https://cwrc.cs.ualberta.ca/index.php?title=Special:Contributions&feed=atom&target=DorothyHadfieldCWRC - User contributions [en]2024-03-29T15:30:16ZFrom CWRCMediaWiki 1.15.1https://cwrc.cs.ualberta.ca/index.php/File:Brandon.jpegFile:Brandon.jpeg2010-04-30T17:20:38Z<p>DorothyHadfield: uploaded a new version of "File:Brandon.jpeg"</p>
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<div>Cool dude</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2010-04-30T17:18:57Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = This project returns to and builds on earlier research into the material conditions of production in Canadian feminist theatre. In that research, I focussed on the “textual residues” that were created and remained to shape a particular type of historical visibility and representation of those productions. While I briefly glanced at the issue of personal relationships among the theatre workers, that remained more tangential because it was too difficult to identify and track. However, it’s no secret that theatrical production is a highly networked cultural practice, where knowing “the right people” can mean the difference between success and constant struggle. <br />
<br />
Canadian women playwrights, in fact, have often written about the existence of the “old boys’ club” that governed theatrical production and effectively disenfranchised them. I’d like to see whether this perception is, in fact, accurate, and additionally, whether women playwrights have developed an “old girls’ club” to counteract it.<br />
|story = This research requires a repository of information, not just about the women’s plays, but about their theatrical production as well. This production information includes theatre companies, venues, directors, cast members, corporate sponsors, etc. I want to be able to visualize whether there are any “clusters” of relationships that appear, ie whether production opportunities for women playwrights in general, or specific playwrights, or particular types of plays increase in the proximity of specific directors, actors, or other theatre workers. I also want to see what types of plays attract what types of sponsorship or financial investment, which is a useful indicator of how “safe” the play is perceived to be. I’d also like to be able to access reviews of the productions, to see how the play was received, and specifically who is credited or blamed for the perceived “quality” of the product, as well as the terms on which that quality is constructed. The necessary steps:<br />
* create an online performance calendar for Canadian women's productions<br />
* create and/or link to databases containing biographical information about women playwrights that tags the people in their social network <br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General_Talk:IndexGeneral Talk:Index2010-04-30T17:11:27Z<p>DorothyHadfield: Created page with 'There is discussion about leaving the story page unprotected. I think stories should be protected, as they are themselves not yet collaborative projects. If anyone can edit the t…'</p>
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<div>There is discussion about leaving the story page unprotected. I think stories should be protected, as they are themselves not yet collaborative projects. If anyone can edit the text, it defeats the whole point of making it "My Story"--it is now a public project. I think stories should be protected, with the practice of having stories spawn spaces that can be collaborative. dh</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/Story:New_StoryStory:New Story2010-04-30T16:55:58Z<p>DorothyHadfield: Created article from template StoryTemplate</p>
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<div>{{StoryTemplate<br />
|name = <br />
|email = <br />
|role = <br />
|inst = <br />
|field = <br />
|selfDescription = <br />
|project = <br />
|story = <br />
|scope = <br />
|when = <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/File:Tori_and_Harry.jpegFile:Tori and Harry.jpeg2010-04-30T16:51:01Z<p>DorothyHadfield: </p>
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<div></div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/File_talk:Brandon.jpegFile talk:Brandon.jpeg2010-04-30T16:43:46Z<p>DorothyHadfield: Created page with 'Collaborating discussions here?'</p>
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<div>Collaborating discussions here?</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/File:Brandon.jpegFile:Brandon.jpeg2010-04-30T16:41:36Z<p>DorothyHadfield: Cool dude</p>
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<div>Cool dude</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:DAHadfieldGeneral:DAHadfield2010-04-30T16:38:33Z<p>DorothyHadfield: /* Links */</p>
<hr />
<div>=My CWRCy Day=<br />
This is my attempt to learn to create a wiki page<br />
<br />
# Item1<br />
## Item1.1<br />
# Item2<br />
<br />
* Bullet 1<br />
* Bullet 2<br />
<br />
==Links==<br />
# Use single square brackets to annotate external links<br />
[http://uoguelph.ca] University of Guelph<br />
<br />
# Use double square brackets to annotate internal links<br />
[[Story:Mapping_Theatrical_Relationships]]<br />
<br />
* [[Image:java.jpeg|400px|]]<br />
===Heading 3===</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:DAHadfieldGeneral:DAHadfield2010-04-30T16:35:00Z<p>DorothyHadfield: /* Links */</p>
<hr />
<div>=My CWRCy Day=<br />
This is my attempt to learn to create a wiki page<br />
<br />
# Item1<br />
## Item1.1<br />
# Item2<br />
<br />
* Bullet 1<br />
* Bullet 2<br />
<br />
==Links==<br />
# Use single square brackets to annotate external links<br />
[http://uoguelph.ca] University of Guelph<br />
<br />
# Use double square brackets to annotate internal links<br />
[[Story:Mapping_Theatrical_Relationships]]<br />
===Heading 3===</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:DAHadfieldGeneral:DAHadfield2010-04-30T16:32:30Z<p>DorothyHadfield: /* My CWRCy Day */</p>
<hr />
<div>=My CWRCy Day=<br />
This is my attempt to learn to create a wiki page<br />
<br />
# Item1<br />
## Item1.1<br />
# Item2<br />
<br />
* Bullet 1<br />
* Bullet 2<br />
<br />
==Links==<br />
# Use single square brackets to annotate external links<br />
[http://uoguelph.ca] University of Guelph<br />
===Heading 3===</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:DAHadfieldGeneral:DAHadfield2010-04-30T16:31:01Z<p>DorothyHadfield: /* My CWRCy Day */</p>
<hr />
<div>=My CWRCy Day=<br />
This is my attempt to learn to create a wiki page<br />
<br />
# Item1<br />
## Item1.1<br />
# Item2<br />
<br />
* Bullet 1<br />
* Bullet 2<br />
<br />
==Projects==<br />
===Heading 3===</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:DAHadfieldGeneral:DAHadfield2010-04-30T16:28:24Z<p>DorothyHadfield: /* My CWRCy Day */</p>
<hr />
<div>=My CWRCy Day=<br />
==Projects==<br />
===Heading 3===</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:DAHadfieldGeneral:DAHadfield2010-04-30T16:27:28Z<p>DorothyHadfield: Created page with '=My CWRCy Day= ==Projects=='</p>
<hr />
<div>=My CWRCy Day=<br />
==Projects==</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-08T00:42:06Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = This project returns to and builds on earlier research into the material conditions of production in Canadian feminist theatre. In that research, I focussed on the “textual residues” that were created and remained to shape a particular type of historical visibility and representation of those productions. While I briefly glanced at the issue of personal relationships among the theatre workers, that remained more tangential because it was too difficult to identify and track. However, it’s no secret that theatrical production is a highly networked cultural practice, where knowing “the right people” can mean the difference between success and constant struggle. <br />
<br />
Canadian women playwrights, in fact, have often written about the existence of the “old boys’ club” that governed theatrical production and effectively disenfranchised them. I’d like to see whether this perception is, in fact, accurate, and additionally, whether women playwrights have developed an “old girls’ club” to counteract it.<br />
|story = This research requires a repository of information, not just about the women’s plays, but about their theatrical production as well. This production information includes theatre companies, venues, directors, cast members, corporate sponsors, etc. I want to be able to visualize whether there are any “clusters” of relationships that appear, ie whether production opportunities for women playwrights in general, or specific playwrights, or particular types of plays increase in the proximity of specific directors, actors, or other theatre workers. I also want to see what types of plays attract what types of sponsorship or financial investment, which is a useful indicator of how “safe” the play is perceived to be. I’d also like to be able to access reviews of the productions, to see how the play was received, and specifically who is credited or blamed for the perceived “quality” of the product, as well as the terms on which that quality is constructed.<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-07T18:08:07Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = This project returns to and builds on earlier research into the material conditions of production in Canadian feminist theatre. In that research, I focussed on the “textual residues” that were created and remained to shape a particular type of historical visibility and representation of those productions. While I briefly glanced at the issue of personal relationships among the theatre workers, that remained more tangential because it was too difficult to identify and track. However, it’s no secret that theatrical production is a highly networked cultural practice, where knowing “the right people” can mean the difference between success and constant struggle. <br />
<br />
Canadian women playwrights, in fact, have often written about the existence of the “old boys’ club” that governed theatrical production and effectively disenfranchised them. I’d like to see whether this perception is, in fact, accurate, and additionally, whether women playwrights have developed an “old girls’ club” to counteract it.<br />
|story = <br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-07T17:54:38Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = <br />
|story = <br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Producing_New_Woman_PlaywrightsGeneral:Producing New Woman Playwrights2009-11-07T17:45:22Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves aspiring women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence on aspiring women playwrights to determine how he managed to dominate their voices so effectively. My research approach begins with the recognition that theatrical production and the historical presence of those productions is driven at least as much by materialist considerations as artistic ones (and sometimes more so), yet theatre history tends to refigure the historical visibility of these plays as confirmation of the unique or exemplary (artistic) merit of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his “encouragement” may have helped him to strengthen his position as the age’s pre-eminent feminist playwright. <br />
<br />
Initially, I focussed on one particular case study: an unpublished and unproduced play by Janet Achurch, a prominent Ibsen actress whom Shaw ardently admired. Reading the correspondence between Shaw and Achurch a rather different picture of Shaw emerged: one who repeatedly disparaged Achurch’s attempts at playwriting while exhorting her to focus instead on acting in his plays. Moreover, both he and Achurch were competing to interest the same actor-manager into taking on their plays. When Louis Waller turned down Achurch’s play, Shaw wrote to explain to her that the conventional melodramatic ending was too old-fashioned for the theatre. When I retrieved a copy of the play from the Lord Chamberlain’s Archives in England, I was surprised to discover that Shaw’s characterization of the play’s ending is not, in fact, accurate—yet it’s the description of the play that has justified the historical indictment of Achurch’s sole playwriting attempt. <br />
<br />
First it’s necessary to locate the women who were writing plays during the period of 1890-1925 (the period of Shaw’s most prolific theatrical activity), including, if possible, women who wrote plays that were never actually produced. I would like to be able to visualize the production “popularity” of the plays, determined primarily by the nature of the venue and the length of the run(s). I’d then like to be able to map Shaw’ proximity to these women in terms of his personal and professional relationships with them, to identify whether there was any correlation between the nature/strength of his relationship with them and the likelihood of their “success” as playwrights. Additionally, I'd like to be able to qualify these results by consulting correspondence and memoirs around Shaw's relationship with these women, especially any interventions he might have made into their play development. As well, I want to be able to read the women's plays myself and compare them to the critical reaction and reviews when they were produced to try to identify the grounds on which Shaw's historical "superiority" must have been constructed.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive, Brown Victorian Women Writers<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Producing_New_Woman_PlaywrightsGeneral:Producing New Woman Playwrights2009-11-07T17:34:52Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves aspiring women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence on aspiring women playwrights to determine how he managed to dominate their voices so effectively. My research approach begins with the recognition that theatrical production and the historical presence of those productions is driven at least as much by materialist considerations as artistic ones (and sometimes more so), yet theatre history tends to refigure the historical visibility of these plays as confirmation of the unique or exemplary (artistic) merit of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his “encouragement” may have helped him to strengthen his position as the age’s pre-eminent feminist playwright. <br />
<br />
First it’s necessary to locate the women who were writing plays during the period of 1890-1925 (the period of Shaw’s most prolific theatrical activity), including, if possible, women who wrote plays that were never actually produced. I would like to be able to visualize the production “popularity” of the plays, determined primarily by the nature of the venue and the length of the run(s). I’d then like to be able to map Shaw’ proximity to these women in terms of his personal and professional relationships with them, to identify whether there was any correlation between the nature/strength of his relationship with them and the likelihood of their “success” as playwrights. Additionally, I'd like to be able to qualify these results by consulting correspondence and memoirs around Shaw's relationship with these women, especially any interventions he might have made into their play development. As well, I want to be able to read the women's plays myself and compare them to the critical reaction and reviews when they were produced to try to identify the grounds on which Shaw's historical "superiority" must have been constructed.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive, Brown Victorian Women Writers<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Producing_New_Woman_PlaywrightsGeneral:Producing New Woman Playwrights2009-11-07T16:12:28Z<p>DorothyHadfield: Created page with '{{StoryTemplate |name = D.A. Hadfield |email = dhadfiel@uoguelph.ca |role = part-time instructor |inst = University of Guelph |field = theatre historiography, literary productio…'</p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. I'd also like to be able to link directly to the texts of these plays to assess how accurately Shaw is representing it. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:IndexGeneral:Index2009-11-07T16:11:04Z<p>DorothyHadfield: /* CWRC User Stories */</p>
<hr />
<div>= CWRC User Stories =<br />
<br />
[[Story:VisualizingSemanticStructure]]<br />
<br />
<br />
[[Story:VisualizingSocialNetworks]]<br />
<br />
<br />
[[Story: Breadboard scenario]]<br />
<br />
<br />
[[Story:Hysteria and Creativity in Eighteenth-Century Writing by Women]]<br />
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[[Story:Mapping Theatrical Relationships]]<br />
<br />
<br />
[[Story:Vic Lit Story]]<br />
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[[Story: Visualising the Charter]]<br />
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[[Story: Legal Advice to Women in the Eighteenth Century]]<br />
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[[Story: Make ‘em Laugh: Images of Law in Eighteenth Century Popular Culture]]<br />
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[[Story:Producing New Woman Playwrights]]</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T23:18:12Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British feminist theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. I'd also like to be able to link directly to the texts of these plays to assess how accurately Shaw is representing it. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T23:17:35Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. I'd also like to be able to link directly to the texts of these plays to assess how accurately Shaw is representing it. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = [[Story:VisualizingSocialNetworks]]<br />
|related-tools = Internet Archive<br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T23:14:41Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. I'd also like to be able to link directly to the texts of these plays to assess how accurately Shaw is representing it. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = Aggregate, Consider, Discover, Archive/Preserve, Visualize, Map, Historicize<br />
<br />
|related-stories = <br />
|related-tools = <br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T23:12:13Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. I'd also like to be able to link directly to the texts of these plays to assess how accurately Shaw is representing it. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T23:10:31Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = Some of this research (eg. parts of building the timeline) can already be done by Orlando; other aspects (identifying production details, linking to external materials) can as yet only be dreamed of. <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T23:08:41Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = These practices would be shared by anyone with a materialist focus in theatre history.<br />
|when = <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T23:07:18Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. My previous research into theatre historiography made me acutely aware that the most important and relevant historical materials are those that dramatic (and literary) history rarely focuses on: personal relationships, availability of performers or venues, and financial negotiations that had at least as much—and sometimes more—influence on what appeared on stage than considerations of artistic merit, but which “history” nonetheless turns into confirmation of the unique or exemplary worth of these works. For this project, I’d like to investigate Shaw’s personal relationships or contacts with theatrical women to determine the extent to which his influence may have helped or hindered their work. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw.<br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. Or, I would like to focus on particular theatrical venues or publishing houses to see if Shaw’s involvement with them had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For much of this research, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility.<br />
<br />
|scope = <br />
|when = <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T22:44:56Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = I would like to be able to trace Shaw’s lines of influence in the theatre to determine how he managed to dominate the women playwright’s voices so effectively. In order to assess the extent of Shaw’s influence on female playwrights, it’s also necessary to consider women who may have tried to come at playwriting from acting (or other writing genres) but were discouraged or blocked in the attempt by Shaw. <br />
<br />
First, I create the timeline that identifies women who were involved in theatre as playwrights and/or actresses in London during the particular time period of 1890-1925 (the period around Shaw’s most prolific theatrical activity). Ideally, this timeline should also be able to identify play productions by title, duration of the run, producing venue, and publication. I would then map Shaw’s presence into that network through various entry points. For example, I would like to be able to link to Shaw’s reviews of a playwright’s plays and see whether his assessment of the play had any effect on her future output or production opportunities. Or, I would like to investigate the kinds of connections Shaw may have had in particular theatrical venues or publishing houses to see if that had any effect on the production or publication opportunities for women playwrights. Especially, I’d like to be able to map any personal relationships he had with women in the theatre and what kinds of “encouragement” he might have offered them. For this final category of relationships, it would be necessary to consult volumes of correspondence or memoirs—material that I would love to be able to access directly from Orlando, but won’t be able to in most cases because of copyright restrictions. <br />
<br />
Something that would be really exciting would be to create a visual representation of these relationships and determine whether there are any identifiable clusters and whether these have any relationship (positive or negative) to the women’s historical visibility. <br />
<br />
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<hr />
<div>{{StoryTemplate <br />
|name = D.A. Hadfield<br />
|email = dhadfiel@uoguelph.ca<br />
|role = part-time instructor<br />
|inst = University of Guelph<br />
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|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
|project = My current research project involves women playwrights of the late-nineteenth and early-twentieth centuries, specifically those who had some kind of relationship with George Bernard Shaw. Shaw has been historically positioned as the predominant playwright of “The Woman Question” and its subsequent reimaginings through suffragette and feminist drama, a position buoyed by his extra-theatrical involvement in women’s rights issues. So, despite his oft-quoted insistence that he would not speak for women because women were more than capable of speaking for themselves, Shaw’s voice is the one that history has preserved to speak about women’s dramatic representations. At its most basic, the project began in wondering why that was.<br />
|story = <br />
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}}</div>DorothyHadfieldhttps://cwrc.cs.ualberta.ca/index.php/General:Mapping_Theatrical_RelationshipsGeneral:Mapping Theatrical Relationships2009-11-06T18:28:48Z<p>DorothyHadfield: </p>
<hr />
<div>{{StoryTemplate <br />
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|inst = University of Guelph<br />
|field = theatre historiography, literary production, contemporary Canadian & 19th C British theatre<br />
|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-theatrical literary production as well.<br />
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<hr />
<div>{{StoryTemplate <br />
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|role = part-time instructor<br />
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|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued. On frequent occasions, this net has widened to consider non-dramatic literary production as well.<br />
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<hr />
<div>{{StoryTemplate <br />
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|selfDescription = I am a sessional instructor at University of Guelph and St. Jerome's University (Waterloo), where I've taught pretty much everything from the medieval lyric to contemporary drama. My main research focus is in theatre historiography, especially feminist theatre. In practical terms, I'm interested in investigating the material conditions in which theatre is produced, and what effect they have both on the production of the theatrical event itself and on the way it is subsequently preserved and valued.<br />
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<div>{{StoryTemplate <br />
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<div>= CWRC User Stories =<br />
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[[Story:VisualizingSemanticStructure]]<br />
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[[Story:VisualizingSemanticStructure]]<br />
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Story:[Mapping Theatrical Relationships]</div>DorothyHadfield