Reina Green - Academia.edu (original) (raw)
Papers by Reina Green
This session examined definitions of experiential learning and how the term has been recently use... more This session examined definitions of experiential learning and how the term has been recently used to focus on specific programmes and types of learning practices at the expense of other programmes, often based in the Humanities, as well as more routine pedagogical strategies. Further, the current use of the terminology creates a false and damaging dichotomy as it situates the classroom (and even the wider locale of the campus) away from the “real world” and encourages students to compartmentalize classroom learning as incidental to their lives and future careers. We encouraged participants to examine their current classroom practices to identify activities that may be considered experiential and asked them to identify obstacles they face both in their disciplines and generally that prevent them from incorporating more of these practices in their classrooms. We tried to model how small changes in teaching practices can encourage students to engage in their own learning. We contend t...
Shakespeare, 2021
ABSTRACT Malvolio and his yellow stockings have entertained audiences since the first known produ... more ABSTRACT Malvolio and his yellow stockings have entertained audiences since the first known production of Shakespeare’s Twelfth Night, and his punishment is often seen as “festive abuse” as defined by Albert Labriola, a way of curing him of his folly within the comic mode. Drawing on the cultural context of the play and its performance history, I examine the impact of regendering the role by comparing film versions of two 2017 theatre productions in which female actors were cast as Olivia’s steward: Katy Owen playing Malvolio in Emma Rice’s production at Shakespeare’s Globe and Tamsin Greig playing Malvolia in Simon Godwin’s production at the National Theatre. Both productions emphasise comic excess, with Rice embracing the idea of Malvolio’s punishment as redemptive and showing his final reintegration into the playworld. In contrast, the celebratory mood in Godwin’s production is undercut by the outing of Malvolia’s lesbian desire for her mistress. Her anguish is obvious during her imprisonment and reveals both the limits of festive abuse and a comic world dependent on repressive heteronormativity. This has the potential to make Malvolia a tragic figure; instead, she is shown to have the courage to escape this suffocating world in the final scene.
Theatre Research in Canada, 2006
This article examines the status of women in theatre in the early twenty-first century and determ... more This article examines the status of women in theatre in the early twenty-first century and determines that while there has been some improvement in Canada in the last twenty-five years,women still lag behind men in terms of employment in key creative positions Studies show that only 30-35% of the nation’s artistic directors are female and that this limits the production of work by female playwrights and the hiring of female directors. Problems are further exacerbated where there is limited provincial and corporate funding, as in Atlantic Canada. Little money, combined with a greater likelihood that work by female playwrights will be defined as risky and less attractive for sponsors and mainstream theatres, further restricts opportunities for women in theatre. Women also identify traditional hierarchical practices in the theatre industry and social policies, which fail to provide parental leave for self-employed workers or adequate publicly-funded daycare, as barriers to their partic...
Theatre Research in Canada, 2012
Catherine Banks’s Three Storey, Ocean View explores the concept of home from the perspective of a... more Catherine Banks’s Three Storey, Ocean View explores the concept of home from the perspective of a prospective buyer, Peg, and four families who had previously lived in the house listed for sale. In keeping with Henri Lefebvre’s definition of social space, the space of this home is shown to be both physically and temporally determined as the past occupants remain on stage, in the house, for the scenes of the present day, and Peg and her family respond to their movements and dialogue. Many of these former inhabitants have been disenfranchised through race, poverty, language, or disability and, for them, home is a prison as much as a shelter. Examining the house through Una Chaudhuri’s theory of geopathology reveals not only the instability of home and the ruptures between individual and community, home and the surrounding environment, but also the psychogeopathology of those who live there. In addition, both the playtext and the productions of 2000 and 2003 emphasize the vertical stru...
A Body Living and Not Measurable: How Bodies are Constructed, Scripted and Performed Through Time and Space, 2016
Canadian Theatre Review, 2017
Despite the high number of homosexual male athletes involved in figure skating, heteronormative p... more Despite the high number of homosexual male athletes involved in figure skating, heteronormative performance is integral to the sport, particularly in ice dance which requires teams or “couples” to portray a close relationship on the ice. In their 2012 free dance programme, Canadian ice dance champions and Olympic gold medalists Tessa Virtue and Scott Moir facilitated their portrayal of a romantic relationship by skating to music from Funny Face, a 1957 Hollywood musical starring Fred Astaire and Audrey Hepburn. Using Richard Schechner’s distinction between “make believe” and “make belief” performances and Susan Sontag’s definition of camp, I argue that Moir not only wants to “make believe” that he is performing the role of Fred Astaire, but also wishes to “make belief” that he is as skilled as the American dancer in presenting his partner. Moir, though, introduces a camp aesthetic into the performance through his exaggerated facial expressions and gestures which causes him rather th...
Reinventing the Renaissance, 2013
Many scholars have spent the last decade or so looking askance at the way the film industry has e... more Many scholars have spent the last decade or so looking askance at the way the film industry has embraced Shakespeare and his work. Despite critics’ concerns about the production of ‘dumbed down Shakespeare’,2 teen Shakespeare films have remained popular with major film studios since the 1996 release of Baz Luhrmann’s William Shakespeare’s Romeo + Juliet as the industry seeks to capitalize on its teen audience and ‘compulsory [school] Shakespeare’.3 Consequently, teen film adaptations of Shakespeare’s plays are now the primary means by which adolescents recognize Shakespeare as an icon of both high and popular culture,4 and She’s the Man, directed by Andy Fickman and released in 2006, a decade after Luhrmann’s genre-making film, reflects the film industry’s ambivalent relationship with the Bard.
ESC: English Studies in Canada, 2005
some women in the early modern period were able to "shift it well enough" (); nevertheless, in l... more some women in the early modern period were able to "shift it well enough" (); nevertheless, in law they were generally subject to their husbands and fathers and encouraged-at least by conduct book writers and preachers-to listen to these men as figures of male authority.¹ At the same time, women were warned to guard their ears and "stop" them from hearing "dishonestie" (Overbury ), as it was feared, thanks to the traditional commentary on Eve's role in the Fall, that women were more likely to be corrupted-and therefore to corrupt men-if they heard subversive or inappropriate ideas. ese fears were most often expressed not as concerns over male speech but as unease about the female desire to listen, what Othello calls, in reference to Desdemona, her "greedy ear" (Othello ..), and appear connected to views of female sexuality. A number of critics,
Shakespeare Quarterly, 2008
Playing Spaces in Early Women's Drama begins with Henri Lefebvre, for whom space is &... more Playing Spaces in Early Women's Drama begins with Henri Lefebvre, for whom space is "Janus-faced: constituted as an expression of existing power structures and simultaneously constituting the potential for challenging those structures" (1). Alison Findlay's aims are similarly ...
With(Out) Trace: Interdisciplinary Investigations into Time, Space and the Body, 2015
ESC: English Studies in Canada, 2009
Reinventing the Renaissance, 2013
SEL Studies in English Literature 1500-1900, 2003
Theatre Research in Canada Recherches Theâtrales Au Canada, 2007
This session examined definitions of experiential learning and how the term has been recently use... more This session examined definitions of experiential learning and how the term has been recently used to focus on specific programmes and types of learning practices at the expense of other programmes, often based in the Humanities, as well as more routine pedagogical strategies. Further, the current use of the terminology creates a false and damaging dichotomy as it situates the classroom (and even the wider locale of the campus) away from the “real world” and encourages students to compartmentalize classroom learning as incidental to their lives and future careers. We encouraged participants to examine their current classroom practices to identify activities that may be considered experiential and asked them to identify obstacles they face both in their disciplines and generally that prevent them from incorporating more of these practices in their classrooms. We tried to model how small changes in teaching practices can encourage students to engage in their own learning. We contend t...
Shakespeare, 2021
ABSTRACT Malvolio and his yellow stockings have entertained audiences since the first known produ... more ABSTRACT Malvolio and his yellow stockings have entertained audiences since the first known production of Shakespeare’s Twelfth Night, and his punishment is often seen as “festive abuse” as defined by Albert Labriola, a way of curing him of his folly within the comic mode. Drawing on the cultural context of the play and its performance history, I examine the impact of regendering the role by comparing film versions of two 2017 theatre productions in which female actors were cast as Olivia’s steward: Katy Owen playing Malvolio in Emma Rice’s production at Shakespeare’s Globe and Tamsin Greig playing Malvolia in Simon Godwin’s production at the National Theatre. Both productions emphasise comic excess, with Rice embracing the idea of Malvolio’s punishment as redemptive and showing his final reintegration into the playworld. In contrast, the celebratory mood in Godwin’s production is undercut by the outing of Malvolia’s lesbian desire for her mistress. Her anguish is obvious during her imprisonment and reveals both the limits of festive abuse and a comic world dependent on repressive heteronormativity. This has the potential to make Malvolia a tragic figure; instead, she is shown to have the courage to escape this suffocating world in the final scene.
Theatre Research in Canada, 2006
This article examines the status of women in theatre in the early twenty-first century and determ... more This article examines the status of women in theatre in the early twenty-first century and determines that while there has been some improvement in Canada in the last twenty-five years,women still lag behind men in terms of employment in key creative positions Studies show that only 30-35% of the nation’s artistic directors are female and that this limits the production of work by female playwrights and the hiring of female directors. Problems are further exacerbated where there is limited provincial and corporate funding, as in Atlantic Canada. Little money, combined with a greater likelihood that work by female playwrights will be defined as risky and less attractive for sponsors and mainstream theatres, further restricts opportunities for women in theatre. Women also identify traditional hierarchical practices in the theatre industry and social policies, which fail to provide parental leave for self-employed workers or adequate publicly-funded daycare, as barriers to their partic...
Theatre Research in Canada, 2012
Catherine Banks’s Three Storey, Ocean View explores the concept of home from the perspective of a... more Catherine Banks’s Three Storey, Ocean View explores the concept of home from the perspective of a prospective buyer, Peg, and four families who had previously lived in the house listed for sale. In keeping with Henri Lefebvre’s definition of social space, the space of this home is shown to be both physically and temporally determined as the past occupants remain on stage, in the house, for the scenes of the present day, and Peg and her family respond to their movements and dialogue. Many of these former inhabitants have been disenfranchised through race, poverty, language, or disability and, for them, home is a prison as much as a shelter. Examining the house through Una Chaudhuri’s theory of geopathology reveals not only the instability of home and the ruptures between individual and community, home and the surrounding environment, but also the psychogeopathology of those who live there. In addition, both the playtext and the productions of 2000 and 2003 emphasize the vertical stru...
A Body Living and Not Measurable: How Bodies are Constructed, Scripted and Performed Through Time and Space, 2016
Canadian Theatre Review, 2017
Despite the high number of homosexual male athletes involved in figure skating, heteronormative p... more Despite the high number of homosexual male athletes involved in figure skating, heteronormative performance is integral to the sport, particularly in ice dance which requires teams or “couples” to portray a close relationship on the ice. In their 2012 free dance programme, Canadian ice dance champions and Olympic gold medalists Tessa Virtue and Scott Moir facilitated their portrayal of a romantic relationship by skating to music from Funny Face, a 1957 Hollywood musical starring Fred Astaire and Audrey Hepburn. Using Richard Schechner’s distinction between “make believe” and “make belief” performances and Susan Sontag’s definition of camp, I argue that Moir not only wants to “make believe” that he is performing the role of Fred Astaire, but also wishes to “make belief” that he is as skilled as the American dancer in presenting his partner. Moir, though, introduces a camp aesthetic into the performance through his exaggerated facial expressions and gestures which causes him rather th...
Reinventing the Renaissance, 2013
Many scholars have spent the last decade or so looking askance at the way the film industry has e... more Many scholars have spent the last decade or so looking askance at the way the film industry has embraced Shakespeare and his work. Despite critics’ concerns about the production of ‘dumbed down Shakespeare’,2 teen Shakespeare films have remained popular with major film studios since the 1996 release of Baz Luhrmann’s William Shakespeare’s Romeo + Juliet as the industry seeks to capitalize on its teen audience and ‘compulsory [school] Shakespeare’.3 Consequently, teen film adaptations of Shakespeare’s plays are now the primary means by which adolescents recognize Shakespeare as an icon of both high and popular culture,4 and She’s the Man, directed by Andy Fickman and released in 2006, a decade after Luhrmann’s genre-making film, reflects the film industry’s ambivalent relationship with the Bard.
ESC: English Studies in Canada, 2005
some women in the early modern period were able to "shift it well enough" (); nevertheless, in l... more some women in the early modern period were able to "shift it well enough" (); nevertheless, in law they were generally subject to their husbands and fathers and encouraged-at least by conduct book writers and preachers-to listen to these men as figures of male authority.¹ At the same time, women were warned to guard their ears and "stop" them from hearing "dishonestie" (Overbury ), as it was feared, thanks to the traditional commentary on Eve's role in the Fall, that women were more likely to be corrupted-and therefore to corrupt men-if they heard subversive or inappropriate ideas. ese fears were most often expressed not as concerns over male speech but as unease about the female desire to listen, what Othello calls, in reference to Desdemona, her "greedy ear" (Othello ..), and appear connected to views of female sexuality. A number of critics,
Shakespeare Quarterly, 2008
Playing Spaces in Early Women's Drama begins with Henri Lefebvre, for whom space is &... more Playing Spaces in Early Women's Drama begins with Henri Lefebvre, for whom space is "Janus-faced: constituted as an expression of existing power structures and simultaneously constituting the potential for challenging those structures" (1). Alison Findlay's aims are similarly ...
With(Out) Trace: Interdisciplinary Investigations into Time, Space and the Body, 2015
ESC: English Studies in Canada, 2009
Reinventing the Renaissance, 2013
SEL Studies in English Literature 1500-1900, 2003
Theatre Research in Canada Recherches Theâtrales Au Canada, 2007