In 1957, the bulletin of Carleton College became The Carleton Drama Review, but after two issues the journal moved to Tulane University in Louisiana and changed its name. Lavishly funded by the Rockefeller Foundation until 1967, when the entire editorial staff moved to New York, the Tulane Drama Review was for ten years a privileged vantage point for observing the influence of European dramaturgy on American authors, productions and audiences. The aim of this paper is to examine the means and perspectives through which European dramaturgy and the American productions that derived from it were presented and analysed in the magazine during the crucial years of the birth of the American theatrical avant-garde.
Nel 1957 il bollettino del circolo drammatico del Carleton College, in Minnesota, si trasforma in «The Carleton Drama Review», ma, dopo la pubblicazione di due soli fascicoli, la rivista approda all’Università di Tulane, in Luisiana, di cui assume il nome. Lautamente finanziata dalla Fondazione Rockfeller fino al 1967, anno in cui la redazione si trasferisce interamente a New York, la «Tulane Drama Review» per dieci anni costituisce un punto di osservazione privilegiato sull’influenza esercitata dalla drammaturgia europea sugli autori, le produzioni e gli spettatori americani. In questo intervento si intende verificare con quali strumenti e secondo quali prospettive la drammaturgia europea e gli allestimenti statunitensi che ne derivano vengano presentati e analizzati nella rivista negli anni cruciali della nascita dell’avanguardia teatrale americana.
La drammaturgia europea nelle pagine della "Tulane Drama Review" (1957-1967)
Simona Brunetti
2024-01-01
Abstract
In 1957, the bulletin of Carleton College became The Carleton Drama Review, but after two issues the journal moved to Tulane University in Louisiana and changed its name. Lavishly funded by the Rockefeller Foundation until 1967, when the entire editorial staff moved to New York, the Tulane Drama Review was for ten years a privileged vantage point for observing the influence of European dramaturgy on American authors, productions and audiences. The aim of this paper is to examine the means and perspectives through which European dramaturgy and the American productions that derived from it were presented and analysed in the magazine during the crucial years of the birth of the American theatrical avant-garde.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.