Peter Zazzali

Biographic Data

ID1444456
NAMEPeter Zazzali
GIVEN NAMESPeter
FAMILY NAMEZazzali
SIGNATUREZAZZALI P
AFFILIATIONSGZA Ziekenhuizen Campus Sint-Augustinus
ORCID0009-0003-2794-2612
VERIFIEDYes
TOTAL WORKS7
TOTAL CITATIONS3
WORKS AS AUTHOR7
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2008
LATEST PUBLICATION YEAR2023
H-INDEX1

  • From Antigone to Mother Courage

    Peter ZazzaliARTICLEThe European Legacy2023

  • Culture, Identity and Actor Training

    Open AccessPeter ZazzaliARTICLETheatre Research International2021

    How can indigeneity be understood through training actors in a colonial context? Do ‘Western’ acting schools misrepresent and exploit indigenous practices and cultural traditions towards reinforcing the settler state? Or does a given school's integration of such praxis and customs demonstrate inclusivity, equity and progressivism? At what point does incorporating indigeneity in actor training become a tokenistic appropriation of marginalized cult…

  • Utopia in Actor Training

    Peter ZazzaliARTICLEPerformance Research2020

    Can actor training be seen as a utopic enterprise? In her groundbreaking work, Utopia in Performance, Jill Dolan posits theatre as a ‘placeholder for social change’ by virtue of ‘its openness to human interactions [and] exchange (Dolan: 63)’. Actor training bears the same potential, insofar as it invites intersectionality and eclipses geographic and cultural borders. It affords promise for a more equitable, inclusive, and diverse world. As such, …

  • Trying to UnderstandWaiting for Godot

    Peter ZazzaliARTICLEThe European Legacy2016

    Adorno had such an affinity for Beckett that he dedicated his posthumously published work, Aesthetic Theory, to him. In 1961, he wrote a thoughtful—if dizzyingly complex—tribute to Beckett’s play, Endgame, a work that models many aspects of Adorno’s cultural criticism. My aim, accordingly, is to offer an Adornian reading of Beckett’s Waiting for Godot by drawing upon his critiques of music, aesthetics, and the culture industry. My goal is twofold…

  • The Role of Theatre in Society

    Peter ZazzaliARTICLEThe European Legacy2013

    This article analyzes the socio-cultural theories of Adorno, Benjamin, and Brecht through the lens of the theatre, most especially as it pertains to the work of actors. It explores the forces of capitalism that determine how art is produced, distributed, and consumed. Following Adorno’s reading of Marx, actors are here posited as commodities whose labor is separated from the product they create for public consumption. This commodification raises …

  • Let Our Freak Flags Fly

    Jessica Brater, Jessica Silsby Brater et al.ARTICLETheatre Journal2010Cited by: 3References: 1

    Let Our Freak Flags Fly': Shrek the Musical and the Branding of Diversity" argues that DreamWorks used Shrek the Musical to exploit a generic theme of multiculturalism to extend the reach of the Shrek franchise and challenge Disney's domination of the Broadway market. By bringing a political-economic analysis to bear on the study of commercial theatre, the essay shows that DreamWorks's marketing strategy-diversification-provided the theme-diversi…

  • Did Meyerhold Influence Brecht? A Comparison of Their Antirealistic Theatrical Aesthetics

    Peter ZazzaliARTICLEThe European Legacy2008

    As two of the most important twentieth-century theatre directors, Bertolt Brecht and Vsevolod Meyerhold shared striking artistic, personal, and professional similarities. In addition to their middle-class background, both were the sons of merchants, well educated, politically persecuted, and exposed to the cultural innovations that spread throughout Germany and Russia during the 1920s and 1930s. Although Brecht's legacy is more salient, Meyerhold…