Education


University of Chicago, B.A.
University of Chicago, M.A., English.
Stanford University, Ph.D., 1968, Drama.

Other Publications


BOOKS:

Actors and Onlookers:  Theater and Twentieth-Century Scientific Views of Nature (Evanston, Ill.: Northwestern UP, 1990).
  

 
Befriending the Commedia Dell’Arte of Flaminio Scala: The Comic Scenarios, (Toronto:  University of Toronto Press, 2014).
 
REFERRED ARTICLES AND BOOK CHAPTERS:

  
 
“Was There a Medieval Theatre in the Round?: A re-examination of the Evidence,” Part 1, Theatre Notebook, XXIII, 4 (1969), 130-142.
 
  

 
“Was There a Medieval Theatre in the Round?  A Re-examination of the Evidence,” Part II, Theatre Notebook, XXIV, 1 (1969), 18-25. 
 Parts I and II reprinted in abridged form in Medieval English Drama:  Essays Critical and Contextual, ed. Jerome Taylor and Alan H. Nelson (University of Chicago Press, 1972), 292-315.
  

 
“Impassioned Art:  An Interpretation of Tonight We Improvise by Luigi Pirandello,” Western Speech, XXXIII, 3 (1969), 184-191.

  

Oedipus as an Exorcism,” Educational Theatre Journal, XXII, 3 (1970), 249-255.

 
“Ecstasy and Insight in Yeats,” British Journal of Aesthetics, 11, 3 (1971), 257-267.

 
“Dramatic Multitude and Mystical Experience:  W. B. Yeats,” Educational Theatre Journal, XXIV, 2 (1972), 149-158.

 
“Curing Oneself of the Work of Time:  W. B. Yeats’s Purgatory,” Comparative Drama, VII, 4 (1973), 310-333.

 
“Academic Theatre,” Educational Theatre Journal, XXVI, 3 (1974), 387-388.

 
“Recording the Theatre in Photographs,” Educational Theatre Journal, 28, 3 (1976), 376-388.

 
Perseverance,” Theatre Survey, XVIII, 2 (1977), 96-98.

 
“The Idea of a Person in Medieval Morality Plays,” Comparative
 Drama, 12, 1 (1978), 23-34. Reprinted in The Drama of the Middle Ages, ed. Clifford Davidson (New York, N. Y.: AMS Press, 1982), 304-315.

 
“Intimations of Immortality:  W. B. Yeats’s At the Hawk’s Well, Theatre Journal, 31, 4 (1979), 501-510.
  

 
“Theatre and Children’s Pretend Play,” Theatre Journal, 33, 2  (1981), 213-230.

 
“John Cage in a New Key,” Perspectives of New Music, 20, 1 (1981), 213-230.
Reprinted in Writings about John Cage, ed. Richard Kostelanetz  (Ann Arbor: University of Michigan Press, 1993), 176-179.

 
“John Cage, Nature and Theater,” TriQuarterly, 54 (1982), 89-109.
Reprinted in A John Cage Reader, ed. Jonathan Brent and Peter Gena, (New York: C. F. Peters Corporation, 1982), 17-37

 
“Point of View in Performance Theater,” Formations, 1, 3 (1985), 69-72.

 
“Stanislavski, Creativity, and the Unconscious,” New Theatre Quarterly, II, 8 (1986), 345-351.

 
“Aristotle’s Poetics and Aristotle’s Nature,” Journal of Dramatic Theory and Criticism, 1, 2 (1987), 3-16.

 
“Push-Down Stacks in Contemporary Theater,” Centennial Review, XXXI, 4 (1987), 338-354.

 
“Theorizing about Performance: Why Now?,” New Theatre Quarterly, VI, 23 (1990), 231-234.

 
“Cage and Intermedia,” Music Today, 18, 81-85 (1993), in Japanese.
Reprinted in somewhat different form as “‘So Many Things Can Go Together’: The Theatricality of John Cage,” New Theatre Quarterly, xi, 41 (1994), 72-78.

 
“Casting the Audience,” The Drama Review, (TDR), 37, 4, (Winter, 1993), 143-156.

 
“Ecstasy and Peak Experiences: W. B. Yeats, Abraham Maslow, and Marghanita Laski,”
Comparative Drama, 28, 2 (Summer, 1994), 167-181.

 
Old Times: Pinter’s Meditation on Sweeney Agonistes,” Cysnos  (special issue on Harold Pinter), 14, 1 (1997), 53-67.

 
“’Haunted by Places’: Landscape in Three Plays of W. B. Yeats,” Comparative Drama, 31, 3 (Fall, 1997), 337-366. Reprinted in Land/Scape/Theatre, ed. Elinor Fuchs and Una Chaudhuri (Ann Arbor, Mich: University of Michigan Press, 2002), 53-83.    
 

“The Landscape Play: W. B. Yeats’s Purgatory,” Irish University Review, 27, 2 (Fall, 1997), 262-275.

 
“Window/Picture: Magritte’s L’Assassin Menace/ Stoppard’s Artist Descending a Staircase,” Twentieth Century Literature, 45, 3 (Fall, 1999), 385-400

 
“‘Separating Strangeness’ and ‘Intimacy’ in W. B. Yeats’s Drama,” Journal of Dramatic Theory and Criticism, 15, 2 (Spring, 2001), 85-94.

 
“The Body in Motion in the York Adam and Eve in Eden,” Gesture in Early Drama and Art, ed. Clifford Davidson, (Kalamazoo, Mi.: Medieval Institute Publications, 2001), 158-177.

 
“W.B. Yeats’s ‘ Eternal Moment,'” Colby Quarterly, 38, 4 (2002), 367-373.

 
“Numerology in the York Creation Sequence,” Early Theatre, 7, 1 (2004) 97-102.

 
“Continuous Narration in the Holkham Bible Picture Book and Queen Mary’s Psalter, Word and Image, 20, 2 (2004), 123-137.

 
Commedia dell’ Arte: Characters, Scenarios, and Rhetoric,” Text and Performance Quarterly, 24, 1 (2004), 55-73.

 
“Morning Exercise,” Schools, 3, 2 (2006), 51-62.

 
“Creating Community: Experiments in Theatre at Francis W. Parker School, Chicago,” Theatre Survey, 49:1 (2008), 37-64.

 
“Il finto negromante: The Vitality of a Commedia Dell’Arte Scenario by Flaminio Scala, 1611,Text and Performance Quarterly, 29, 4 (2009), 299-326.

 
“Improvisation in the Commedia dell’Arte in its Golden Age: Why, What, How,” Renaissance Drama 38 n.s. (2010), 225-250.

 
“Life in the Street in the Commedia dell’Arte Scenarios of Flaminio Scala,” Viator, 41, 1 (2010), 367-393.

 
“Francis W. Parker’s Morning Exercise and the Progressive Movement,” American Educational History Journal 37, 1(2010), 109-127.

 
“The Style of Commedia dell’Arte Acting: Observations Drawn from the Scenarios of Flaminio Scala,” New Theatre Quarterly 28, 4 (2012),325-3

Natalie Crohn Schmitt

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