dancing began to be infiltrated by such unbridled popular dances as the cancan and the chahut. Exuberant, even bacchanalian physical display served as a safety-valve in a heavily censored society. In the Second Empire, four working-class amateurs introduced the high-kicking, parodic Clodoche quadrille at the Paris Opéra. A non-verbal equivalent of the Marx Brothers, they became bywords through the Western hemisphere of zany, comic demonstrations of the hysteric convulsions described by the medical establishment. Laurence Senelick is Fletcher Professor Emeritus of Drama and Oratory at Tufts University, a Fellow of the American Academy of Arts and Sciences, and a contributor to the International Encyclopedia of Dance. His many books include British Music Hall: A Bibliography (1981), The Age and Stage of George L. Fox (1999), and Cabaret Performance 1890–1940 (2001–2005).

Four Cabaret Songs by Frank Wedekind

Benjamin Franklin (Frank) Wedekind (1864–1918) was a German poet, play­wright, essayist, and novelist. He had a passing job in advertising—he wrote jingles for Maggi seasoning and worked as publicist for a circus—and a more illustrious career as an actor and cabaret performer, mostly of his own mate­rials.

La poésie délivrée: le livre en question du Parnasse à Mallarmé par Nicolas Valazza

Reviewed by: La poésie délivrée: le livre en question du Parnasse à Mallarmé par Nicolas Valazza Kate M. Bonin Valazza, Nicolas. La poésie délivrée: le livre en question du Parnasse à Mallarmé. Droz, 2018. ISBN 978-2-600-05894-0. Pp. 336. In the last two decades of the nineteenth century, the publishing industry was booming: between 12,000 and 15,000 works published annually in France alone (20). Yet works of poetry were largely left out of this vast literary production. Valazza draws attention to how few of the canonical books of late nineteenth-century poetry actually were books: that is, printed, published, and promptly made available for purchase. Between censorship, posthumous publication, and even outright abandonment by their author (to cite one famous example, Rimbaud's 500 copies of Une saison en enfer, printed in 1873 but left at the publisher's shop, unclaimed and undiscovered until 1901), there is an important time gap between the production and critical reception of late nineteenth-century poetry, argues Valazza. The thesis of La poésie délivrée is that serious attempts to trace the evolution of poetic "modernity" must take into account poetry's chancy appearance and slow incubation, in distinct opposition to [End Page 238] the heyday of Romantic superstars such as Hugo, Vigny, and Lamartine. Valazza traces Parnassian poets' efforts to differentiate their aesthetic from the Romantics', not just in style, but also in form of delivery: e.g., poets banding together in collective volumes of the Parnasse contemporain rather than single-author published books. Yet the Commune divided Parnassian poets politically, sinking the commercial fortunes of pro-Commune poets such as Verlaine and Rimbaud even further. Moving away from Parnassus and its most popular voice, the now-all-but-forgotten Academician François Coppée, more licentious works (in both senses) opposed the moral posturing of the Second Empire and the Third Republic, but they also opposed the formal rigidity of Parnassus. Valazza analyzes these angry, funny, often scabrous works of older authors such as Gautier and Baudelaire, as well as younger voices (Verlaine, Glatigny, Rimbaud). These "marginal" works, cut, censored or blocked from "legitimate" publication, found expression in clandestine or anonymous editions, as well as ephemera such as short-lived reviews, albums, and cabaret performance. One example: the six poems censored from the 1857 Fleurs du mal wound up in Parnasse satyrique du dix-neuvième siècle, secretly published in Brussels. Valazza deftly traces the intertextuality between such works as the Album zutique and Verlaine's Cellulairement (written while the poet was incarcerated in Belgium 1873–75, unpublished until 1992), and François Coppée's bland (but popular) mediocrity. What more fitting illustration of "unliterary literature" (163) than Rimbaud's Illuminations: the scattered prose poems abandoned by Rimbaud himself, cobbled together by the Symbolist poet Gustave Kahn and published in partial form in 1886 (long after Rimbaud's own renunciation of the literary field): "un livre qui reste, en quelque sorte, en devenir," Valazza proposes (190). Rimbaud's (un)achievement prefigures Mallarmé's efforts to conceive an impossible "Livre," somehow dé-livré "du livre conventionnel" (216), leading to creative experiments with typography, use of white space, thickness of the paper and size of the page, but also (especially) to very little finished product. Memorable and thought-provoking, La poésie délivrée is a smart addition to studies of nineteenth-century poetry and the slippery evolutions of modernity. Kate M. Bonin Arcadia University (PA) Copyright © 2020 American Association of Teachers of French

Broken Records: Materiality, Temporality, and Queer Belonging in Mexican Drag Cabaret Performance

Author(s): Tenorio, David | Abstract: In this article, I examine the ways in which drag queens are represented in the literature of Latin American authors, such as Carlos Monsivais, and Severo Sarduy. I contrast these literary representations to build on what I call an ecology of drag, a network that looks at how material objects activate different modes of perception around queerness, such as saturation and fragmentation. I situate these modes of sensing in the cabaret performance of a drag queen from Mexico City, namely Roberto Cabral. Their performances expose how the politics of sexuality and race propose a critique of history by deploying parody, and cabaret. In this transversal approach to literature, satire, and performance, I argue that drag culture combines affect and a critique of history to foster a sense of belonging in entertainment venues so as to give shape to sexual dissidence in contemporary urban Mexico. This form of sexually dissident culture can be better understood by the notion I refer to as broken record, an affective drive that connects queer memory with the sonic experiences of listening to Mexican romantic ballads. By alluding to popular songs, and literature, I associate drag performance with a repertoire of queer cultural practices that seek to foster a sense of belonging under the economies of queer nightlife. Broken records complicate the linearity of time condensed in a nostalgic nationalism, intermixing temporality, experience, and queer cultural production in the era of neoliberalism, as the practices of consumption turn sexual dissidence into a cultural capital with which queer collectives negotiate everyday life. This sense of brokenness of records metaphorically illustrates historical silences, erasures, violent acts, and misrepresentations sexual dissident cultures endure for social world-making. In this sense, drag performance is a queer cultural form that alters practices of consumption by generating belonging mediated by a sonic affectivity within global queer imaginaries, satirizing a national nostalgia for the masculinization of heroic figures, while ruffling conceptualizations of Mexican popular culture.

From Tuxedo to Gown: Dietrich's Haunted Dressing Room(s)

From Tuxedo to GownDietrich's Haunted Dressing Room(s) Bridget Sundin (bio) The Haunted Queer Body—An Introduction Although many feminist film scholars have written about Marlene Dietrich's body through the lens of feminist theory, psychoanalysis, and semiotics—particularly in the 1990s1—there is a current gap in performance studies literature regarding ways in which Dietrich's always already femme fatale body is haunted not only by her celebrity, but by her previous roles as a stage cabaret performer, which contain explicitly queer content. My essay joins the ongoing conversation about queer embodiment by braiding together three strands of theory in regard to Marlene Dietrich's theatrical performances on screen: performance phenomenology, haunting/ghosting, and queer futurity. In order to create a fuller understanding of the potential of the queer body to resist, subvert, invent, and become, I position the dressing room as both a metaphorical and literal space of transformation. This article focuses on Marlene Dietrich's queer female embodiment and her theatrical use of tuxedo-and gown-drag, specifically situating this theatrical site of gender transformation to be the dressing room space in Josef von Sternberg's 1930 film Morocco.2 To theorize Dietrich's queer-haunted embodiment in this space, I lean on Marvin Carlson's theory of ghosts and hauntedness as a method for grounding the intertextuality of Dietrich's body as she changes from tuxedo to gown.3 I utilize my own performative queer voice in this essay as a deliberate addition to the academic archive. Embodied experiences, particularly those of marginalized populations, have historically been omitted from the archive.4 By discussing Dietrich's queer embodiment using my own queer embodied voice, [End Page 109] I join scholars who are also creating new forms of theorizing queer embodiment as well as creating new methods of queer historiography. The Dressing Room: A Haunted (Queer) Space for a Haunted (Queer) Body Have you been in a dressing room before? Can you remember how it looks? How it smells? Can you go a little further and feel backward5 affectively through time to an instance when you sat at a mirror putting on stage makeup, glancing over at a bouquet of flowers an admirer sent you, and maybe—if you try hard enough—can you even read the little rectangular card that says, "Break a leg!"? As I begin the body of my essay, I hope you are with me in this dressing room where the power of potential transformation buzzes in the air. Yes, there is a particularly embodied and heightened energy that takes place in a dressing room prior to a performance that involves a performer managing material objects and harnessing an array of converging internal conditions before taking the stage. The dressing room is a space unlike other theatrical spaces, in which bodies can transform into beings that have only existed in the imagination. It is here that audiences and performers alike expect the actor's embodiment to shift from ordinary to extraordinary through the use of costuming and makeup. Depending on the theatre's architecture and/or the context of a performance itself, a dressing room experience can run a wide range. A performer may encounter everything from a no-frills makeshift curtain hung from PVC pipe in an offstage corner next to the prop table to a luxurious private dressing room complete with upscale furniture and warm, cozy lighting. As a performer moves incrementally toward the heart of a performance—from the street outside, through the stage door, into the dressing room, then off to the wings, and finally onto the stage itself—an actor uses these spatial markers to transition from their personal identity into the identity taken on in the performance onstage. The average person does not often (or ever) see this journey toward the stage. However, Marlene Dietrich starred in many films that grant us access to this journey. In these films, audiences are allowed a glimpse at such a theatrical transformation as layers are peeled back from both the on-and off-stage embodiment of a cabaret performer. It seems only fitting at this time to invite the ghost of Marlene Dietrich, dressed as Amy...

"The Satin Sisters": Performing Afro-Filipina Women's Intimacies through Felt Architectures

132 CLA JOURNAL “The Satin Sisters”: Performing Afro-Filipina Women’s Intimacies through Felt Architectures Jewel Pereyna “The earth cannot move without music.” —Sun Ra, Space is the Place, 1974 “When Jessica and Ntozake performed their work together, with the dancers and the music, they could stir a crowd to an obsessive frenzy, the language hit such a chord in the time.” —Steven Vincent, The Poetry Reading, 1981 On Dec. 22, 1974, Ntozake Shange, Jessica Hagedorn, Paula Moss, and Elvia Marta performed the first showing of for colored girls who have considered suicide / when the rainbow is enuf. Shange’s famous choreopoem, which initiated as a four-woman performance piece set in the women’s bar Bacchanal (1369 Solano St. in Berkeley, California), turned into the first major Black feminist Broadway production at the Joseph Papp Public Theater in 1976. A celebration of Black feminist intimacy and girlhood, today high school and university students continue to perform for colored girls. Major theaters still sing the words that Shange first published in Oakland with Alta Gerrey’s Shameless Hussy Press. With dancers Paula Moss and Elvia Marta, Shange transformed the textuality of for colored girls into a piece intermixed with choreography, song, and dance. In addition, fellow collaborator and Filipina American writer Jessica Hagedorn and college classmate and Black feminist poet Thulani Davis were the first co-performers of this piece. Both women influenced Shange’s literary and theater career. Hagedorn, Davis, and Shange’s friendship and artistic collaborations demonstrate an overlooked narrative of Black and Filipina American feminist artistic alliances during the political and artistic emergence of the Black Arts, Third World Liberation, and women of color feminist movements. In particular, Hagedorn and Shange traveled and performed at readings together in the San Francisco Bay area and New York City. With poet Thulani Davis, who was one of Shange’s closest friends and writing partners at Barnard College, they formed a trio called “The Satin Sisters” and co-authored plays and poems together. Hagedorn and Shange’s coupled performances embodied Third Worldist visions for Afro-Asian racial and feminist unity. However, current scholarship seldom analyzes Filipino and African CLA JOURNAL 133 Performing Afro-Filipina Women’s Intimacies through Felt Architectures” American feminist solidarities, often privileging masculinist Afro-(East)Asian nationalisms.1 This article mediates these gaps by mining through fragmented archives—both print and expressive cultures that are archived at University of California Berkeley, Barnard College, and Emory University—that reveal political possibilitiesof “Afro-Filipina”women’sintimaciesthroughsoundandperformance. Hagedorn and Shange’s unique collaborations adopted what Shange termed “felt architectures”:sensorial spaces that center female intimacies and resistance through sound, touch, sight, and dance (Shange x). Mapping these felt spaces, where Hagedorn and Shange’s coupled performances contend with gender, sexuality, and race, this article analyzes their intimacies intertwined in the productions of for colored girls (1975) and their lesser known traveling cabaret performance where the mississippi meets the amazon (1978). Apryl Berney’s article “In the Basement: AfroAsian Teenage Female Alliances in Post-War America”focuses on the Afro-Filipino collaborations between singers Etta James and Sugar Pie DeSanto. Drawing from Gayle Theresa Johnson’s ideas of “spatial entitlement,” Berney’s article argues how girls in interracial music groups in the 1950s“used technology, creativity, and sonic spaces to construct new collectivities across racial and ethnic lines” in the Bay Area (Berney 1). Building off of Berney’s constructive work, this article uses the term “felt architectures” to examine how the “Satin Sisters” constructed these sites of intersubjective intimacy in their poetic performances by layering their voices on top of one another, giving eye contact, and ultimately alluding to each other in their poems, which were written as homages to one another. As playwright and former for colored girls actress Laurie Carlos explains, “[for colored girls] developed through an interracial, organic process of creating work from ritual, in which looking at each other, and loving each other in performance was as important as the words and the movement” (Dolan). Through their intersubjective aesthetics the “Satin Sisters” created, this article seeks to theorize and index the possibility of political Afro-Filipino women’s friendships within these theater spaces as acts of...

De oudejaarsconference van Claudia de Breij

Abstract This written version of various conversations came into being as a response to Dutch entertainer Claudia de Breij’s 2016 New Year’s Eve cabaret performance. We were enticed to write something about this performance because of the numerous ambiguities that were present in it. What was striking was the fact that we, a group of Dutch and Belgian academics and activists, working in different disciplines but united by our mutual interests in and passion for the themes of (super-)diversity, gender and sexuality, and religion and societal matters, each interpreted this performance differently. From a conciliatory, interconnecting cabaret performance in which alterity and difference were (re)presented as something positive, to a performance that confirmed already-existing stereotypes rather than subverting them: all these different interpretations and impressions are explained in detail in the following diffractive dialogue that was engendered by and through various conversations that took place in Utrecht, the Netherlands in January, May, August, and September 2017.

Techniki komponowania obrazowania w tekstach kabaretonu

Artykuł stanowi analizę technik komponowania obrazowania w tekstach kabaretonu. Autorzy wychodzą z założenia, że dyskurs kabaretowy to układ interakcyjny, w którym standardowym celem zachowania komunikacyjnego twórców kabaretowych jest rozśmieszanie audytorium, a standardowy cel podjęcia roli odbiorcy tekstu kabaretowego stanowi zabawa. Twórcy kabaretowi do budowania obrazowania korzystają z innych dyskursów, zatem autorzy próbują odpowiedzieć na następujące pytanie badawcze: Jakie sposoby operowania dyskursem(ami) doprowadzają twórców kabaretowych do osiągnięcia celu interakcyjnego? Materiałem empirycznym jest skecz popularnej polskiej grupy kabaretowej Nowaki pt. Nauczyciele. Metodologia badania opiera się przede wszystkim na założeniach gramatyki komunikacyjnej. Analiza pokazuje, że dyskurs kabaretowy operuje technikami obrazowania, które kreują niestandardowe punkty dostępu do skryptów, scenariuszy czy stereotypów, bazujące na ich pogwałceniu lub negatywnej hiperbolizacji, wykorzystujące repertuar środków językowych, takich jak metafora, intertekstualność, polisemia, operacje na poziomie fonologicznym czy odniesienie do hyperdyskursu.

That's My Story and I'm Sticking To It

Cindy Scott is a proud lesbian woman and a survivor of the Huronia Regional Centre (HRC), an institution that housed persons diagnosed with intellectual disabilities 1876-2009. She is known for her work in Orillia, Ontario speaking about institutionalization and on behalf of residents who died and were buried in the cemetery on HRC grounds. For the past four years, Cindy has been a co-researcher working with Recounting Huronia: a collective of researchers, artists, and survivors using arts-based and storytelling methods to return to and preserve lived memories of the HRC. The research team often operated in pairs, in monthly workshops that used scrapbooking, poetry, cabaret performance, and other arts-based methods to articulate traumatic memories. The stories told here came from workshop exchanges between Cindy and fellow Recounting Huronia member Jen Rinaldi, and are anchored in scrapbook entries they developed together in Recounting Huronia workshops. Cindy retold these stories for Jen to transcribe, and Jen has provided some context via footnotes.

Trauma From the Past

Carrie Anne Ford lived most of her childhood in the Huronia Regional Centre. Even though she grew up in a place that was very unkind, she is an expert in caring for animals and children. She is also great singer who won a trophy. Carrie Anne can see and name the truth in hard cases, and speaks frankly about weakness and pain at Huronia. Now that her partner has died, Carrie Anne is still proud of her 26-year marriage. For the past four years, Carrie Anne has been a co- researcher working with Recounting Huronia: a collective of researchers, artists, and survivors using arts-based and storytelling methods to return to and preserve lived memories of the HRC. The research team often operated in pairs, in monthly workshops that used scrapbooking, poetry, cabaret performance, and other arts-based methods to articulate traumatic memories. Carrie Anne worked closely with Kate Rossiter during this time, and began to articulate her experience of living at Huronia through writing and art. Carrie Anne wrote this history on her own, then worked with Kate Rossiter who compiled and transcribed this work.

Brief Amicus Curiae of the American Jewish Committee, Et Al.

Motion filed March 1 to file this brief in appeal concerning art previously belonging to Fritz Grunbaum, a Viennese cabaret performer the Nazis imprisoned in Dachau. The brief discusses how courts must understand the historical context of the Shoah in deciding such cases and how the HEAR Act unified statute of limitations analysis throughout the nation. Amici represented are the American Jewish Committee, Omer Bartov, Michael Bazyler, Haim Beliak, Michael Berenbaum, Donald Burris, Judy Chicago, Richard Falk, Hector Feliciano, Eugene Fisher, Irving Greenberg, Peter Hayes, Douglas and Marjorie Kinsey, Douglas Kmiec, Marcia Sachs Littell, Hubert Locke, Carrie Menkel-Meadow, Bruce Pauley, John Pawlikowski, Carol Rittner, John Roth, Randol Schoenberg, William Shulman, Stephen Smith, Alan Steinweis, Melvyn Weiss, Donald Woodman, and Jonathan Zatlin, in Support of Plaintiffs-Respondents.

The O'Neill: The Transformation of Modern American Theater

The O'Neill: The Transformation of Modern American Theater