For the Record
September 10, 2021
University community reports presentations, publications
For the Record provides information about recent professional activities and honors of University of Delaware faculty, staff, students and alumni.
Recent presentations and publications include the following:
Margaret Stetz, Mae and Robert Carter Professor of Women’s Studies and professor of humanities, gave an invited lecture via Zoom on Aug. 21 that was sponsored jointly by the Aubrey Beardsley Society; the Birkbeck Centre for Nineteenth Century Studies, University of London, UK; and the British Association of Decadence Studies. Her lecture, “Aubrey Beardsley, Down Among the Woman,” was recorded and is now accessible on the YouTube channel of the Aubrey Beardsley Society. In her talk, she discussed Beardsley’s legacy through his influence on a variety of contemporary and later women artists, ranging from the poster artist Ethel Reed, to the photographer Zaida Ben-Yusuf, to the manga innovator Kuniko Tsurita, to the illustrator Audrey Niffenegger. Her lecture ended with examples of Beardsley’s work as an inspiration for haute couture designs of clothes for women that are for sale today.
David Shearer, Thomas Muncy Keith Professor of History, published an article "СКАЗ О КУЛАЦКОЙ КОРОВЕ: ТРАНСФОРМАЦИЯ ИДЕНТИЧНОСТЕЙ, ОБВИНЕНИЯ И СКРЫТАЯ ЧИСТКА 1930-х ГОДОВ (The Tale of the Kulak Cow: Shifting Identities, Blame, and the Hidden Purge of the 1930s)” In the journal ГУМАНИТАРНЫЕ НАУКИ В СИБИРИ (The Humanities in Siberia), Novosibirsk: Russian Academy of Sciences, vol. 28/3, 59-67.
Heinz-Uwe Haus, professor of theatre, has published a new book, titled Heinz-Uwe Haus and Theatre Making in Cyprus and Greece (Cambridge Scholars Publishing, Newcastle upon Tyne, UK; 405 pages; release date: Sept. 8, 2021). Co-edited by Daniel Meyer-Dinkgräfe and supported by Costas Hadjigeorghiou, the book presents a selection of the considerable amount of material written and published in relation to Haus's productions of Brecht’s plays and Brechtian productions by other dramatists, especially ancient Greek drama, in Cyprus and Greece since his production of The Caucasian Chalk Circle marked the launch of the Cyprus National Theatre in 1975 after the country’s political turmoil culminatig in the Turkish invasion. Included is material written by Haus at the time for his cast, newspaper reviews and academic articles about the productions, conference contributions, essays of the director and reflections by cast members (both professional actors and university faculty) and designers (set, costume, light, music). Among the contributors are prominent voices of Greek, Cypriot and international criticism and culture. The book is illustrated with images of posters and drawings for the productions. The documents and the descriptions of all of Haus’ Cypriot and Greek productions demonstrate how his goal was to reinvigorate the theatre through a theatrical vocabulary not tied to language, but in context to the social conditions. Haus used all aspects of theatre to stage this: lighting, set, props, costumes and most importantly: action. One reviewer said the book "radiates the spirit of empathy, optimism, courage and energy.” Another reviewer wrote, “The value of the publication is its wealth of knowledge of theatre making. Though directing may be Haus' most austere style of presenting his views, it is the concept that epitomizes his career. Haus did away with conventional methods of acting, staging, and performance. He replaced 'realistic settings' with 'imagined space' that often revealed the mechanics of the stage and created startling visual effects…. Haus' focus became the actor's ability to create through his imagination of social attitudes any situation to which the 'emotional memory' of the audience will respond."
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