http://www.inquiriesjournal.com/keyword/theater Inquiries Journal provides undergraduate and graduate students around the world a platform for the wide dissemination of academic work over a range of core disciplines. en-us Tue, 19 May 2026 08:44:45 -0400 Tue, 19 May 2026 08:44:45 -0400 http://www.inquiriesjournal.com/articles/1819/stage-as-moment-cinema-as-memory-the-diverging-aesthetics-of-two-mediums By Abigail Tulenko - This paper argues that film is a medium defined by its relationship to memory. Building upon aesthetician György Lukács's temporal theory of cinema, I contrast film's inherent relationship to memory with the “eternal present” of the stage. Audiences viewing a film have a continual awareness that what they watch on screen was filmed in the past and edited together retrospectively. Cinema replicates the selective encoding process of our memories on-screen when a director and editor piece together the shots and scenes that compose a completed film. Often there is a large amount... Tue, 20 Oct 2020 12:26 EDT http://www.inquiriesjournal.com/articles/1819/stage-as-moment-cinema-as-memory-the-diverging-aesthetics-of-two-mediums http://www.inquiriesjournal.com/articles/332/freudian-theories-present-in-lerouxs-the-phantom-of-the-opera By Jeremy S. Page - Contemporary adaptations of The Phantom engage with several key Freudian concepts in order to explain and justify the development and motivation of the protagonist. These concepts, while present in Leroux’s original text, have been extended and emphasised by these post-Freudian adaptations. Freud’s integration as part of contemporary popular culture allows these modern texts to make psychoanalytical assumptions about the characters in the text. For the purposes of this analysis, this essay is focused on two key Freudian ideas which are found in the... Tue, 30 Nov 2010 09:36 EST http://www.inquiriesjournal.com/articles/332/freudian-theories-present-in-lerouxs-the-phantom-of-the-opera http://www.inquiriesjournal.com/articles/118/william-shakespeares-richard-iii-brilliant-schemer-entertaining-villain By Katherine Blakeney - Shakespeare’s Richard is a brilliant schemer and manipulator, completely devoid of scruples of any kind. He also happens to be severely physically deformed. The inevitable feelings of inadequacy, envy, and frustration that this engenders are heightened when his military talents are no longer needed. As he beautifully explains at the beginning of Act I, “all the clouds that loured upon” the house of York are now “in the deep bosom of the ocean buried”. It seems the Wars of the Roses are finally over (for now), and unadapted as Richard is to “idle pleasures&rdquo... Mon, 11 Jan 2010 10:00 EST http://www.inquiriesjournal.com/articles/118/william-shakespeares-richard-iii-brilliant-schemer-entertaining-villain http://www.inquiriesjournal.com/articles/101/the-development-of-theatre-peter-brook-and-the-human-connection By Sawyer A. Theriault - Brook defines the human connection through many different mediums, one of which is directing. He claim's “the supreme jujitsu” style of directing “would be for the director to stimulate such an outpouring of the actor's inner richness that it completely transforms the subjective nature of his original impulse”(Brook, 61). What he is describing is non-directional directing. In order for the actor to authentically feel what his character is intended to feel, he must discover those emotions on his own, without the director telling him what they are. The director's job is then... Thu, 24 Dec 2009 11:41 EST http://www.inquiriesjournal.com/articles/101/the-development-of-theatre-peter-brook-and-the-human-connection