Black Masculinity and the Black Voice: Casting and Canonicity in the National Theatre Gala

Duncan, Sophie

doi:10.1007/978-3-319-94508-8_7

Cited by 1 publication

(2 citation statements)

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“…"high-earning") media and audiences, the shows' marketing ... pursued a more masculine, educated audience," (Gilke, 2018). One article (2.2%) compares African masculinity to Black masculinity in British theatre (Duncan, 2018).…”

Section: Gendermentioning

confidence: 99%

“…Four articles (8.7%) discuss American Theatre (Brown, 2007;Hopkins, 2018;Jaher, 2014;Widener, 2006), three are specific to the Restoration stage, (Anderson, 2006;Mora, 2005;Smith, 2006). One article (2.2%) focuses on intercultural theatre (Lee, 2012), and one article (2.2%) deals with musical theatre (Stith, 2017), National Theatre (NT) (Duncan, 2018), Deaf-related theatre (Buckley, 1991), and Australian theatre (Lewis, 2007), respectively. Two articles touch on Youth theatre (McRae, 2010;Savage, 2020), and one comments on gender in drama, ballet, and opera (Greenberg, 2006).…”

Section: Theatrementioning

confidence: 99%

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Casting Master: A Technological Overhaul of the Audition Process

Christopher

2024

Preprint

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<p>The casting process has fallen behind the rest of the entertainment industry in terms of technological advancements. This paper chronicles what is known about the casting process and pinpoints common issues. Using this research as a guide for function and a mixture of existing casting platforms, social sites, and dating apps as design inspiration, this paper outlines modern tech solutions to long standing complaints about the casting industry and its treatment of basically everyone but young white women and white cis-men.</p>

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Section: Gendermentioning

confidence: 99%