The god of gods : a Canadian play / by Carroll Aikins ; edited and with an introduction by Kailin Wright.

By:

Aikins, Carroll, 1888-1964 [author.]

Contributor(s):

Wright, Kailin [editor.]

Material type: Text

TextSeries: Canadian literature collectionPublisher: Ottawa, Ontario : University of Ottawa Press, [2016]Copyright date: �2016Edition: A critical editionDescription: 1 online resource (xlvii, 138 pages) : illustrationsContent type:

text

Media type:

computer

Carrier type:

online resource

ISBN:

9780776623290
077662329X
9780776623283
0776623281
9780776623276
0776623273

Subject(s):

Genre/Form:

Additional physical formats: Print version:Aikins, Carroll, 1888-1967.: God of gods.DDC classification:

C812/.52 23

LOC classification:

PR9199.3.A55 G63 2016eb

Other classification:

cci1icc
coll13

Online resources:

Click here to access online

Contents:

Cover; Title Page; Copyright; Contents; Table of Figures; Acknowledgements; Introduction; Canadian Theatre History; Theatrical modernism; Theosophy; Performing Ethnography and Primitivism; Adapting Nietzsche; The God of Gods; Characters; Casts and Production Crew; The God of Gods; Act I; Act II; Act III; Explanatory Notes; Textual Notes; Dossier; Reviews, Playbills, and Media; Theatre Reviews; Playbills and Advertisements; Biographical Notes and Articles; Works Cited; Backcover

Summary: "This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins's often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play's productions. Much of the play's historical significance lies in Aikins's vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920 22) and artistic director of Toronto's Hart House Theatre (1927 29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins's work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre). The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada's art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s"-- Provided by publisher.

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"This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins's often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play's productions. Much of the play's historical significance lies in Aikins's vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920 22) and artistic director of Toronto's Hart House Theatre (1927 29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins's work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre). The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada's art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s"-- Provided by publisher.

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