In contemporary culture, an 'Uncle Tom' has become so derided a figure of complicity in racism that it is perhaps only with difficulty, and a corrective historicist awareness, that we can come to acknowledge both the good intentions and the undeniable effectiveness of Harriet Beecher Stowe's original - a novel in which, interestingly, women play no less prominent a part than black characters.
Kershaw views protest as an action that has become increasingly theatricalized because of its own tactics and choices and because of the ways in which media coverage creates its own version of politics as performance.
Following Jane Plastow's contextual history of Eritrean theatre in NTQ50, Paul Warwick gave an account in the following issue of its previously undocumented role during the thirty-year Eritrean struggle for independence, describing the efforts of the freedom fighters to create theatre for the first time in a rural context.
Chekhov's The Cherry Orchard is clearly 'about' the end of one social order -about time changing and time static. Yet different interpretive communities - academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre - read' Chekhov's representation of history and class change in different ways.
In the 1990s, Vietnamese traditional theatre has seen its popular base eroded by foreign videos, television imports, and the films that have poured into the country since the advent of the 'open door' policy, or doi moi. As that policy is primarily economic in purpose, the advantages offered to the national culture have been questionable. The traditional forms here discussed by Catherine Diamond - tuong, hat boi, and cheo - have lost much of their status in the urban areas, though still popular in the countryside.
Schachenmayr calls for a re-evaluation of the tableau vivant, investigating how far and in what ways a static pose, or attitude, can be a theatrical performance. He focuses on the attitudes of Emma Lyon Hamilton.
Boston puts the controversy over contemporary voice training for actors into a broader historical context. She calls for an understanding and reconciliation of mutual misconceptions between the academy and the conservatoire.