Scott Balcerzak is Associate Professor of film and literature at Northern Illinois University. He was supported by the Dorot Foundation Postdoctoral Research Fellowship in Jewish Studies and is currently writing a book on Stella Adler and male movie stars. Read more
On a sunny spring afternoon at The University of Texas at Austin, you may happen to see college students rehearsing Shakespeare in one of the courtyards on the south mall. “Shakespeare Through Performance” is a class that combines Read more
Nigel Cliff is a full time author and historian, holding an English degree from Oxford University. His 2007 book The Shakespeare Riots was released to high acclaim, earning recognition as one of the best nonfiction books of the year by Read more
The Harry Ransom Center celebrates the reissue of Adrienne Kennedy’s groundbreaking memoir People Who Led to My Plays from Theatre Communications Group. First published in 1987 as a response to the frequently asked question of what inspirations have influenced her work, Kennedy recorded brief, fragmentary memories covering 1936–1961. A deeply influential and radically innovative kind of memoir, novelist Ishmael Reed called these glimpses into her life “a new form of black autobiography.” Read more
The Harry Ransom Center announces the appointment of Eric Colleary as Cline Curator of Theater and Performing Arts. In this position, Colleary will oversee research, access, and interpretation of the Ransom Center’s theater and performing arts materials.
“This appointment signals the Ransom Center’s continued commitment to its already deep theater and performing arts collections, and we can look forward to the many ways Eric will engage students and scholars in the thoughtful exploration of these holdings,” said Ransom Center Director Steve Enniss.
Colleary is currently a visiting professor of performance studies and history in the Department of Theatre and Dance at Macalester College in Saint Paul, MN. He holds a doctorate in Theater Historiography from the University of Minnesota. Previously, Colleary was an archivist and volunteer with the Tretter Collection of Gay, Lesbian, Bisexual and Transgender Studies at the University of Minnesota Libraries since 2009, where he organized the exhibition “Stonewall at 40: The Gay and Lesbian Rights Movement in America.” He currently serves on committees for the Theatre Library Association and the American Theatre Archives Project.
“The theater and performing arts collections at the Ransom Center are among the very best in the world,” said Colleary. “I am honored to be joining such a talented team, and I look forward to continuing to develop these collections and engaging with new audiences.”
The Ransom Center has extensive holdings of major American and British dramatists including David Hare, Lillian Hellman, David Mamet, Arthur Miller, George Bernard Shaw, Tom Stoppard, and Tennessee Williams, among others. Within these archives are manuscripts, correspondence, notes, photographs, and performance programs and ephemera.
The performing arts collections contain materials documenting a wide variety of performance genres in the United Kingdom and America. The collections feature holdings in theater, dance, costume and scenic design, opera, and popular entertainments, such as the circus, vaudeville, minstrel shows, puppetry, and magic. The creative process, from concept and staging to publication and revival, constitutes the primary focus of these collections.
Colin McLaughlin is a radio-television-film, rhetoric and writing, and Plan I Honors senior in Dr. Elon Lang’s “Drama in the Archives” course. In the class, students used resources at the Harry Ransom Center to better understand plays, texts, dramatists, cultures from which they are drawn, and the archival process itself. Below, McLaughlin shares his experience in the class.
You become accustomed to certain things after your tenth visit to the Ransom Center. The processes required for entry—presenting your ID card, dropping your backpack off in the locker, opening your computer —become automatic. What never becomes mundane is the experience of opening the folder, not knowing what you may discover inside.
I spent a lot of time with the Norman Bel Geddes concept pieces for the 1917 New York production of King Lear, both through class meetings and in my own time at the Ransom Center. These pieces represent some of Bel Geddes’s earliest work and are remarkable both because Bel Geddes was only 23 years old at the time and because the works have survived, despite the fact that the production they were commissioned for was never staged.
The almost abstract nature of the piece evokes the idea of a cultural subconscious and how—after centuries of productions and adaptations ranging from classic and minimal to bizarre (see the “King Lear: Godard Film” materials in Box 5 of the Thomas Fiske collection)—King Lear has transcended what can be normally preserved in photographs and film evidence.
I compared these pieces to the materials the Ransom Center holds on the Elia Kazan film adaptation of Tennessee Williams’s A Streetcar Named Desire for my final presentation in the “Drama in the Archives” class. I wanted to compare the photographic vs. non-photographic evidence in the archive. I was motivated by Matthew Reason’s words in Documentation, Disappearance, and the Representation of Life Performance: “performance only exists in the moment of its creation, and its only valid afterlife is in the memory of those who were there.”
Comparing the abstract Bel Geddes work on Lear to the more concrete publicity kits and script revisions for the Streetcar film led me to argue that, because of photographic documentation and the prevalence of the Kazan film and its iconic performances, modern texts like A Streetcar Named Desire are more solidified in the cultural consciousness, and thus performances of these texts are more concerned with preserving those original visions. Meanwhile, because no photographic evidence exists for the original productions of Lear, the text is freer to be interpreted and adapted in bold, artistic ways.
My final argument, the culmination of a semester studying drama in the archives, ended up being much simpler than I had originally intended. This surprised me. After weeks of coming to the archive, I learned that the answers we find in the boxes and folders of the archive, while extensive and often enlightening, may not always be as complicated as we expect them to appear.