UA68/17/2 Potter College of Arts & Letters Theatre & Dance Western Players / Summer Players

Records created by and about the Western Players theater group including the Summer Players

Assassins

https://digitalcommons.lasalle.edu/themasque/1097/thumbnail.jp

The Woman in Red

In this collection of narrative poetry, Cynthia Hogue layers dream-like images over one another to convey a sense of what it means to be a woman—though as Pamela Stewart mentions in her preface, “there are no cozy earth-mothers, simplistic in their decorative aprons.... This is not ‘women’s poetry’ in any publisher’s-blurb sense.” Hogue’s women question identity and sex and being, as does the speaker of “The Seal Woman,” who sees her sisters transformed into humans by the calls of the men ashore. “They come down to the water to keen/ for their lost skin/...But I\u27ve caught/ their gaze and—dry so long—/ their eyes fill with the sea.

Sleep, watch, and extended cognition in Spenserian epic and Shakespearean drama / Slaap, wake en gesitueerde cognitie in de epiek van Spenser en het toneelwerk van Shakespeare

Stephanie Schierhuber studied sleep in early modern literature and drama. She found that sleepers use cognitive extension to outsource their attentional capacity during sleep in order to mitigate vulnerability. Her research provides a means for literary scholars to interpret sleep and contributes to the development of extended mind theory. [Full abstracts within the thesis are in English and Dutch

The UCF Report, Vol. 20 No. 18, April 3, 1998

Plan puts retirement on hold, not pension: Program lets workers stay on job up to 5 years while collecting pension; Bookstore moves to temporary home; Student service units to merge

Digital Theatre: A "Live" and Mediated Art Form Expanding Perceptions of Body, Place, and Community

This work discusses Digital Theatre, a type of performance which utilizes both "live" actors and co-present audiences along with digital media to create a hybrid art form revitalizing theatre for contemporary audiences. This work surveys a wide range of digital performances (with "live" and digital elements, limited interactivity/participation and spoken words) and identifies the group collectively as Digital Theatre, an art form with the flexibility and reach of digital data and the sense of community found in "live" theatre. I offer performance examples from Mark Reaney, David Saltz, Troika Ranch, Gertrude Stein Repertory Theatre, Flying Karamazov Brothers, Talking Birds, Yacov Sharir, Studio Z, George Coates Performance Group, and ArtGrid. (The technologies utilized in performances include: video-conferencing, media projection, MIDI control, motion capture, VR animation, and AI). Rather than looking at these productions as isolated events, I identify them as a movement and link the use of digital techniques to continuing theatrical tradition of utilizing new technologies on the stage. The work ties many of the aesthetic choices explored in theatrical past by the likes of Piscator, Svoboda, Craig, and in Bauhaus and Futurist movements. While it retains the essential qualities of public human connection and imaginative thought central to theatre, Digital Theatre can cause theatrical roles to merge as it extends the performer's body, expands our concept of place, and creates new models of global community

The Missouri Miner, August 28, 1985

https://scholarsmine.mst.edu/missouri_miner/3405/thumbnail.jp