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The God of Gods : a Canadian Play / Carroll Aikins ; edited by Kailin Wright.

Par : Aikins, Carroll, 1888-1967.
Collaborateur(s) : Wright, Kailin.
Collection : Canadian Literature. Éditeur : Ottawa : University of Ottawa Press, 2016Édition : A critical edition.Description :138 p. : ill. ; 21 cm.ISBN : 9780776623276 (pbk).Sujet(s) : Aikins, Carroll 1888-1964. God of gods -- Criticism and interpretation | Theatre -- Canada -- History | TheatreRessources en ligne : Publisher's Website. | Check the UO Library catalog.
Dépouillement complet :
"Carroll Aikins’s play The God of Gods (1919) has been out of print since its first and only edition in 1927. This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins’s often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play’s productions.
Much of the play’s historical significance lies in Aikins’s vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920-22) and artistic director of Toronto’s Hart House Theatre (1927-29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins’s work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre).
The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada’s art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s." (Publisher's Website)
CONTENTS:
Table of Figures
Acknowledgements
Introduction
Canadian Theatre History
Theatrical Modernism
Theosophy
Performing Ethnography and Primitivism
Adapting Nietzsche
THE GOD OF GODS Characters Casts and Production Crew The God of Gods Act I Act II Act III
Explanatory Notes
Textual Notes
Dossier
Reviews, Playbills, and Media
Theatre Reviews
Playbills and Advertisements
Biographical Notes and Articles
Works Cited
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Livres Livres CR Julien-Couture RC (Learning)
Fiction 		Fiction REA AIK 3 (Parcourir l'étagère) 1 Disponible A027938

Also available in electronic format.

Includes bibliographical references.

"Carroll Aikins’s play The God of Gods (1919) has been out of print since its first and only edition in 1927. This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins’s often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play’s productions.

Much of the play’s historical significance lies in Aikins’s vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920-22) and artistic director of Toronto’s Hart House Theatre (1927-29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins’s work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre).

The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada’s art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s." (Publisher's Website)

CONTENTS:

Table of Figures

Acknowledgements

Introduction

Canadian Theatre History

Theatrical Modernism

Theosophy

Performing Ethnography and Primitivism

Adapting Nietzsche

THE GOD OF GODS
Characters
Casts and Production Crew
The God of Gods
Act I
Act II Act III

Explanatory Notes

Textual Notes

Dossier

Reviews, Playbills, and Media

Theatre Reviews

Playbills and Advertisements

Biographical Notes and Articles

Works Cited

Description based on print version record.

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