Marvin Carlson
Biographic Data
| ID | 3608915 |
|---|---|
| NAME | Marvin Carlson |
| GIVEN NAMES | Marvin |
| FAMILY NAME | Carlson |
| SIGNATURE | CARLSON M |
| AFFILIATIONS | City University of New York |
| ORCID | 0000-0001-6629-4230 |
| VERIFIED | Yes |
| TOTAL WORKS | 63 |
| TOTAL CITATIONS | 49 |
| AUTHOR COUNT | 62 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1974 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 4 |
Terror and horror in contemporary Iraqi theatre
Terror and horror form the fabric of the Iraqi theatre post-2003. Many factors accelerated the growth and spread of this phenomenon. Among them are the atrocities of war, the US invasion of Iraq, and sectarian conflict. Iraq has witnessed extreme violence, which has deeply affected many aspects of cultural production, and in particular, the rise of terror and horror in dramatic works of art. This article examines two plays, namely, Jawad Al Assad…
LeAnn Fields and University of Michigan Press
In 1987, LeAnn Fields acquired Lynda Hart‘s Making a Spectacle: Feminist Essays on Contemporary Women’s Theatre. By the time Fields retired in 2024, she had built a list of more than 280 books in the field of theatre and performance studies at the University of Michigan Press. Hart’s Making a Spectacle is a foundational and still radical book of critical essays on gender, the body, and spectatorship, topics that continue to chart and reverberate …
Sixty Years of Theatre Studies: A Personal and Professional Odyssey
This personal history of how the field of theatre studies in the United States has evolved during the author’s academic career begins with his entrance to doctoral studies at Cornell University in 1959 and continues to the present. Among topics covered are the national professional organizations and journals, and the changing interpretations of the scope and definition of the field itself
Theater and Spectacle in the Art of the Roman Empire by Katherine M. D. Dunbabin
Reviewed by: Theater and Spectacle in the Art of the Roman Empireby Katherine M. D. Dunbabin Marvin Carlson THEATER AND SPECTACLE IN THE ART OF THE ROMAN EMPIRE. By Katherine M. D. Dunbabin. Cornell Studies in Classical Philology. Ithaca, NY: Cornell University Press, 2016; pp. 344. The rise of an interest in popular culture and non-literary performance during the past generation has radically changed our concept of Western theatre history from t…
Modern Theatre's Expansion into Reality
Although the tension between the real and the illusion based upon it are at the heart of the theatrical experience, in the final years of the twentieth century and the opening years of the twenty-first, many theatres in Europe and the United States became particularly interested in calling attention to the real in their work. Although Hans-Thies Lehmann in his Postmodern Theatre (2006) devotes a few pages to this phenomenon, as one type of postmo…
African Theatre 14: Contemporary Women
Medieval Street Performers Speak
The recent discovery of three 13th-century plays by the Egyptian dramatist Ibn Dāniyāl offers many new insights into the medieval theatre. The second of these plays provides detailed scripts and scenarios for street performers of this era, a type of record that does not exist for similar performances in Europe
Negotiating Theatrical Modernism in the Arab World
Although unquestionably profoundly influenced by European discussions and experiments in theatrical modernism, the Arab world of the nineteenth and twentieth centuries reacted to these discussions and experiments within the context of its own internal tensions and concerns, among them the introduction into that world of theatre practice in the European mode in general. The pioneers of a European-style theatre in Lebanon and Egypt prepared the way…
Orature
Since the Byzantine rulers shared the Roman interest in theatre or at least in theatricalized spectacle, it is quite possible that the century of their somewhat tenuous control over the Maghreb encouraged some revival of such activity, at least in the coastal cities, but the historical record does not provide clear evidence of this. Certainly with the arrival of the new conquerors, the Arabs, little was preserved of the first Western-style theatr…
Nineteenth-Century European Theatres
The development of modern, European-style theatre in the Maghreb is here, as in much of the world, closely associated with the colonial era, but European colonialism operated in very different ways in what is now Algeria, Tunisia, and Morocco, and although the development of the modern theatre in these three countries has many similar features and shares important common reference points, there are also distinct differences, reflecting the very d…
The Theatres of Morocco, Algeria and Tunisia: Performance Traditions of the Maghreb
Modern international studies of world theatre and drama have begun to acknowledge the Arab world only after the contributions of Asia, Africa and Latin America. Within the Arab world, the contribution
O Entrelaçamento dos Estudos Modernos da Performance e as Correntes Atuais em Antropologia
Este texto propõe uma discussão da relação entre a Performance, o Teatro e a Antropologia. Apresentam-se as origens das relações entre performance e antropologia, elencando as principais ideias dos pioneiros norte-americanos e franceses. Comparam-se os relacionamentos entre artistas e antropólogos como Richard Schechner e Victor Turner, Eugenio Barba e Kirsten Hastrup. Por fim, problematiza-se os movimentos e as diferentes compreensões de perform…
Concerning Theory for Performance Studies
In 2007, Routledge published Theory for Performance Studies as part of its Theory 4 series, listing Philip Auslander as author. When, in August, The Chronicle of Higher Education revealed that much of the book was lifted word-for-word from the template for the series, Theory for Religious Studies by Timothy K. Beal and William E. Deal, TDR editor Richard Schechner convened via email and phone conversations a “TDR Forum,” asking leaders in the fie…
David Levine's Bauerntheater: The Return of the Matrix
In May 2007, David Levine's experimental performance in Brandenberg attracted international attention for its unique blending of endurance art, land art, concept art, site-specific performance, and traditional theatre. A key innovation was its challenge to the distinction drawn by Michael Kirby in the 1960s between the “matrixed” action of traditional theatre and the “nonmatrixed” action of the Happening. By creating a dramatic matrix for an acto…
Intercultural theory, postcolonial theory, and semiotics: The road not (yet) taken
Elam's observation that during the past decade or so the semiotic approach to theatre studies has lost its cultural and academic prominence seems unquestionable, even though it should be qualified with the observation made by Sue-Ellen Case and many other prominent theatre theorists that almost all modern theatre theory is based on the semiotic project. Perhaps nowhere was the attempt to move beyond semiotics more strongly marked than in the vari…
Al-halqa in Arabic Theatre: An Emerging Site of Hybridity
Traditional Western scholarship on Arabic theatre has borne a strong colonialist imprint, interpreting such theatre almost entirely as a form borrowed from Europe and essentially developed according to European practice. In the later twentieth century, however, more attention has been paid both by Arab scholars and dramatists to performance techniques and practices from their own culture. Of particular importance has been the circular space, the …
I Am Not an Animal”: Jan Fabre's Parrots and Guinea Pigs
Animal presence unsettles practices of spectatorship and reframes assumptions about embodiment and affect in four differently exemplary animal performances, including one dating back to the 18th century. In all of them, the ethics of watching other animals, human or nonhuman, and the call for evaluation and judgment is complicated by recognition of the multiplicitous and mysterious nature of pain and pleasure
Books
September 01 2005 The Archive and the Repertoire: Performing Cultural Memory in the Americas The Archive and the Repertoire: Performing Cultural Memory in the Americas. By TaylorDiana Marvin Carlson Marvin Carlson Distinguished Professor of Theatre and Comparative Literature at the Graduate Center of the City University of New York Search for other works by this author on: This Site Google Scholar Author and Article Information Marvin Carlson Dis…
The Theatre Journal Auto Archive: Marvin Carlson
My hometown of Wichita, Kansas, was hardly a hotbed of theatrical activity, or indeed of much of any activity except farming and the building of airplanes in the 1940s and early 1950s when I was growing up there. Still, there was a modest amount of theatre at the local colleges and occasionally the road show of a recent Broadway production. It was such a touring show that gave me my first revelation of what theatre might be, the touring productio…
A Forum on Theatre and Tragedy: A Response to September 11, 2001
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
The Resistance to Theatricality
SubStance - Issue 98/99 (Volume 31, Number 2&3), 2002
The Haunted Stage: The Theatre as Memory Machine
Th Cairo International Festival for Experimental Theatre, Cairo, Egypt, 1-11 September 1999 (review)
Two years ago Holly Hill reported in this journal on the ninth annual Cairo International Festival for Experimental Theatre. The Festival has continued to grow both in number of productions (seventy-three this year) and number of countries represented (this year forty-three). The pleasures of the Festival are many, but chief among them is the opportunity to visit and explore one of the world's most fascinating cities. Exploration is encouraged by…
Measure for Measure (Kisasa Kisas) (review)
Books
June 01 1998 From Acting to Performance: Essays in Modernism and Post-modernism; Unmaking Mimesis: Essays on Feminism and Theater; Mourning Sex: Performing Public Memories From Acting to Performance: Essays in Modernism and Post-modernism. By AuslanderPhilip . London: Routledge, 1997; 173 pp. $55.00 cloth, $13.99 paper.Unmaking Mimesis: Essays on Feminism and Theater. By DiamondEhn . London: Routledge, 1997; xvi + 226 pp. $70.00 cloth, $18.99 pap…
Places of Performance: The Semiotics of Theatre Architecture
The Theatres of Morocco, Algeria and Tunisia: Performance Traditions of the Maghreb
Modern international studies of world theatre and drama have begun to acknowledge the Arab world only after the contributions of Asia, Africa and Latin America. Within the Arab world, the contribution
Al-halqa in Arabic Theatre: An Emerging Site of Hybridity
Traditional Western scholarship on Arabic theatre has borne a strong colonialist imprint, interpreting such theatre almost entirely as a form borrowed from Europe and essentially developed according to European practice. In the later twentieth century, however, more attention has been paid both by Arab scholars and dramatists to performance techniques and practices from their own culture. Of particular importance has been the circular space, the …
Performing Drama/Dramatizing Performance: Alternative Theater and the Dramatic Text
Examines how the intertwining paths of avant-garde theater and mainstream drama work to produce provocative new forms
Theatrical Performance: Illustration, Translation, Fulfillment, or Supplement
Theatre theorists of the romantic period agreed almost without exception upon the arbitrariness of neoclassic rules in general and the unities of time, place, and genre in particular. Rejection of these rules, however, by no means implied that works of art lacked organizing principles, and one of the first concerns of romantic theory was the discovery and description of such features. Shakespeare was invaluable to these critics as his success was…
Negotiating Theatrical Modernism in the Arab World
Although unquestionably profoundly influenced by European discussions and experiments in theatrical modernism, the Arab world of the nineteenth and twentieth centuries reacted to these discussions and experiments within the context of its own internal tensions and concerns, among them the introduction into that world of theatre practice in the European mode in general. The pioneers of a European-style theatre in Lebanon and Egypt prepared the way…
O Entrelaçamento dos Estudos Modernos da Performance e as Correntes Atuais em Antropologia
Este texto propõe uma discussão da relação entre a Performance, o Teatro e a Antropologia. Apresentam-se as origens das relações entre performance e antropologia, elencando as principais ideias dos pioneiros norte-americanos e franceses. Comparam-se os relacionamentos entre artistas e antropólogos como Richard Schechner e Victor Turner, Eugenio Barba e Kirsten Hastrup. Por fim, problematiza-se os movimentos e as diferentes compreensões de perform…
A Forum on Theatre and Tragedy: A Response to September 11, 2001
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
The Resistance to Theatricality
SubStance - Issue 98/99 (Volume 31, Number 2&3), 2002
The audience as/for Accomplice: Code-breaking in the comedy thriller
The Lady from the Sea
The Golden Age of the Boulevard
To the theatre historian, the year 1830 means Hugo and the premiere of Hernani. For the great majority of the theatre public of the period, however, Hugo was a name scarcely known and the battle of Hernani was a minor passing scandal. Neither the new romantic experiments nor the declining neoclassic tradition they were attempting to replace represented theatre to this public. For them, theatre was the rope-dancing of Mme. Saqui, the pantomimes of…
The Golden Age of the Boulevard
To the theatre historian, the year 1830 means Hugo and the premiere of Hernani. For the great majority of the theatre public of the period, however, Hugo was a name scarcely known and the battle of Hernani was a minor passing scandal. Neither the new romantic experiments nor the declining neoclassic tradition they were attempting to replace represented theatre to this public. For them, theatre was the rope-dancing of Mme. Saqui, the pantomimes of…
Goethe and the Weimar Theater
Goethe and the Weimar Theatre
Goethe and the Weimar Theatre
Goethe and the Weimar Theatre
The semiotics of character names in the drama
Contemporary concerns in the semiotics of theatre
Theatrical Performance: Illustration, Translation, Fulfillment, or Supplement
Theatre theorists of the romantic period agreed almost without exception upon the arbitrariness of neoclassic rules in general and the unities of time, place, and genre in particular. Rejection of these rules, however, by no means implied that works of art lacked organizing principles, and one of the first concerns of romantic theory was the discovery and description of such features. Shakespeare was invaluable to these critics as his success was…
Roméo Et Juliette
Kung Lear
Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present
The Italian Shakespearians: Performances by Ristori, Salvini, and Rossi in England and America
The Italian Shakespearians: Performances by Ristori, Salvini, and Rossi in England and America
Journeys among the Dead
Of Things, Selves, and Singers: New Studies in the Theory of Theater
The Old Vic: A semiotic analysis
To Damascus
The Theatre as Civic Monument
When the opera was invented the late Renaissance, its creators generally fancied that they were reviving the modes of classical performance, but the event their experiments were so much more conditioned by the cultural assumptions and codes of their own period that the result was an entirely new genre. Nowhere is the difference between classic theatre and Renaissance opera more striking than the physical spaces created the performance of each. He…
Patrice Pavis, Marivaux à l'Epreuve de la Scène. Paris: Sorbonne, 1986. 255 FF
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Local semiosis and theatrical interpretation
Hamlet
Theatre Semiotics: Signs of Life
Theatre semioticians have to date concerned themselves primarily with the semiotics of the literary dramatic text, the semiotics of the physical enactment of this text, or the relationship between the two. Theatre Semiotics offers a broader, differently oriented analysis, balancing consideration of the ways theatrical signs are produced with the ways they are received and creatively interpreted by a public. The theatre experience is here regarded…
Places of Performance: The Semiotics of Theatre Architecture
The Lady from the Sea
When We Dead Awaken
Art (48 works) · History (28 works) · Theatre and Performance Studies (24 works) · History (21 works) · Literature (21 works) · Philosophy (18 works) · Visual arts (17 works) · Art history (14 works) · Sociology (13 works) · Aesthetics (12 works)