Theatre Symposium

by Curry, J. K.; Wallace, E. Bert

• ISBN13: 9780817370053
• ISBN10: 0817370056
• Format: Paperback
• Copyright: 2010-10-28
• Publisher: Univ of Alabama Pr

Summary

Stage properties are an often-ignored aspect of theatrical productions, in part because their usage is meant to be seamlessly integrated into the performance instead of a focal point for the audience. However, a skillfully used prop can augment the action, just as a malfunctioning prop can destroy the illusion of the scene. The essays in ;Theatre Symposium: Volume 18 ; approach the subject of stage props from many angles, and include examinations of props in contemporary and historical productions, explorations of the cultural significance of specific props, and arguments about the nature of the prop itself. The contributors illuminate many aspects of this largely ignored yet crucial part of the theatre. Kyna Hamill looks at props as a means to mark social status. Christine Woodworth addresses the challenges presented by using blood onstage, while Andrew Sofer discusses the use of prop corpses on the Shakespearean stage. Andrew Kimbrough moves from an examination of actors' use of props to a consideration of audience response to performance. Other essays investigate specific objects or productions, and introduce provocative and original perspectives to the growing discussion about stage properties.

Table of Contents

Introduction	p. 5
Through the Eyes of the Property Director	p. 8
ôSummon up the Bloodö: The Stylized (or Sticky) Stuff of Violence in Three Plays	p. 11
Helen's Theatrical Mêchanê: Props and Costumes in Euripides' Helen	p. 23
A Cannonade of Weapons: Signs of Transgression in the Early Commedia dell'arte	p. 36
Adding Some ôPEPö (ôProto-Expressionistic Propsö) to the Swedish Stage: Strindberg's Property Usage and His Intima Teater	p. 48
Rattle Away at Your Bin: Women, Community, and Bin Lids in Northern Irish Drama	p. 56
Bearing Witness: The Noose as an Iconic Prop in African American Theatre	p. 67
Hawaiian Culture Propped High with Meaning: The Lei Hoaka in Victoria Nalani Kneubuhl's Emmalehua	p. 83
Revisiting Eva Marie Saint's White Glove: On Props, Neurons, Subtext, and Empathy	p. 99
From Props to Affordances: An Ecological Approach to Theatrical Objects	p. 116
ôTake up the Bodiesö: Shakespeare's Body Parts, Babies, and Corpses	p. 135
Contributors	p. 149
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