MARC record from Internet Archive

LEADER: 05548cam 2200889 a 4500
001 ocm34518137
003 OCoLC
005 20181126031403.0
008 950918s1995 onca b 001 0deng
010 $a 95204694
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050 00 $aPN2306.T62$bT673 1995
055 2 $aPN2306*
082 00 $a792/.09713/541$220
084 $a24.06$2bcl
084 $acci1icc$2lacc
084 $aHQ 4055$2rvk
100 1 $aCarson, Neil.
245 10 $aHarlequin in Hogtown :$bGeorge Luscombe and Toronto Workshop Productions /$cNeil Carson.
260 $aToronto ;$aBuffalo :$bUniversity of Toronto Press,$c℗♭1995.
300 $axi, 247 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 221-233) and index.
530 $aAlso issued online.
505 0 $a1. Don Valley Quixote -- 2. Strolling Player -- 3. Building a Company -- 4. Finding a Voice -- 5. Collaborative Creation I: Hey Rube! and The Mechanic -- 6. Adding the Language: Before Compiegne -- 7. Going Professional -- 8. Collaborative Creation II: Woyzeck and The Golem of Venice -- 9. The Search for Audiences -- 10. Political Entertainment: Mr Bones -- 11. Broadway Beckons -- 12. Chronicling the Revolution: Che Guevara -- 13. Collaborative Creation III: Chicago '70 -- 14. The European Repertoire -- 15. New Perspectives -- 16. Old Wine in New Bottles: Ten Lost Years -- 17. The Indignant Muse -- 18. A Vintage Season -- 19. Looking Backward -- 20. New Blood -- 21. Board Games -- 22. Catastrophe Averted -- 23. Harlequin in Hogtown -- 24. Final Act -- 25. Curtain-Call.
520 $aFrom the beginning, Luscombe envisaged his new company as part of an international contingent of artists determined to further the cause of socialism through art. He saw himself as part of a tradition which sought to bring about change by 'educational' rather than political or revolutionary means ... Unfortunately, Canadian audiences, unlike their counterparts in Russia, Germany, or England, appeared to be stubbornly indifferent to live theatre.
520 8 $aThe challenge facing the new company, therefore, was how to break through that indifference and make their audiences look at themselves and their country with new eyes. Ideally, what was needed was original Canadian plays ... Until such new works were available, however, Luscombe and his actors would have to make up their repertoire from the existing stock of world dramatic literature. But instead of treating these 'masterpieces' of bourgeois theatre with the respect normally paid to them, Luscombe intended to follow the example of Vsevolod Meyerhold, Erwin Piscator, Bertolt Brecht, and Joan Littlewood. Those directors had shown how the classics of earlier periods could be made relevant to contemporary audiences.
610 20 $aToronto Workshop Productions$xHistory.
600 10 $aLuscombe, George,$d1926-
650 0 $aExperimental theater$zOntario$zToronto$xHistory.
610 26 $aToronto Workshop Productions.
650 6 $aLuscombe, George,$d1926-1999.
650 6 $aThe a tre expe rimental$zOntario$zToronto.
600 17 $aLuscombe, George,$d1926-$2fast$0(OCoLC)fst00363201
610 27 $aToronto Workshop Productions.$2fast$0(OCoLC)fst00711079
650 7 $aExperimental theater.$2fast$0(OCoLC)fst00918508
651 7 $aOntario$zToronto.$2fast$0(OCoLC)fst01205798
600 17 $aLuscombe, George$d1926-$2gnd
610 27 $aToronto Workshop Productions$2gnd
650 17 $aExperimenteel toneel.$2gtt
650 17 $aToronto Workshop Productions.$2gtt
650 7 $aExperimentelles Theater$2gnd
651 7 $aToronto$2gnd
600 17 $aLuscombe, George.$2swd
653 0 $aTheatre$aHistory
653 0 $aCanada
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $iOnline version:$aCarson, Neil.$tHarlequin in Hogtown.$dToronto ; Buffalo : University of Toronto Press, ℗♭1995$w(OCoLC)624466615
856 41 $3Table of contents$uhttp://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=007218750&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
856 4 $3Donor bookplate$uhttp://www.cca.qc.ca/biblio/Horizon/bookplates/MacKinnon.Janet.don.jpg
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994 $aZ0$bP4A
948 $hNO HOLDINGS IN P4A - 220 OTHER HOLDINGS