000			03723cam a22005414a 4500
999			_c1553 _d1553
003			OSt
005			20230101230009.0
008			180827b ||||| |||| 00| 0 eng d
020			_a9780776623276 (pbk)
040			_cJCRC
100	1		_aAikins, Carroll _d1888-1967.
245	1	4	_aThe God of Gods : a Canadian Play / _cCarroll Aikins ; edited by Kailin Wright.
250			_aA critical edition.
260			_aOttawa : _bUniversity of Ottawa Press, _c2016.
300			_a138 p. : _bill. ; _c 21 cm.
440			_aCanadian Literature
500			_aAlso available in electronic format.
504			_aIncludes bibliographical references.
505			_a"Carroll Aikins’s play The God of Gods (1919) has been out of print since its first and only edition in 1927. 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.
505			_aMuch 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).
505			_aThe 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." (Publisher's Website)
505			_aCONTENTS:
505			_aTable of Figures
505			_aAcknowledgements
505			_aIntroduction
505			_aCanadian Theatre History
505			_aTheatrical Modernism
505			_aTheosophy
505			_aPerforming Ethnography and Primitivism
505			_aAdapting Nietzsche
505			_aTHE GOD OF GODS _tCharacters _tCasts and Production Crew _tThe God of Gods _tAct I _tAct II _tAct III
505			_aExplanatory Notes
505			_aTextual Notes
505			_aDossier
505			_aReviews, Playbills, and Media
505			_aTheatre Reviews
505			_aPlaybills and Advertisements
505			_aBiographical Notes and Articles
505			_aWorks Cited
588			_aDescription based on print version record.
600			_aAikins, Carroll _d1888-1964. _tGod of gods _vCriticism and interpretation.
650			_aTheatre _zCanada _vHistory.
650			_aTheatre.
700			_aWright, Kailin
856	4	0	_uhttps://press.uottawa.ca/en/9780776623276/the-god-of-gods-a-canadian-play/ _zPublisher's Website.
856	4	0	_uhttps://ocul-uo.primo.exlibrisgroup.com/permalink/01OCUL_UO/gege1p/alma991039080939705161 _zCheck the UO Library catalog.
942			_2z _cBK