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Charlotte Canning

Biographic Data

ID3981635
NAMECharlotte Canning
GIVEN NAMESCharlotte
FAMILY NAMECanning
SIGNATURECANNING C
VERIFIEDNo
TOTAL WORKS7
TOTAL CITATIONS5
WORKS AS AUTHOR7
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1993
LATEST PUBLICATION YEAR2009
H-INDEX1
  • In the Interest of the State

    Charlotte M Canning, Charlotte Canning•ARTICLE•Theatre Journal•2009•Cited by: 1

    The emerging cold war was a key moment for the question of a national theatre for the United States. Anxieties were strong around how the country should fulfill its new role as world super-power, while a need for national institutions to represent the United States created the context for the first truly fruitful collaboration between the live performance communities and the federal government. One the most important sites for this work was the A…

  • Re-Dressing the Canon

    Charlotte Canning•ARTICLE•Signs: Journal of Women in…•2000

  • The Platform Versus the Stage

    Charlotte Canning•ARTICLE•Theatre Journal•1998•References: 2

    The Platform Versus the Stage: The Circuit Chautauqua’s Antitheatrical Theatre* Charlotte Canning (bio) [Chautauqua] is our oasis—our life belt. The music we hear . . . is the music we sing . . . all through the year. The lectures we discuss for months. My husband remembers all the jokes and the politics and I try to remember . . . all the new ideas set forth. . . . Sometime I think we could not endure [our] privations and loneliness . . . if it …

  • Acting out

    Charlotte Canning, Lynda Hart et al.•ARTICLE•TDR/The Drama Review•1995

  • Original Women's Theater

    Charlotte Canning, Peta Tait•ARTICLE•Theatre Journal•1994

  • Constructing Experience

    Charlotte Canning•ARTICLE•Theatre Journal•1993•Cited by: 1

    Women and theatre history have always had an uneasy relationship. Women's theatre experiences, until recently, have rarely appeared in theatre histories, and each generation of women in theatre has had to invent itself anew. Women, particularly feminists, are understandably suspicious of the operations of a hegemonic theatre history tradition. As feminist theatre historians have problematized the writing of theatre history, they have been confron…

  • The Divided Home/Land

    Charlotte Canning, Sue-Ellen Case et al.•ARTICLE•Theatre Journal•1993•Cited by: 3

  • The Divided Home/Land

    Charlotte Canning, Sue-Ellen Case et al.•ARTICLE•Theatre Journal•1993•Cited by: 3

  • In the Interest of the State

    Charlotte M Canning, Charlotte Canning•ARTICLE•Theatre Journal•2009•Cited by: 1

    The emerging cold war was a key moment for the question of a national theatre for the United States. Anxieties were strong around how the country should fulfill its new role as world super-power, while a need for national institutions to represent the United States created the context for the first truly fruitful collaboration between the live performance communities and the federal government. One the most important sites for this work was the A…

  • Constructing Experience

    Charlotte Canning•ARTICLE•Theatre Journal•1993•Cited by: 1

    Women and theatre history have always had an uneasy relationship. Women's theatre experiences, until recently, have rarely appeared in theatre histories, and each generation of women in theatre has had to invent itself anew. Women, particularly feminists, are understandably suspicious of the operations of a hegemonic theatre history tradition. As feminist theatre historians have problematized the writing of theatre history, they have been confron…

  • Constructing Experience

    Charlotte Canning•ARTICLE•Theatre Journal•1993•Cited by: 1

    Women and theatre history have always had an uneasy relationship. Women's theatre experiences, until recently, have rarely appeared in theatre histories, and each generation of women in theatre has had to invent itself anew. Women, particularly feminists, are understandably suspicious of the operations of a hegemonic theatre history tradition. As feminist theatre historians have problematized the writing of theatre history, they have been confron…

  • The Divided Home/Land

    Charlotte Canning, Sue-Ellen Case et al.•ARTICLE•Theatre Journal•1993•Cited by: 3

  • Original Women's Theater

    Charlotte Canning, Peta Tait•ARTICLE•Theatre Journal•1994

  • Acting out

    Charlotte Canning, Lynda Hart et al.•ARTICLE•TDR/The Drama Review•1995

  • The Platform Versus the Stage

    Charlotte Canning•ARTICLE•Theatre Journal•1998•References: 2

    The Platform Versus the Stage: The Circuit Chautauqua’s Antitheatrical Theatre* Charlotte Canning (bio) [Chautauqua] is our oasis—our life belt. The music we hear . . . is the music we sing . . . all through the year. The lectures we discuss for months. My husband remembers all the jokes and the politics and I try to remember . . . all the new ideas set forth. . . . Sometime I think we could not endure [our] privations and loneliness . . . if it …

  • Re-Dressing the Canon

    Charlotte Canning•ARTICLE•Signs: Journal of Women in…•2000

  • In the Interest of the State

    Charlotte M Canning, Charlotte Canning•ARTICLE•Theatre Journal•2009•Cited by: 1

    The emerging cold war was a key moment for the question of a national theatre for the United States. Anxieties were strong around how the country should fulfill its new role as world super-power, while a need for national institutions to represent the United States created the context for the first truly fruitful collaboration between the live performance communities and the federal government. One the most important sites for this work was the A…

Art (5 works) · History (5 works) · History (5 works) · Sociology (5 works) · Gender Studies (4 works) · Gender Studies (4 works) · Theatre and Performance Studies (4 works) · Art history (3 works) · Visual arts (3 works) · Aesthetics (2 works)

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