Papers by Thomas H Arthur
Looking for My Relatives: The Political Implications of “Family” in Selected Work of Athol Fugard and August Wilson
South African Theatre Journal, 1992
... After the appearence of the Reverend Marius Byleveld, the personification of Helen's nei... more ... After the appearence of the Reverend Marius Byleveld, the personification of Helen's neighbors, the play is devoted to whether Helen should remain ... When NPR reporter, John Matisonn, asked Miss Bently if she thought that there might ever come a time when black Americans ...
Women in the Wings
Theatre Journal, May 1, 1993
My Children! My Africa!
Theatre Journal, May 1, 1990
Women in the Wings
Theatre Journal, 1993
My Children! My Africa!
Theatre Journal, 1990
The 1992 Grahamstown Festival
South African Theatre Journal, 1993
... Theatre for Africa, an innovative and superbly trained group organized two-and-a-half years a... more ... Theatre for Africa, an innovative and superbly trained group organized two-and-a-half years ago according to its own publication, is headed by Nicholas Ellenbogen, a performer and ... Swami was first staged in 1968 by its author, Shah Theatre Academy leader Ronnie Govender. ...
on "The Heritage of Paul Reinhardt" as Presented at the 38 th Annual U.S.I.T.T. Conference and St... more on "The Heritage of Paul Reinhardt" as Presented at the 38 th Annual U.S.I.T.T. Conference and Stage Expo As I start this piece, I look up over my desk at the original rendition of the dazzling Reinhardt costume I wore as an undergraduate actor in the 1957 Northwestern University Summer Theatre Festival. The drawing, which was loaned to me with the stipulation that it be returned to the artist's collected works when I have "no further need of it," hangs in my office as a token of a friendship which has endured through the intervening years. Reinhardt, a modest man, has nevertheless always known his own worth-and never lies. When I recall that summer, my clearest memory is of asking him "How am I doing?" and of his response which was "You're not very good, but you do show promise." That response stung back then, but I have been reassured by it in many times since in moments of self-doubt. This same gifted, always-truthful Paul Reinhardt was the artist-subject of a Costume Commission-sponsored Retrospective and two Saturday sessions, as well as the recipient of the Don Stowell Jr. lifetime achievement award presented at this past year's 38 th Annual U.S.I.T.T. Conference and Stage Expo at Long Beach, California. Considered by many people the most influential academic costume designer and teacher of mid-twentieth century America, Reinhardt is the undisputed heir of Lucy Barton, under whom he studied, and whom he succeeded, at the University of Texas at Austin. He has designed over one hundred and seventy-five productions, including two thirds of the Shakespeare canon, and more than twenty seasons of summer repertory. He has conducted workshops on period movement and lectured extensively on Costume History and Design throughout the country, including exposition on such modish subjects as the "History of Blue Jeans"." His design work has been published in erudite theatrical studies and introductory texts, he has served as a consultant for the Metropolitan Museum of Art, and he has delivered presentations for twelve annual U.S.I.T.T. conferences.
International University Theatre Association (IUTA)
Journal of Academic Perspectives
This study examines ways in which the creation of a sphere of relative student autonomy for the c... more This study examines ways in which the creation of a sphere of relative student autonomy for the conception, development, and realization of work not only augments classroom education but leads to types of learning poorly supported by teacher-led environments. The practices and policies of the Experimental Theatre at James Madison University (USA) provide an example of a faculty-created environment in which instructors effectively abandon teaching. The study draws on the theories and findings of researchers in various types of experiential learning to examine the pedagogical effectiveness of the Experimental Theatre process, although the origin of the Experimental Theatre predates the broad emergence and articulation of such theories in the 1980s. Using four components of experience-based learning that David Kolb and others identify as best promoting learning-incorporation of students' previous concrete experiences, abstract conceptualization, active experimentation, and reflective observation-the essay examines the methods and effects of each stage of the student experience of self-producing work within the Experimental Theatre. It argues that their alignment with experience-based practices and the accomplishments by graduates who worked within them attest to the effectiveness of welldesigned environments in which teachers effectively abandon teaching in helping students learn initiative, personal responsibility, disciplinary skills, multi-functionality, risk-taking, professional courage, innovation, and other qualities important to success in multiple disciplines.
Books by Thomas H Arthur
The Autobiography of Melvyn Douglas
The Autobiography of Melvyn Douglas, 1986
Uploads
Papers by Thomas H Arthur
Books by Thomas H Arthur