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Eugène van Erven

Biographic Data

ID5425443
NAMEEugène van Erven
GIVEN NAMESEugène
FAMILY NAMEvan Erven
SIGNATUREVAN ERVEN E
AFFILIATIONSUtrecht University
VERIFIEDNo
TOTAL WORKS11
TOTAL CITATIONS2
AUTHOR COUNT11
EDITOR COUNT0
FIRST PUBLICATION YEAR1987
LATEST PUBLICATION YEAR2016
H-INDEX1
  • Towards a New Cutting Edge

    Eugène van Erven•ARTICLE•TDR/The Drama Review•2016

    A cursory look at different examples of activist and community-based performances in Singapore, Colombia, and more detailed analyses of two recent participatory theatre productions in the Czech Republic and the Netherlands reveal that models that distinguish community art from avantgarde art in the East and the West resist categorization

  • The tension between community and art

    Eugène van Erven•ARTICLE•Research in Drama Education The…•2015

    This article explores the complexities regarding the mainstream success of site-specific, partially participative projects of high-profile artists and less visible work at the grassroots

  • To be Dutch or not to be Turkish, that is the question’, or, how to measure the reception of a community-based play about living between cultures

    Kees Vuyk, Linda Poelman et al.•ARTICLE•Research in Drama Education The…•2010

    In this article, the authors experiment with an interdisicplinary, partly empirical investigation into the reception of a community-based theatre production created by three generations of Turkish migrants in the Netherlands. Although community arts has been experiencing a boom of sorts in the Netherlands and local funding agents increasingly call for evidence, very little empirical research has been done in the low countries so far. Prompted by …

  • Taking to the streets

    Eugène van Erven•ARTICLE•Research in Drama Education The…•2007

    Dutch participatory community-based theatre has thus far been largely text-based and quite apprehensive of abstract site-specific performance, which it regarded as the product of ‘outsider gazing’ and exploitative of local residents. Quite recently, the two veteran Dutch community-based companies Stut and RWT were forced by extraordinary circumstances to work on site in the working-class neighbourhoods of Ondiep in Utrecht and Heijplaat in Rotter…

  • The Playful Revolution

    K Foley, Eugène van Erven•ARTICLE•Asian Theatre Journal•1994

  • The Playful Revolution

    Tan Sooi Beng, Eugène van Erven et al.•ARTICLE•Asian Folklore Studies•1994

  • Ill-Informed White Male Western Academic Critic Gets Kicked in the Balls

    Eugène van Erven•ARTICLE•TDR/The Drama Review•1991

  • Postcolonial Imperialism

    Sudipto Chatterjee, Eugène van Erven•ARTICLE•TDR/The Drama Review•1990

  • Plays, Applause, and Bullets

    Eugène van Erven•ARTICLE•TDR/The Drama Review•1989

    The sun was setting hazily on Delhi's enigmatic skyline of red brick and junk slum as the express train from Bangalore slowly completed the final minutes of its 40-hour journey. Dust constructions in pale red, dilapidated multicolored vehicles, and masses of brown people pasted themselves to my weary retina in vague orange blots. New Delhi would be my last stop before returning to the Netherlands after a three-year quest for genuinely effective p…

  • Resistance Theatre in South Korea

    Eugène van Erven•ARTICLE•TDR/The Drama Review•1988

    Ed. Note: Since the author's visit to Korea in November and December 1986, there have been important political events not anticipated by this article. Violent street protestsfor democratic changeforced the government to announce the first election in 16 years. The 17 December 1987 election was won by former president Chun Doohwan's hand-picked successor Roh Tae Woo, who, after 85 percent of the vote had been counted, had 36.5 percent of the vote.…

  • Philippine Political Theatre and the Fall of Ferdinand Marcos

    Eugène van Erven•ARTICLE•The Drama Review TDR•1987•Cited by: 2

  • Philippine Political Theatre and the Fall of Ferdinand Marcos

    Eugène van Erven•ARTICLE•The Drama Review TDR•1987•Cited by: 2

  • Philippine Political Theatre and the Fall of Ferdinand Marcos

    Eugène van Erven•ARTICLE•The Drama Review TDR•1987•Cited by: 2

  • Resistance Theatre in South Korea

    Eugène van Erven•ARTICLE•TDR/The Drama Review•1988

    Ed. Note: Since the author's visit to Korea in November and December 1986, there have been important political events not anticipated by this article. Violent street protestsfor democratic changeforced the government to announce the first election in 16 years. The 17 December 1987 election was won by former president Chun Doohwan's hand-picked successor Roh Tae Woo, who, after 85 percent of the vote had been counted, had 36.5 percent of the vote.…

  • Plays, Applause, and Bullets

    Eugène van Erven•ARTICLE•TDR/The Drama Review•1989

    The sun was setting hazily on Delhi's enigmatic skyline of red brick and junk slum as the express train from Bangalore slowly completed the final minutes of its 40-hour journey. Dust constructions in pale red, dilapidated multicolored vehicles, and masses of brown people pasted themselves to my weary retina in vague orange blots. New Delhi would be my last stop before returning to the Netherlands after a three-year quest for genuinely effective p…

  • Postcolonial Imperialism

    Sudipto Chatterjee, Eugène van Erven•ARTICLE•TDR/The Drama Review•1990

  • Ill-Informed White Male Western Academic Critic Gets Kicked in the Balls

    Eugène van Erven•ARTICLE•TDR/The Drama Review•1991

  • The Playful Revolution

    K Foley, Eugène van Erven•ARTICLE•Asian Theatre Journal•1994

  • The Playful Revolution

    Tan Sooi Beng, Eugène van Erven et al.•ARTICLE•Asian Folklore Studies•1994

  • Taking to the streets

    Eugène van Erven•ARTICLE•Research in Drama Education The…•2007

    Dutch participatory community-based theatre has thus far been largely text-based and quite apprehensive of abstract site-specific performance, which it regarded as the product of ‘outsider gazing’ and exploitative of local residents. Quite recently, the two veteran Dutch community-based companies Stut and RWT were forced by extraordinary circumstances to work on site in the working-class neighbourhoods of Ondiep in Utrecht and Heijplaat in Rotter…

  • To be Dutch or not to be Turkish, that is the question’, or, how to measure the reception of a community-based play about living between cultures

    Kees Vuyk, Linda Poelman et al.•ARTICLE•Research in Drama Education The…•2010

    In this article, the authors experiment with an interdisicplinary, partly empirical investigation into the reception of a community-based theatre production created by three generations of Turkish migrants in the Netherlands. Although community arts has been experiencing a boom of sorts in the Netherlands and local funding agents increasingly call for evidence, very little empirical research has been done in the low countries so far. Prompted by …

  • The tension between community and art

    Eugène van Erven•ARTICLE•Research in Drama Education The…•2015

    This article explores the complexities regarding the mainstream success of site-specific, partially participative projects of high-profile artists and less visible work at the grassroots

  • Towards a New Cutting Edge

    Eugène van Erven•ARTICLE•TDR/The Drama Review•2016

    A cursory look at different examples of activist and community-based performances in Singapore, Colombia, and more detailed analyses of two recent participatory theatre productions in the Czech Republic and the Netherlands reveal that models that distinguish community art from avantgarde art in the East and the West resist categorization

Theatre and Performance Studies (8 works) · Art (7 works) · Sociology (7 works) · History (6 works) · Law (6 works) · Political science (6 works) · History (5 works) · Law (4 works) · Media studies (4 works) · Politics (4 works)

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