History of Performing Arts Books

Book SynopsisStunningly beautiful, deeply puzzling, profoundly moving or intensely unsettling – performance art can evoke a wide variety of responses. In this important and richly illustrated book, Catherine Wood, one of the world’s leading curators and writers on the subject, provides the broadest and most up-to-date survey published in recent years. Wood proposes performance not as a genre of art separate from object-making but as an attitude that has infiltrated the entire terrain of contemporary art. From the musical-theatricals of Marvin-Gaye Chetwynd to the public encounters created by Tino Seghal and the social activism of Tania Bruguera, a hugely divergent set of practices has emerged in the past twenty to thirty years which embrace the worlds of sculpture and painting, spectacle and protest. Examining in turn individual, social and object-based approaches in the field, Wood first examines the influential performance art of the 1960s to 1980s: the body art of the Viennese actionists; the raw performances of Yoko Ono and Chris Burden; and the experiments of the Japanese Gutai group among others. She then explores how these sources have been revisited, reformed or rejected by contemporary artists in the twenty-first century. This impressive book encompasses international artists who fall outside the traditional European and North American focus, giving the reader the broadest and most up-to-date insight into the subject yet published.

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Book SynopsisTrade ReviewWonderfully inspiring. A delightful spell in the company of one of our greatest and most thoughtful actresses * Daily Mail, Books of the Year *A magical love letter to Shakespeare * Kenneth Branagh *A wonderful mixture of appreciation and anecdote * Financial Times, Books of the Year *It’s a mark of Dench’s impish genius and O’Hea’s deftness that it genuinely feels like you’re sitting at her kitchen table with her. It’s companionable and compelling – if you love Judi Dench or Shakespeare (and most of us do), look no further * Guardian *Gorgeous flows of recollection * Literary Review *An utterly delightful book…there can be few higher pleasures in civilised life than hearing Judi Dench recite the poetry of Shakespeare. What emerges is a wealth of unpretentious horse sense – Shakespeare from a great actor’s perspective – that repeatedly strikes to the heart of the matter with a sharp instinctive intelligence that puts fancy-pants literary critics to shame * Telegraph *This is a gloriously entertaining tour through the canon in the company of perhaps the most experienced living Shakespearean actor; reading it feels like a chat with an old friend. * Observer *The book is pure enchantment. It swirls and dances with brilliance and mischief, so forget traditional Shakespearean criticism and analysis. Sack the Eng. Lit. professors. As never before, this book brings the subject to wild, authentic life. * Daily Mail *A wonderful ode to the bard * I *Riveting, revealing and witty * Gazette and Herald *

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Book SynopsisTrade Review“It’s a miracle when a TV show works. Mike Roe gives us a terrific behind-the-scenes look at one of the greatest television comedies ever. I devoured it in a jealous rage.” * Bradley Whitford *“30 Rock is undoubtedly one of the greatest sitcoms in history, and its complete story has finally been told, thanks to this riveting book. A must-read for any fan of the show.” -- author of The Office: The Untold Story of the Greatest Sitcom of the 2000s: An Oral History * Andy Greene *One of the best histories of a sitcom I've ever read. I can't imagine a more definitive look at one of the most influential and wonderful comedies of the past twenty years. -- Mike Sacks * author of Poking a Dead Frog *“Not only a fascinating behind-the-scenes look at one of the best sitcoms of this century, but also a testament to just how much hard work goes into making great television. For fans of 30 Rock––and comedy TV in general––it’s a must-read.” -- Oscar winner and cowriter of BlacKkKlansman * David Rabinowitz *

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Book SynopsisThe first full biography of legendary East Village artist and gay activist David Wojnarowicz, whose work continues to provoke twenty years after his death''Carr's biography is both sympathetic and compendious; it's also a many-angled account of the downtown art world of the 1980s . . . a vivid and peculiarly American story'' New York Times''A beautifully written, sympathetic, unsentimental portrait of one of the most lastingly influential late 20th century New York artists'' LA Times______________________David Wojnarowicz was an abused child, a teen runaway who barely finished high school, but he emerged as one of the most important voices of his generation.He found his tribe in New York's East Village, a neighborhood noted in the 1970s and '80s for drugs, blight, and a burgeoning art scene. His creativity spilled out in paintings, photographs, films, texts, installations, and in his life and its recountingcreating a sort of mythos around himself. His circle of East Village artists moved into the national spotlight just as the AIDS plague began its devastating advance, and as right-wing culture warriors reared their heads.As Wojnarowicz's reputation as an artist grew, so did his reputation as an agitatorbecause he dealt so openly with his homosexuality, so angrily with his circumstances as a Person With AIDS, and so fiercely with his would-be censors.Fire in the Belly is the untold story of a polarizing figure at a pivotal moment in American cultureand one of the most highly acclaimed biographies of the year.

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Book SynopsisRelatively little has been written about how ballet teachers become teachers themselves and how each generation passes on its experience to the next. The teacher-dancer relationship within the context of the Russian classical tradition is a theme of “A Life Well Danced”. It is presented through the lens of a young girl who lived through emigration and displacement at the time of the Russian Revolution, who experienced this again as an adult after the Second World War and who went on to establish a successful career as a teacher, examiner and choreographer. The book also touches on the teaching and performing of European character dance which is also an under-appreciated field. “A Life Well Danced” was inspired by the author’s direct connection through Zybina and her teachers, Nicolai Legat in London, Evgenia Eduardova in Berlin and Elena Poliakova in Belgrade, to the flowering of Russian classical ballet in the late nineteenth and early twentieth centuries when Marius Petipa was choreographing works such as Swan Lake and Sleeping Beauty. An interview with Zybina provides the framework for material in memoirs and first-hand accounts that are drawn upon for their lively descriptions of the Imperial Theatre School and the Mariinsky ballet company in St. Petersburg. Born in Moscow, Zybina and her family fled to Europe at the time of the Russian Revolution. Her first marriage to an English diplomat took her to Belgrade and a career as a dancer and ballet mistress in Yugoslavia. The Second World War saw her still in Yugoslavia with her second husband when they and a number of close friends worked in intelligence on behalf of the Allies. A strange twist of events, brought them to England where Zybina established her ballet school and became an examiner for the Federation of Russian Classical Ballet and the Society of Russian Style Ballet Schools.

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Book SynopsisInvites us to step back into an era when the hourglass figure was in vogue and striptease was a true art form. This title reveals the personal journeys of yesteryear's icons of female sexuality and power, restoring their legacy to an age that has all but forgotten them - despite resurgence of the art of burlesque.Trade Review"This coffee table treasure serves as ... a fitting paean to this once-forgotten generation of women." -- Publishers Weekly (starred review) "Liz Goldwyn illustrates an era in classic American entertainment with hundreds of archival photographs, costume sketches and newspaper clips." -- Time "Pretty Things is now the most comprehensive study on the era of burlesque." -- V Magazine "In Liz Goldwyn's Pretty Things, stripteasers bump and grind into the often dark reality of modern burlesque queens." -- Vanity Fair "The art of burlesque is lovingly documented through long-lost photographs as well as designer sketches and interviews." -- W magazine "[Pretty Things] celebrates the performers once dismissed as second-class citizens." -- Tatler

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Book SynopsisTrade Review“Edwards (The Tao of Bill Murray) affectionately captures the spirit of Fred Rogers (1928–2003) in a crisply told biography that focuses on the enduring lessons Rogers shared with his viewers.... Edwards’s enthusiastic prose vibrantly captures Rogers’s spirit and wisdom.” — Publishers Weekly

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Book SynopsisTrade Review"This book is urgent and necessary, and I am excited to see Maureen Ryan bring it into the world. So many of the books about misconduct and abuse in the entertainment industry focus on One Important Man, and we know the problems are deeper and wider than that at every level. An examination of the systems and traditions that enable abuse and prop up abusers, helping them fail upwards and ensuring there will be a bottomless churn of vulnerable workers for them to exploit is so needed right now. Burn It Down is that book." — Erin Keane, Editor-in-Chief of Salon and author of Runaway "Maureen Ryan is a dogged, clear-eyed reporter, legendary for her miles-deep exposés of Hollywood abuse, toxicity and bullying. In Burn It Down, she makes a powerful case for a less romanticized view of the entertainment industry, one that rejects the ugly traditions of the past, holds bad bosses accountable, and marks a path to a better future." — Emily Nussbaum, Pulitzer Prize-winning critic for The New Yorker and author of I Like to Watch: Arguing My Way Through the TV Revolution "Burn It Down does the heavy lifting in helping to uncover not just the ugliness of the behavior of high-profile individuals, but the mundane abuses common in the broader television and movie landscape. Maureen Ryan is a tenacious and meticulous reporter, a sharp and passionate writer, and an advocate for a fairer and better industry. There’s a reason a lot of network personnel with a lot they’re trying to keep in the dark hate nothing more than to see Maureen coming with a flashlight and a pen." — Linda Holmes, New York Times bestselling author of Evvie Drake Starts Over and host of NPR’s Pop Culture Happy Hour "Maureen Ryan is a rigorous thinker and a lovely writer and does terrific and necessary work to trace the places where entertainment and injustice intertwine with profit and abuse." — Rebecca Traister, New York Times bestselling author of Good and Mad and All the Single Ladies "Maureen Ryan is a necessary agent in questioning the status quo, and Burn It Down masterfully takes on Hollywood power structures that need to be reckoned with and changed." — Ira Madison III, co-host of the Crooked Media podcast Keep It and author of the forthcoming essay collection Pure Innocent Fun "Maureen Ryan is not only a keen critic with a fair and far-reaching eye. She is also a leader in dismantling systems of oppression and abuse in Hollywood. Her reporting has single handedly brought consequences for abusers in positions of power. I am continually inspired and grateful for her work in my industry. She makes the entertainment world safer." — Felicia Day, New York Times bestselling author of You’re Never Weird on the Internet and Embrace Your Weird "As a journalist, Mo Ryan saw the need for #MeToo coming years before it went viral. And that means that even though the constant headline-grabbing virality has subsided, Mo knows that there is still much more work to do. There are unfortunately many more painful truths about show business that have to be dug up. And there are also more skeletons in closets that need to be dragged out into the light. Mo is fierce, funny, unbossed, and unafraid." — W. Kamau Bell, New York Times bestselling author of Do the Work: An Antiracist Activity Book, director, and executive producer "Film and television journalist and critic Ryan has written the kind of book the phrase 'searing indictment' was invented for: a straight-shooting, rigorously researched and documented exposé of Hollywood’s culture of abuse.... This appears to be the book Ryan’s career has been building toward: she’s always been an advocate for people who work in the entertainment industry, and she’s never shied away from exposing Hollywood’s darker side. This powerful, angry, shocking, and important work should grip all readers interested in the truth about the entertainment industry." — Booklist "Ryan exposes the ugly truths about the entertainment business and the harmful behaviors that have been accepted and normalized in Hollywood for more than a century.... By breaking down the various myths that entertainment workers are told to believe, the author dismantles the argument that there is no changing the business; she also offers solutions. Readers will come away with a better understanding of what creatives have gone through to make the shows and films people love to watch. Some readers may even recognize similar harmful behaviors in their own work environments." — Library Journal "Vanity Fair contributing editor Ryan has been writing about the film and TV industries for many years and has collected a huge number of stories about abuses. While the revelations about Harvey Weinstein shone a light into shadowy corners, the author argues that a propensity for abuse is effectively institutionalized.... Ryan has the experience and insight to explore Hollywood’s dark underbelly, and she finds plenty of monsters." — Kirkus Reviews "Filled with revealing behind-the-scenes stories and blistering analyses of the industry’s failings, this makes a convincing case for rebooting Hollywood." — Publishers Weekly "[A] breathless compendium of malfeasance, which provides a valuable service in giving voice to those who have long gone unheard." — Los Angeles Times "Burn It Down is a Howard Beale-style, 'mad as hell and I'm not going to take this anymore' manifesto directed at the overlords and ladies of show business, complete with a multi-point plan for their redemption.... This is a dogged and dedicated journalist." — New York Times "A searing indictment of abusive behavior and work practices in the U.S. entertainment industry.... This is the proverbial look inside the sausage factory, revealing the offal, sorry, awful truth about how those shows you love are made. Indeed, if you enjoy watching television, you owe it to yourself to read this book and see what's really going on.... Burn It Down is a heavily researched, beautifully written book that leaves no Hollywood throne unturned.... Constantly engaging and illuminating." — Haaretz

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Book SynopsisDuring the patron saint fiesta in the town of San Jeronimo, Peru, crowds gather at sunset awaiting the entrance of the colourful dance troupes, or comparsas. The comparsas have become a powerful way for the local people to make sense of their place in the world. This text looks at this tradition.

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Book SynopsisOver the course of its seven-year run, Buffy the Vampire Slayer cultivated a loyal fandom and featured a strong, complex female lead, at a time when such a character was a rarity. Evan Ross Katz explores the show''s cultural relevance through a book that is part oral history, part celebration, and part memoir of a personal fandom that has universal resonance still, decades later.Katz-with the help of the show''s cast, creators, and crew-reveals that although Buffy contributed to important conversations about gender, sexuality, and feminism, it was not free of internal strife, controversy, and shortcomings. Men-both on screen and off-would taint the show''s reputation as a feminist masterpiece, and changing networks, amongst other factors, would drastically alter the show''s tone.Katz addresses these issues and more, including interviews with stars Sarah Michelle Gellar, Charisma Carpenter, Emma Caulfield, Amber Benson, James Marsters, Anthony Stewart He

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Book SynopsisOver the course of its seven-year run, Buffy the Vampire Slayer cultivated a loyal fandom and featured a strong, complex female lead, at a time when such a character was a rarity. Evan Ross Katz explores the show''s cultural relevance through a book that is part oral history, part celebration, and part memoir of a personal fandom that has universal resonance still, decades later.Katz-with the help of the show''s cast, creators, and crew-reveals that although Buffy contributed to important conversations about gender, sexuality, and feminism, it was not free of internal strife, controversy, and shortcomings. Men-both on screen and off-would taint the show''s reputation as a feminist masterpiece, and changing networks, amongst other factors, would drastically alter the show''s tone.Katz addresses these issues and more, including interviews with stars Sarah Michelle Gellar, Charisma Carpenter, Emma Caulfield, Amber Benson, James Marsters, Anthony Stewart Head, Seth Green, Marc Blucas, Nicholas Brendon, Danny Strong, Tom Lenk, Bianca Lawson, Julie Benz, Clare Kramer, K. Todd Freeman, Sharon Ferguson; and writers Douglas Petrie, Jane Espenson, and Drew Z. Greenberg; as well as conversations with Buffy fanatics and friends of the cast including Stacey Abrams, Cynthia Erivo, Lee Pace, Claire Saffitz, Tavi Gevinson, and Selma Blair.Into Every Generation a Slayer Is Born engages with the very notion of fandom, and the ways a show like Buffy can influence not only how we see the world but how we exist within it.

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Book SynopsisThis first-of-its-kind book brings together writing by artists and scholars to survey the field of Puerto Rican experimental dance across four decades. Originally published as Habitar lo Imposible, the translation features essays, artist statements, and interviews plus more than 100 photos of productions, programs, posters, and scores.Trade ReviewInhabiting the Impossible enters into current conversations about the connections between corporealities, choreography, dance, geopolitics, identity construction and ideas of nation, race, gender, class and sexuality, political agency and artistic practices--and the circulation of these concepts in the Americas. The book will interest scholars, students, practitioners and those interested in Latin American cultural theory, aesthetics, political studies, anthropology, or gender and sexuality studies." - Anamaria Tamayo-Duque, Universidad de Antioquia"This history of experimental dance in Puerto Rico also serves as a model for understanding the aesthetic impacts of dance within particular cultural and political contexts. Further, it foregrounds the voices of artists as it narrates the importance of dance as a mode of cultural manifestation, whether on the street, in living rooms and kitchens, within ritual sites, in abandoned, repurposed spaces, or on concert stages." - Jennifer Monson, University of IllinoisTable of Contents Preface to the English Edition Susan Homar and nibia pastrana santiago Introduction: Inhabiting Dance in Puerto RicoPart I. Histories, Bodies, and Alterities Susan Homar Clear the Way, We’re Coming Through! Forging a New Dance Field in Puerto Rico Adriana Garriga-LÓpez Insurrectionary Bodies: Performance at the Borderlands of Governability and Regeneration nibia pastrana santiago against erasure, in favor of strangeness, and remember: this choreography is not a Caribbean myth, others came before itPart II. Considerations about, from, and with Dance Alma ConcepciÓn SuÁrez The Legacy of Gilda Navarra and the Taller de Histriones Teresa PeÑa JordÁn Transforming the Gaze: Moving Beyond Boundaries with Poetry, Testimony, and Dance Translated by Sarah Yates Gibson Nelson Rivera Puerto Rico: Four Encounters Linking Dance, Music, and the Visual ArtsPart III. Decolonial Tasks: Improvisations, Performances, and Events Lydia PlatÓn LÁzaro The Possible from the Unknown: Transformations in the Present-Present of Improvisation Arnaldo RodrÍguez BaguÉ Curating the Foro Permanente de Performance, FPP RamÓn H. Rivera-Servera Moving Queer Feminist Movements in the Commons … or How Puerto Rico Dances its Decolonial DesiresPart IV. To Inhabit, to Write, to Move Alicia DÍaz ConcepciÓn Oscar Mestey Villamil Ñequi GonzÁlez MartÍnez teresa hernÁndez JesÚs Miranda Santiago (Pito) Awilda RodrÍguez Lora Jeanne d’Arc Casas Panouze Javier Cardona Otero NoemÍ Segarra RamÍrez Karen Langevin Pepe Álvarez ColÓnPart V. MAPA: Originary Cartographies--Interviews Alejandra Martorell Mapping Puerto Rico: Coordinates of Five Explorers of Dance as Performance Interviews with: Petra Bravo (HernÁndez) MeriÁn Soto Myrna Renaud Awilda Sterling-Duprey Viveca VÁzquez Sonia DaubÓn Aquino Guide to Informational and Bibliographic Resources on Experimental Dance in Puerto Rico Notes on Collaborators

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Book SynopsisThis first-of-its-kind book brings together writing by artists and scholars to survey the field of Puerto Rican experimental dance across four decades. Originally published as Habitar lo Imposible, the translation features essays, artist statements, and interviews plus more than 100 photos of productions, programs, posters, and scores.Trade ReviewInhabiting the Impossible enters into current conversations about the connections between corporealities, choreography, dance, geopolitics, identity construction and ideas of nation, race, gender, class and sexuality, political agency and artistic practices--and the circulation of these concepts in the Americas. The book will interest scholars, students, practitioners and those interested in Latin American cultural theory, aesthetics, political studies, anthropology, or gender and sexuality studies." - Anamaria Tamayo-Duque, Universidad de Antioquia"This history of experimental dance in Puerto Rico also serves as a model for understanding the aesthetic impacts of dance within particular cultural and political contexts. Further, it foregrounds the voices of artists as it narrates the importance of dance as a mode of cultural manifestation, whether on the street, in living rooms and kitchens, within ritual sites, in abandoned, repurposed spaces, or on concert stages." - Jennifer Monson, University of IllinoisTable of Contents Preface to the English Edition Susan Homar and nibia pastrana santiago Introduction: Inhabiting Dance in Puerto RicoPart I. Histories, Bodies, and Alterities Susan Homar Clear the Way, We’re Coming Through! Forging a New Dance Field in Puerto Rico Adriana Garriga-LÓpez Insurrectionary Bodies: Performance at the Borderlands of Governability and Regeneration nibia pastrana santiago against erasure, in favor of strangeness, and remember: this choreography is not a Caribbean myth, others came before itPart II. Considerations about, from, and with Dance Alma ConcepciÓn SuÁrez The Legacy of Gilda Navarra and the Taller de Histriones Teresa PeÑa JordÁn Transforming the Gaze: Moving Beyond Boundaries with Poetry, Testimony, and Dance Translated by Sarah Yates Gibson Nelson Rivera Puerto Rico: Four Encounters Linking Dance, Music, and the Visual ArtsPart III. Decolonial Tasks: Improvisations, Performances, and Events Lydia PlatÓn LÁzaro The Possible from the Unknown: Transformations in the Present-Present of Improvisation Arnaldo RodrÍguez BaguÉ Curating the Foro Permanente de Performance, FPP RamÓn H. Rivera-Servera Moving Queer Feminist Movements in the Commons … or How Puerto Rico Dances its Decolonial DesiresPart IV. To Inhabit, to Write, to Move Alicia DÍaz ConcepciÓn Oscar Mestey Villamil Ñequi GonzÁlez MartÍnez teresa hernÁndez JesÚs Miranda Santiago (Pito) Awilda RodrÍguez Lora Jeanne d’Arc Casas Panouze Javier Cardona Otero NoemÍ Segarra RamÍrez Karen Langevin Pepe Álvarez ColÓnPart V. MAPA: Originary Cartographies--Interviews Alejandra Martorell Mapping Puerto Rico: Coordinates of Five Explorers of Dance as Performance Interviews with: Petra Bravo (HernÁndez) MeriÁn Soto Myrna Renaud Awilda Sterling-Duprey Viveca VÁzquez Sonia DaubÓn Aquino Guide to Informational and Bibliographic Resources on Experimental Dance in Puerto Rico Notes on Collaborators

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Book SynopsisExamines the representation of blackness on television at the height of the southern civil rights movement and again in the aftermath of the Reagan-Bush years. This book looks at how television's ideological projects with respect to race have supported or conflicted with the industry's incentive to maximize profits or consolidate power.Trade Review"Lucid and accessible in both argument and style, this book offers perhaps the most theoretically sophisticated treatment to date of the historical relationship between the civil rights movement and network television, as well as of the complexities of representations of race in contemporary television. It embraces a wide academic audience, opening a conversation across disciplines that too often fail to take each other's accomplishments into account."—Sharon Willis, University of Rochester"This book is distinguished by a rare combination of critical acumen and historical insight. Torres is characteristically incisive, presenting an argument that appears both incontrovertibly correct and wholly original."—Phillip Brian Harper, New York UniversityTable of ContentsList of Illustrations ix Acknowledgments xi INTRODUCTION 1 The Vicissitudes of the Stereotype 1 Issues and Some Answers 4 Television and Conservative Racial Projects after the '60s 8 CHAPTER ONE "In a crisis we must have a sense of drama": Civil Rights and Televisual Information 13 The Burden of Liveness 13 "Pictures are the point of television news" 15 "We have shut ourselves off from the rest of the world" 20 "That cycle of violence and publicity" 23 "The vehemence of a dream" 33 CHAPTER TWO The Double Life of "Sit-In" 36 "Sit-In"'s Industrial Context 36 "Sit-In" Flashes Back 39 "Sit-In" as a Movement Text 41 "Sit-In" and Black Idiom 44 CHAPTER THREE King TV 48 Rodney King Live 48 Liveness: An Ideology of Television and Race 49 L.A. Law and Televisual Justice 52 Doogie Howser, M.D., and Televisual Instruction 60 Rodney King Dead 68 CHAPTER FOUR Giuliani Time: Urban Policing and Brooklyn South 70 Cops and Cop Shows 70 Giuliani Time 71 How to Identify with the Cops 77 Good Cop, Bad Cop 83 CHAPTER FIVE Civil Rights, Done and Undone 86 "A virtual whitewash in programming" 86 Malcom X on TV 91 The Nick Styles Show 97 Video Surveillance and Counterspectatorship 103 NOTES 109 SELECTED BIBLIOGRAPHY 131 INDEX 137

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Book SynopsisExplores Greek conceptions of human innerness and the way in which Greek tragedy shaped European notions of mind and self. Arguing that Greek poetic language connects images of consciousness, with the darkness attributed to Hades and to women, this title analyzes tragedy's biological and daemonological metaphors for what is within.Trade ReviewOne of Choice's Outstanding Academic Titles for 1992 "A rich and brilliant study... [Padel] helps us to see not just that Greek ways of thinking are so profoundly alien, but also how they make sense and could be coherently lived. Her skill as a writer ... make[s] those foreign patterns of thought compellingly vivid."--Malcolm Heath, The Times Literary Supplement "Unfamiliar connections and perspectives will make [this] book important for professionals, and the vivid portrayal of an intense and exotic mental world will appeal to the serious general reader."--Jasper Griffin, The New York Review of Books "An intriguing book... Padel ranges widely over the medical writers, epic, comedy, and philosophy. She fortifies and enriches her arguments with the work of scholars in anthropology, psychology, and religion... A poet herself, she is very sensitive to the possibilities and associations of language."--Michael R. Halleran, Bryn Mawr Classical Review "Ruth Padel's close reading of the language of the extant plays will be helpful to scholars and provide a window onto ancient Greek ideas of the mind for the general reader."--The Washington TimesTable of ContentsPrefaceAcknowledgmentsAbbreviationsCh. 1Introduction: The Divinity of Inside and Outside3Ch. 2Innards12Entrails: Learning, Feeling, Dividing12Heart, Liver, Phrenes, Inner Liquids18"Spirit," "Soul," "Mind"27Metaphor and "Anatomical Details"33Concreteness of the Innards: Poroi and Pre-Socratics40Insight into Disunity44Ch. 3Disease and Divination: Knowing the Causes of Pain49External and Internal Forces of Disease49Channels to the Soul: The Vulnerability of Sight and Hearing59Inner Movement: Source of Knowledge, Sign of Pain65Black Prophetic Innards68Discourse of Darkness75Ch. 4The Flux of Feeling78Death, Sleep, Dream, and Underground Rivers78Flow and Storm81Breaths of Passion88Ch. 5Inner World, Underworld, and Gendered Images of "Mind"99"Mind," Earth, Womb, Hades99Inner Impurities and Emissions: "Good" Turned "Bad"102The Mainly Female "Mind"106Ch. 6The Zoology and Daemonology of Emotion114Daemonic Weather, Wind, Fire114Goads, Whips, Pursuit117Biting, Eating119Oistros, Poison, Snakes, Dogs120The Mobile Adversary One Cannot Fight125The Aerial Terrorist129These Inner Wounds Are Real132The Alternative: Growth Within134Ch. 7Animal, Daimon: Bringers of Death and Definition138Nonhuman: What We Defend Ourselves Against138Animal Weaponry141Using Animal Is Using Daimon144Nonhuman Definition of the Human147Gods' Weapons152Personifications157States of Mind: Multiple, Daemonic, Female159Ch. 8Blood in the Mind162Ate, Lyssa: Madness Personified162Epic Erinyes164Tragic Erinyes: Damage "from the Ground"168Blood, Murder, Madness172Erinyes Seen179The Most Polluted Day182Erinyes Unseen185Where the Terrible Is Good189Works Cited193Index205

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Book Synopsis"Like love, Greek poetry was not for hereafter," writes Eva Stehle, "but shared in the present mirth and laughter of festival, ceremony, and party." Describing how men and women, young and adult, sang or recited in public settings, Stehle treats poetry as an occasion for the performer's self-presentation. She discusses a wide range of pre-HellenistTrade Review"Stehle has set about the important and arduous task of situating existing texts and text fragments of ancient Green nondramatic poetry in their performative contexts ... This is a thorough analysis ... clearly written and compelling, a valuable resource for classics, gender, and performance studies scholars and students."--Classical WorldTable of ContentsPrefaceAbbreviationsIntroduction3Ch. 1Community Poetry26Ch. 2Women in Performance in the Community71Ch. 3Male Performers in the Community119Ch. 4Bardic Poetry170Ch. 5The Symposium213Ch. 6Sappho's Circle262Conclusion319Appendix: Chronology of Primary Sources326Transliterated Terms329Bibliography331Index Locorum353General Index357

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Book SynopsisElizabeth Belfiore offers a striking new interpretation of Aristotle's Poetics by situating the work within the Aristotelian corpus and in the context of Greek culture in general. In Aristotle's Rhetoric, the Politics, and the ethical, psychological, logical, physical, and biological works, Belfiore finds extremely important but largely neglected sTable of ContentsAcknowledgmentsAbbreviationsIntroduction3Pt. IThe Greek Background7Ch. 1The Gorgon at the Feast9Gorgon and Gorgoneion11Pindar14Eumenides19A Medicine to Produce Aidos30Pt. IIPlot: The Soul of Tragedy41Ch. 2Philia and Tragic Imitation44Imitation45Representation48Production: Tragedy Imitates Nature53Similarity63Theoria66Philia70Ch. 3Plot and Character83The Plot-Character Distinction83Ethos92Ethos as Part of Tragedy94The Spoudaioi100Problems103Plot and Ethos in the Greek Tragedies107Ch. 4Necessity, Probability, and Plausibility111Necessity and Probability111Plausibility, Plot, and Episode119Ch. 5Parts and Wholes132The Parts of the Plot132Pathos134Peripeteia141Recognition153Good and Bad Plots160Poetics 13: Changes and Characters161Poetics 14: Pathos and Recognition170Pt. IIIPity and Fear177Ch. 6Fear, Pity, and Shame in Aristotle's Philosophy181Pity, Fear, and Physical Danger181Fear of Disgrace: Aidos and Aischune189Aristotle and the Greek Tradition190Rhetoric192Nicomachean Ethics193Eudemian Ethics199Aidos, Excellence, and Habituation203Kataplexis and Ekplexis216Summary222Ch. 7Tragic Emotion226Pity and Pear in the Poetics226Aesthetic and Real-Life Emotion238Flight and Pursuit238Tragedy and Rhetoric246Pt. IVKatharsis255Ch. 8Katharsis and the Critical Tradition257The Definition of Tragedy257The Homeopathic Prejudice260Homeopathy: Theoretical Problems266Homeopathy: The Ancient Evidence278Ch. 9Katharsis in Aristotle's Philosophy291Overview292Physical Katharsis300Katharsis of the Katamenia300Medical Katharsis306Psychic Katharsis314Purity315Psychic and Physical Excellence317Politics 8320Iron and Wood327The Platonic Elenchus331Ch. 10Tragic Katharsis337Glossary361Aristotelian Texts Used363Bibliography365Index of Passages Cited381General Index405

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Book SynopsisStarting from the assumption that all theater is at least implicitly participatory, Professor Whitaker approaches thirteen plays, from Ibsen's Rosmersholm to Beckett's Endgame and Stoppard's Rosencrantz and Guildenstern Are Dead. He asks the reader to commit himself to a variety of points of view--those of witnesses, actors, directors, and characteTable of Contents*Frontmatter, pg. i*Contents, pg. v*A Retrospective Word, pg. 1*One: Speaking of Playing, pg. 5*Two: Playing the Player, pg. 9*Three: Killing Ourselves, pg. 35*Four: Seeing the Hidden, pg. 58*Five: Dreaming the Music, pg. 79*Six: Undoing, pg. 102*Seven: Bearing Witness, pg. 126*Some Texts Behind the Text, pg. 179*Index, pg. 189

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Book SynopsisBesides documenting the predominant presence of privileged patrons in the audience, the author discusses the shape of the privileged life, the place of the privileged in the social structure, the forces that drew so many of them to London, and the factors that made them such avid theatergoers. Originally published in 1981. The Princeton Legacy LiTable of Contents*FrontMatter, pg. 1*Contents, pg. 5*Preface, pg. 7*Introduction, pg. 8*Edward Nelson, pg. 12*Andrei Okounkov, pg. 14*Michael Artin, pg. 16*John Horton Conway, pg. 18*Friedrich E. Hirzebruch, pg. 20*Janos Kollar, pg. 22*Richard Ewen Borcherds, pg. 24*David Mumford, pg. 26*Bryan John Birch, pg. 28*Sir Michael Francis Atiyah, pg. 30*Isadore Manual Singer, pg. 32*Mikhael Leonidovich Gromov, pg. 34*Kevin David Corlette, pg. 36*Sun-Yung Alice Chang, pg. 38*Shing-Tung Yau, pg. 40*John Forbes Nash, Jr., pg. 42*Karen Keskulla Uhlenbeck, pg. 44*James Harris Simons, pg. 46*Phillip Griffiths, pg. 48*Gang Tian, pg. 50*Heisuke Hironaka, pg. 52*Eriko Hironaka, pg. 54*John Willard Milnor, pg. 56*Joan S. Birman, pg. 58*Frances Kirwan, pg. 60*Robion Kirby, pg. 62*Burt Totaro, pg. 64*Simon Donaldson, pg. 66*Henri Cartan, pg. 68*Robert D. Macpherson, pg. 70*Michael Freedman, pg. 72*Margaret Dusa Mcduff, pg. 74*William Paul Thurston, pg. 76*Bertram Kostant, pg. 78*John N. Mather, pg. 80*Maryam Mirzakhani, pg. 82*Curtis Mcmullen, pg. 84*Dennis Parnell Sullivan, pg. 86*Stephen Smale, pg. 88*Marina Ratner, pg. 90*Yakov Grigorevich Sinai, pg. 92*Benoit Mandelbrot, pg. 94*George Olat Okunbo Okikiolu, pg. 96*Kate Adeb Ola Okikiolu, pg. 98*William Timothy Gowers, pg. 100*Lennart Axel Edvard Carleson, pg. 102*Terence Chi-Shen Tao, pg. 104*Robert Clifford Gunning, pg. 106*Elias Menachem Stein, pg. 108*Joseph John Kohn, pg. 110*Charles Louis Fefferman, pg. 112*Robert Fefferman, pg. 114*Yum-Tong Siu, pg. 116*Louis Nirenberg, pg. 118*William Browder, pg. 120*Felix E. Browder, pg. 122*Andrew Browder, pg. 124*Cathleen Synge Morawetz, pg. 126*Peter David Lax, pg. 128*Alain Connes, pg. 130*Israel Moiseevich Gelfand, pg. 132*Vaughan Frederick Randal Jones, pg. 134*Sathamangalam Rangaiyengar Srinivasa Varadhan, pg. 136*Marie-France Vigneras, pg. 138*Michele Vergne, pg. 140*Robert Phelan Langlands, pg. 142*Jean-Pierre Serre, pg. 144*Adebisi Agboola, pg. 146*Marcus Du Sautoy, pg. 148*Peter Clive Sarnak, pg. 150*Gerd Faltings, pg. 152*Enrico Bombieri, pg. 154*Viscount Pierre Deligne, pg. 156*Noam D. Elkies, pg. 158*Benedict H. Gross, pg. 160*Don Zagier, pg. 162*Barry Mazur, pg. 164*Sir Andrew John Wiles, pg. 166*Manjul Bhargava, pg. 168*John T. Tate, pg. 170*Nicholas Michael Katz, pg. 172*Kenneth Ribet, pg. 174*Persi Warren Diaconis, pg. 176*Paul Malliavin, pg. 178*William Alfred Massey, pg. 180*Harold William Kuhn, pg. 182*Avi Wigderson, pg. 184*Arlie Petters, pg. 186*Ingrid Chantal Da Ubechies, pg. 188*Sir Roger Penrose, pg. 190*Robert Endre Tarjan, pg. 192*Davi D Harold Blac Kwell, pg. 194*Afterword, pg. 197*List of Mathematicians, pg. 198*Acknowledgments, pg. 200

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Book SynopsisThe untold stories of seven revolutionary teen shows (The Fresh Prince of Bel-Air, My So-Called Life, Dawson’s Creek, Freaks and Geeks, The O.C., Friday Night Lights, and Glee) that shaped the course of modern television and our pop cultural landscape forever. The modern television landscape is defined by influential and ambitious shows for and about teenagers. Groundbreaking series like Euphoria, Sex Education, and Pen15 dominate awards season and lead the way when it comes to progressive, diverse, and creative storytelling. So how did we get here from Beverly Hills, 90210? In Freaks, Gleeks, and Dawson’s Creek, entertainment journalist Thea Glassman takes readers behind the scenes of seven of the most culturally significant series of the last three decades, drawing on dozens of new interviews with showrunners, cast, crewmembers, and more. These shows not only launched the careers of such superstars as Will Smith, Michael B. Jordan, Claire Danes, and Seth Rogen, but they also took young people seriously, proving that teen TV could be smart, revolutionary, and “important”—and stay firmly entrenched in pop culture long after it finished airing. And while many critics insist that prestige dramas like The Sopranos and Mad Men paved the way for television, some of the most groundbreaking work was actually happening inside the fictional hallways of high schools across America in teen shows whose impact remains visible on our screens today.

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Book SynopsisWith iconic imagery and engrossing text, Black TV is the first book of its kind to celebrate the groundbreaking, influential, and often under-appreciated shows centered on Black people and their experiences from the last fifty years.Over the past decade, television has seen an explosion of acclaimed and influential debut storytellers including Issa Rae (Insecure), Donald Glover (Atlanta), and Michaela Coel (I May Destroy You). This golden age of Black television would not be possible without the actors, showrunners, and writers that worked for decades to give voice to the Black experience in America.Written by veteran TV reporter Bethonie Butler, Black TV tells the stories behind the pioneering series that led to this moment, celebrating the laughs, the drama, and the performances we''ve loved over the last fifty years. Beginning with Julia, the groundbreaking sitcom that made Diahann Carroll the first Black woman to lead a p

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Book SynopsisThe conventions of television and their impact on composer and opera are discussed, with particular reference to Amahl and the Night Visitors, Owen Wingrave, and The Triumph of Beauty and Deceit.Television opera - that is, opera commissioned for television - was one of the earliest attempts by television to bridge the distinction between high culture and popular culture: between 1951 and 2002, in Britain and the United States, over fifty operas were commissioned for television. This book discusses three case studies, the first a live broadcast, the second a video recording, and the third a filmed opera made for television: Gian Carlo Menotti's Amahl and the Night Visitors (NBC, 1951); Benjamin Britten's Owen Wingrave (BBC, 1971), taking into account Britten's earlier television experiences with The Turn of the Screw (Associated Rediffusion, 1959)and Billy Budd (NBC, 1952 and BBC 1966); and Gerald Barry's The Triumph of Beauty and Deceit (1995), part of Channel 4's decision in 1989 to embark upon a series of six hour-long television operas. In each case, thecomposer's response to the demands of television, and his place within the production's hierarchy, are examined; and the effect of the formats and techniques peculiar to television on the process of composing are discussed. JENNIFER BARNES is Assistant Principal and Dean of Studies at Trinity College of Music, London.Trade ReviewThe book's downbeat subtitle says it all: the genre seems to be dying on its shaky feet. It is a slightly esoteric subject, but one the author has pursued with laudable persistence based on extensive research. -- Alan Blyth * GRAMOPHONE *[This] study is a significant contribution to the growth of the still-young scholarship on mediated opera. * NOTES *Packed with closely researched detail, precisely and elegantly argued. It makes for compulsive and intelligent reading. * BBC MUSIC MAGAZINE *Table of Contents"A daring experiment"; Britten, opera and television; trial by television.

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Book SynopsisAspects of medieval theatre examined for reflection of contemporary life.The essays in this volume explore ways in which plays and public spectacles mirrored the beliefs and values of the late medieval world. Topics covered include seasonal festivals, trade gilds, stagecraft, and the role played by themunicipal governments in fostering and controlling dramatic productions. The geographic range takes in all western Europe, with particular consideration of the connections between the various medieval European dramatic traditions. Inter-disciplinary in approach, perspectives range from the history of theatre to cultural and political history and literary criticism. There is particular emphasis on the real advances that can be made in expanding knowledge of medieval theatre through research in local and regional archives. ALAN E. KNIGHT is professor emeritus of French at the Pennsylvania State University. Contributors: ALEXANDRA F. JOHNSTON, LYNETTE R. MUIR, PAMELA SHEINGORN, R.B. DOBSON, GERARD NIJSTEN, CLIFFORD DAVIDSON, WIM HÜSKEN, STEPHEN SPECTOR, ALAN E. KNIGHTTrade ReviewDemonstrates the continuing excellence and vitality of scholarship in this field...the essays are of an extremely high standard. * TIMES HIGHER EDUCATION SUPPLEMENT *Table of Contents`The Stage as Context: Two Late Medieval French Susanna Plays'. - Alexandra F. Johnston `Playing God in Medieval Europe'. - Lynette Muir `The Bodily Embrace or Embracing the Body: Gesture and Gender in Late Medieval Culture'. - Pamela Sheingorn `Craft Guilds and City: The Historical Origins of the York Mystery Plays Reassessed'. - R B Dobson `Feasts and Public Spectacle: Late Medieval Drama and Performance in the Low Countries'. - `Civic Drama for Corpus Christi at Coventry: Some Lost Plays'. - Clifford Davidson `Politics and Drama: The City of Bruges as Organizer of Drama Festivals'. - Wim Husken `Time, Space and Identity in the 'Play of the Sacrament''. - Stephen Spector `The Stage as Context: Two Late Medieval French Susanna Plays'. - Alan E. Knight

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Book SynopsisDebunks stereotypes about blindness, in which readers, receivers and spectators from antiquity to the present have been implicated because their persistence relies on audiences to perpetuate them. Argues for a new way of seeing and of understanding classical reception - using assemblage-thinking and with a focus on the theatre.Table of ContentsIntroduction: Looking and Looking Back; 1. Towards Visual Activism; 2. Blindness and / as Punishment; 3. Blindness as Metaphorical Death; 4. Blindness as Second Sight; Interlude: Colonial Visions; 5. Blindness and Spectatorship; Conclusion: Assembling the Future.

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Book Synopsis1. Research Theatre 2. Theorizing Ecocide: The Theatre of Eco-Cruelty 3. A Research Theatre Process: The Ecocide Project, By Fritz Ertl 4. Staging Carla and Lewis, By Ecocide Project collaborators 5. Carla and Lewis, By Shonni EnelowTable of Contents1. Research Theatre 2. Theorizing Ecocide: The Theatre of Eco-Cruelty 3. A Research Theatre Process: The Ecocide Project, By Fritz Ertl 4. Staging Carla and Lewis, By Ecocide Project collaborators 5. Carla and Lewis, By Shonni Enelow

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Book Synopsis1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie SachsenmaierPART I: PREMISES2. Contemporary Collaborations and Cautionary Tales; Simon Murray3. Collaboration, Temporality and Post-Fordism; Bojana Kunst4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham6. Ten Propositions for Research-Creation; Erin ManningPART II: WORKINGS7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull8. Collaboration as a Mode of Labour; Noyale Colin9. The Author of the Gift  -The Practice of Authorship; Tim Jeeves10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia12. Rowing to Hilversum Double Vision in Performance andTable of Contents1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie SachsenmaierPART I: PREMISES2. Contemporary Collaborations and Cautionary Tales; Simon Murray3. Collaboration, Temporality and Post-Fordism; Bojana Kunst4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham6. Ten Propositions for Research-Creation; Erin ManningPART II: WORKINGS7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull8. Collaboration as a Mode of Labour; Noyale Colin9. The Author of the Gift -The Practice of Authorship; Tim Jeeves10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia12. Rowing to Hilversum Double Vision in Performance and Architecture; Pedro de Senna, Caroline Bowditch, David Bower13. Rowing to Hilversum Double Vision in Performance and Architecture; Forster and HeighesPART III: FAILURE14. Positive Negatives or the subtle arts of compromise; Susan Melrose15. Messy Bits; Emilyn Claid16. Productive misapprehensions Artscross as a cross-cultural collaborative zone of contestation of contemporary dance practice; Stefanie SachsenmaierIndex

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Book SynopsisA far-reaching examination of exoticism, cultural internationalism and modernism''s encounters with Indonesian tradition, Performing Otherness examines how Indonesia entered world stages through imperialism as an antimodern phantasm and through nationalism became a means of intercultural communication and cultural diplomacy.Table of ContentsList of Figures Preface and Acknowledgements Note on Orthography and Writing Conventions Introduction: The Spectacle of Otherness Mata Hari Wayang as Technology Eva Gauthier, From Java to Jazz Stella Bloch and 'up-to-date' Java Raden Mas Jodjana and Company Magical Identification with Bali in France Greater India Devi Dja goes Hollywood Aftermath: Decolonization Glossary Selected bibliography Notes Index

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Book SynopsisWhy is it that in going to see plays we are also touched or moved by them, and is there more than metaphor involved in such claims? Considering these and other questions, this book examines a range of contemporary performance works in which performers and their audiences occupy a shared realm of feelings, in which the play is not always the thing.Trade Review'Welton's Feeling Theatre: Staging Sensation provides a thought-provoking overview of how the senses are fundamental to theatre experiences both in practice and appreciation - in a diversity of ways. The questioning approach and accessible tone is highly relevant to contemporary performance practice and analysis. In addition to its place within educational contexts Feeling Theatre will also be of interest to those currently engaged in professional performance practice. The author's own concern with practice, alongside the consideration of example work from a variety of performances, lends itself to the practitioner perspective in this regard. The foregrounding of 'practice-based research' with a focus on the interdisciplinary is apposite to both academic and artistic perspectives. The overriding strength of Feeling Theatre is that it deliberates on the particularly affective nature of live performance and provides a clear argument for the need to expand the sensorium of theatrical criticism beyond the audio-visual to consider the full and interactive sentience of the human body and the varied ways in which it 'makes sense' during and following a variety of theatrical events. The elision of 'feeling' (in its various modes), looking and listening foregrounds how the focus shifts within and beyond seeing and hearing and adds a sensual touch to the analysis; a writerly 'feel' that migrates between emotion, cognition and touch. In considering 'theatre's full-fleshed perceptivity' Welton breaks down each chapter to focus on specific affects ascribed to certain senses and, in so doing, explores the complex nature of perceptual experience in performance practice to examine what it is to experience 'feelingly'. The 'getting a feel for how it goes' mantra is a fundamental precept of the book and shows a sensitivity to the exchange that occurs in performance between performer and spectators; a factor that places Feeling Theatre firmly within the vital and ongoing movement in embodied thinking. ' Jo Machon, Lecturer in Theatre, Brunel University, UKTable of ContentsPreface Introduction Shows of Feeling Feeling Your Way in the Dark The Sensuousness of Silence Somewhere, Somehow Bringing the Weather Indoors Afterword Notes Bibliography Index

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Book SynopsisUsing examples of refugee arts and theatrical activity since the 1990s, this book examines how the ''refugee crisis'' has conditioned all arts and cultural activity with refugees in a world where globalization and migration go hand in hand.Trade ReviewJoint Winner of the 2012 TaPRA Early Career Researcher Prize 'Refugees, Theatre and Crisismarks a timely response to urgent political questions about the experiences of asylum seekers and refugees. Scholarly and incisive, the power of this book lies is in Alison Jeffers political clarity, her empathetic understanding of why refugees are compelled to make theatre and her vivid analysis of how theatre-makers have told refugees' stories on the professional stage. The impressively rich material and detailed case studies provide insights into the ways in which theatre and performance are used as a means of cultural expression, and asks how cultural identities are shaped in the process. This remarkable book is compelling reading for anyone who cares about human rights and theatre.' - Professor Helen Nicholson, Royal Holloway, University of London, UK 'In Refugees, Theatre and Crisis, Alison Jeffers provides a compelling account of the complex relations between refugee communities, the theatre practices they create and the 'bureaucratic' performances in which they become enmeshed. This is a theoretically rich book, brim full of previously undocumented examples of practice - a wonderful read and an inspiration for students, teachers and practitioners interested in those moments when theatre seems to illuminate unexpected contours of these crisis-dominated times.' - Professor James Thompson, University of Manchester, UK '...[a] meticulously researched, compassionate book... This is an important book about the stakes involved when connection is sought across vast gaps in life opportuntity, status and power...' - Emma Cox, Research in Drama Education 'Jeffers' book offers an original and provocative contribution to scholars and practitioners in Refugee Studies and Theatre and Performance Studies, particularly Applied, Social and Community Theatre. It is both a call for and significant contribution to an ethical understanding of refugees.' - Caoimhe McAvinchey, New Theatre Quarterly 'The book Refugees, Theatre and Crisis: Performing Global Identities, recipient of the 2012 TaPRA award in the category New Career Research in Theatre/Performance, is a timely and valuable addition to the growing field of exilic and refugee theatre studies... a vital addition to the studies of global theatre today and an important reference source in theatre and performance studies, cultural studies and public history.' - Yana Meerzon, Theatre Research InternationalTable of ContentsList of Illustrations Acknowledgements Preface Introduction: Stories, Words and Points of View Refugees, Crisis and Bureaucratic Performance Hosts and Guests: National Performance and the Ethics of Hospitality Taking up Space and Making a Noise: Minority Performances of Activism 'We With Them and Them With Us': Diverse Cultural Performances Conclusion: Face to Face or Shoulder to Shoulder? Notes References Index

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Book SynopsisExploring the themes of the event, ephemerality and democracy that mark the encounter between performance and philosophy, this original study elaborates fresh perspectives on the experiences of undoing, fiasco and disaster that shadow both the both stage and everyday life.Trade Review'A book that asks the questions about performance that come before the commonly asked is a book that approaches a theatre philosophy. If such a thing were not a contradiction in terms Simon Bayly's A Pathognomy of Performance would provide us with the exemplary exception we have been waiting for.' - Alan Read, Professor of Theatre, King's College London, UK 'What this book offers on the study of the fleeting and transcendent is ultimately highly substantial, as well as provocative and wholly scholarly...' -Journal of Theatre Research InternationalTable of ContentsList of Illustrations Acknowledgements Introduction Strains of Thought Points of Suspension Instants of Affection Anomalous Appearances The Borrowed Masks of Being Logics of Expression Wrinkles, Furrows and Folds The Tonic of the Sonic Deleted Expletives Peals of Appeal Bibliography Index

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Book SynopsisThis book examines experimental Irish theatre that ran counter to the naturalistic ''peasant'' drama synonymous with Irish playwriting. Focusing on four marginalised playwrights after Yeats, it charts a tradition linking the experimentation of the early Irish theatre movement with the innovation of contemporary Irish and international drama.Trade Review"This is an important study of Irish theatre for its sophisticated dramaturgic analysis and for its demythologising of received views of Irish theatre. In this [Walsh] very much is true to the radical spirit of the playwrights he champions." - Anthony Roche, Irish Studies ReviewTable of ContentsIntroduction Acknowledgements An Irish Theatre Laboratory: Experimental Contexts Experiments in Representation: Jack B. Yeats Experiments in Gender: Elizabeth Connor Experiments in Verse: Donagh MacDonagh Experiments in Theatre: Maurice Meldon Continuing Experimentation Notes Select Bibliography Index

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Book SynopsisAn investigation of the many ways that Shakespeare uses the defiant voice of the shrew. Kamaralli explores how modern performance practice negotiates the possibilities for staging these characters who refuse to conform to standards of acceptable behaviour for women, but are among Shakespeare''s bravest, wisest and most vivid creations.Table of ContentsIntroduction 'Shrewd tempters with their tongues': Historic Shrews Constance, Kate Percy, Jeanne la Pucelle, Margaret d'Anjou 'My tongue will tell the anger of my heart': Comic Shrews Adriana, Katherine, Beatrice 'Well she can persuade': Shrews Post-Comedy The Tragedies: Goneril, Emilia The not-quite Tragedies: Isabella, Marina, Paulina Conclusion 'Let her speak too' Index

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Book SynopsisThis book sets out the political and cultural conditions regulating dramatic writing during an era of censorship and monopolistic royal theatres. Using a range of plays and manuscripts, it argues for the centrality of burletta, the theatrical locus of the attacks on the Cockney school of poetry and the vitality of the metropolitan dramatic scene.Trade Review'...a book positively bursting with fascinating new material...both an intriguing and rewarding foray into the plebeian culture of the minor London playhouses.' David O'Shaughnessy, British Association for Romantic Studies Bulletin& ReviewTable of ContentsPreface Introduction Busby, Burletta and Barnwell: Music, Stage and Audience Dramatic Topicality: Robert Merry's The Magician No Conjurer and the 1791 Birmingham Riots Black Face and Black Mask: The Benevolent Planters Versus Harlequin Mungo Belles Lettres to Burletta: William Henry Ireland as Fortune's Fool The Libertine Reclaimed : Burletta and the Cockney Presence The Royal Amphitheatre and Olympic Tom and Jerry Burlettas Moncrieff's Tom and Jerry and its Spin-Offs Conclusion: The Canadian Tom and Jerry Murder Notes Bibliography of Primary Sources Index

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Book SynopsisIntroduction: Transatlantic Broadway: The Infrastructural Politics of Global Performance 1. Networking the Waves: Ocean Liners, Impresarios, and Broadway's Atlantic Expansion 2. Along the Wires: Telegraphic Performances and the Wiring of Broadway 3. White Collar Broadway: Performing the Modern Office 4. ''My Word! How He is Kissing Her': The Material Culture of Theatrical Promotion 5. Epilogue: Transatlantic (re)Crossings Endnotes Bibliography IndexTrade Review“Transatlantic Broadway makes an important contribution to theatre and performance studies, American cultural history, histories of capitalism, and studies of print and material culture. … Essential for scholars and teachers of theatre history, Schweitzer’s study prompts readers to envision historiography as competing and overlapping threads or networks. … Transatlantic Broadway attends to performers, spaces, and archives that have been neglected in previous studies of the theatre, thus encouraging scholars to rethink the literal and disciplinary borders of US theatre history.” (Nicole Berkin, Theatre Survey, Vol. 58 (1), January, 2017)“This finely wrought book significantly expands the fields of US theatre history and performance studies by mapping a new historiographical framework for understanding Broadway’s formation. … Schweitzer’s combined application of ANT and ‘scriptive thing’ theory to transatlantic Broadway offers an inspiring historiographical model for performance scholars.” (Kim Marra, Theatre Journal, Vol. 68 (4), December, 2016) “Transatlantic Broadway examines a wide range of theatrical media, tracing their circuits through Europe and the United States and considering the ways that they establish communities. … Though the book will be most immediately valuable to scholars of performance and mobility, it will also be useful to mobility studies scholars interested in media, business, and urban geography.” (Sunny Stalter-Pace, Transfers Review, Vol. 5 (3), Winter, 2015)Table of ContentsIntroduction: Transatlantic Broadway: The Infrastructural Politics of Global Performance 1. Networking the Waves: Ocean Liners, Impresarios, and Broadway's Atlantic Expansion 2. Along the Wires: Telegraphic Performances and the Wiring of Broadway 3. White Collar Broadway: Performing the Modern Office 4. ''My Word! How He is Kissing Her': The Material Culture of Theatrical Promotion 5. Epilogue: Transatlantic (re)Crossings Endnotes Bibliography Index

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Book SynopsisWhile not wishing to ignore the influence of Shakespeare, this collection of essays explores other historical drama between 1500 and 1660, covering a wide range of different formats. Individual essays in chronological order discuss a wide variety of possible sources for historical drama, ranging from oral traditions to chronicles.Trade Review' English Historical Drama illuminates the enduring link between history and drama in early modern society.' - John Ridpath, Times Literary SupplementTable of ContentsAcknowledgements Notes on Contributors Introduction; T.Grant & B.Ravelhofer The Early Tudor History Play; J.Dillon The Reformation of History in John Bale's Biblical Dramas; A.W.Taylor Seneca and the Early Elizabethan History Play; M.Ullyot History in the Making: The Case of Samuel Rowley's When You See Me You Know Me (1604/5); T.Grant The Stage Historicizes the Turk: Convention and Contradiction in the Turkish History Play; M.Hutchings News Drama: The Tragic Subject of Charles I; B.Ravelhofer Index

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Book SynopsisFrom the early Cat on a Hot Tin Roof and one-act Auto-da-Fé , through The Two-Character Play and Something Cloudy, Something Clear , Paller's book investigates how Williams's earliest critics marginalized or ignored his gay characters and why, beginning in the 1970s, many gay liberationists reviled them.Trade Review'Like a great actor inhabiting one of Tennessee Williams' characters, Michael Paller brings intelligence, nuance and considerable artistry to the complex figure of the man himself. He shatters the mythology surrounding Williams - that he was an innately tragic, self-loathing homosexual - and bravely recontextualizes him not only as an incomparable artist, but as a ground-breaking social pioneer. His book is a welcome re-evaluation of one of our most revered and misunderstood American originals.' - Doug Wright, Pulitzer Prize winning author of I Am My Own Wife 'Tennessee Williams was America's most original dramatic talent. He was also gay. The significance of this fact is explored by Michael Paller in a book full of striking insights into the man, the plays, and the theatre of which he was a part. What emerges from this study is a familiar figure seen in a new complexity. What also emerges is an America whose oppressive laws and casual cruelties toward those who shared his sexuality in part created the pressures that created the context, if not always the subject, of his art.' - Christopher Bigsby, Professor of American Studies at the University of East Anglia and Director of the Arthur Miller Centre 'Gentlemen Callers and Michael Paller look at the writing of Tennessee Williams through a gay perspective that is insightful and blessedly free from many of the distortions and exaggerations that previous studies have indulged in. It will be of interest to theatre goers and practitioners alike.' - Michael Kahn, Artistic Director, The Shakespeare Theatre 'Michael Paller's Gentleman Callers offers an innovative, perceptive, and very readable examination of the works Tennessee Williams produced in his long and productive career...Paller reveals the extent to which misguided 'political correctness' among some recent critics has prevented a judicious reading of the works. This sensitive and informed analysis is destined to become a major addition to Williams scholarship, offering insights to both long-time Williams fans and scholars and to those unfamiliar with his work.' - Kenneth Holditch, author of Tennessee Williams and the South and founding editor of The Tennessee Williams Journal '...an insightful debunking of the conventional wisdom characterizing the theatre icon as a tragic figure, a self-hating homosexual inherently incapable of true happiness. Instead, in Paller's thoughtful and convincing re-evaluation of both the playwright and his plays, William's emerges a ground-breaking figure on both personal and professional grounds, an ironically happy ending for an envelope-pusher who freed the stage from that very same convention.' - ELLE MagazineTable of ContentsAcknowledgments Introduction The Signs are Interior Blue as My First Lover's Eyes The Time and World That I Live In Something Kept on Ice A True Story of Our Time Almost Wilfully Out of Contact with the World Before My Clean Heart Has Grown Dirty Bibliography Index

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Book SynopsisThis book redefines the plays and theatrical culture of the years 1625 to 1642 as something more than simply post-Shakespearean in character. Scholars reveal the drama's mixture of political engagement, urbane cosmopolitanism, and commercial ingenuity. They urge us to recalibrate our histories to account for the innovations of the Caroline period.Trade Review'This is a stimulating collection of essays on a period in dramatic history we know too little about. Each of the pieces here is driven by archival research that opens up new directions for inquiry. Because it challenges so much of what we assume about its subject, Localizing Caroline Drama will be indispensable for those interested in the early modern theater in England.' - Douglas Bruster, the University of Texas at Austin; author of Shakespeare and the Question of Culture 'I read this excellent collection with enormous pleasure. The editors have assembled a nice balance of contributors, representing a range of approaches, and the volume is filled with fascinating, fresh information and interpretations. Mining the neglected riches of Caroline drama, the contributors show us why we should return to these plays, seek out those we've never read, and scrap our tired generalizations about the period and its drama. The collection will inspire readers to teach these plays and to include them in their own research projects.' - Frances E. Dolan, the University of California, Davis Localizing Caroline Drama offers a genuinely interdisciplinary cultural history, providing not a single grand overarching reading that treats the Caroline period simply as the harbinger of catastrophe but a set of consciously local- that is, focused and engaged rather than simply topical- analyses which refuse to be reduced solely to their points of identity yet which together form a volume that is more a multiply-authored monograph than a collection of essays. This timely and groundbreaking book locates Caroline theatrical culture in a range of places and contexts never before given their due: from Dublin to Tunis, from printshop to dancing manual, from commerce to crusade. 'Decadent' no more, Caroline drama emerges as a series of vibrant interventions in contemporary culture - aesthetic, political, sexual, economic, theological - far outstripping the limitations of the 'pre-revolutionary.' ' - Gordon McMullan, Reader in English, King's College LondonTable of ContentsForeword; R. Malcolm Smuts Introduction; A. Zucker and A. B. Farmer Canons and Classics: Publishing Drama in Caroline England; A. B. Farmer and Z. Lesser Politics and Aesthetic Pleasure in 1630s Theater; K. E. McLuskie Reading Triumphs: Localizing Caroline Masques; L. Shohet Exeunt Fighting: Poets, Players, and Impresarios at the Caroline Hall Theaters; M. Butler The St. Werburgh Street Theater, Dublin; R. Dutton A Beast So Blurred: The Monstrous Favorite in Caroline Drama; M. DiGangi Dancing Masters and the Production of Cosmopolitan Bodies in Caroline Town Comedy; J. E. Howard The 'Turks', Caroline Politics, and Philip Massinger's The Renegado; B. S. Robinson

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Book SynopsisNew Deal Theater recovers a much ignored model of political theater for cultural criticism.While considered to be less radical in its aesthetics and politics than its celebrated Weimar and Soviet cousins, it nonetheless proved to be highly effective in asserting cultural critique.Trade ReviewWinner of the2008 SAMLA Studies Award! "Thisstudy will be a very important contribution to the field. What Saal does so well is to identify an American tradition she calls vernacular theater. It has often been described as a naive American theater tradition unworthy of comparison to its more sophisticated European contemporaries. Saal successfully identifies the complex and sophisticated reasons why the American stage chose a vernacular route, in the process of explaining its strengths and weaknesses with an intellectual sophistication that supports her sympathetic predecessors who have been less than fully successful at articulating the movement's roots, successes, and justifications.She is, in short, presenting what I would suggest is the final word on what has oft been thought but never so well expressed. This book is likely to find both a sympathetic readership while at the same time converting those among the scholarly theater community who have frequently turned away from American theater to study and engage European traditions often seen to be more interesting, dynamic, and politically/aesthetically engaging." - William W. Demastes, Louisiana State University "For Saal, these theatrical movements - themselves tied to the political movements: the United Farm Workers and antiwar organizing - meld the American vernacular traditions with avant-gardist stagings, offering another way of conceiving modernism and arguing against U. S. government intervention into art." - Theater Survey "Saal's analyses comprise rich material from rarely researched areas and will be important to the understanding of American political theater as well as to comparative approaches in theater studies of that subject" - Buchbesprechungen Book Reviews "[A] superb study...It will certainly be of interest to both scholars of interwar theatre and drama and those who grapple with the vagaries of political theatre" - Theatre Journal "New Deal Theater offers its readers a much needed and long awaited revision of political theater in the West." - South Atlantic ReviewTable of ContentsThe Failure of Epic Drama: Reconsidering Political Theater * Disjunctive Aesthetics: A Genealogy of Political Theater * Strike Songs: Working and Middle Class Revolutionaries * Plays of Cash and Cabbage: From Proletarian Melodrama to Revolutionary Realism * Why Sing of Skies Above?: Labor Musicals and Living Newspapers * Towards Postmodernism: The Political Theater of the 1960s

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Book SynopsisAcknowledgements Politics and Theatre Generational Politics: The In-Yer-Face Plays Intergenerational Dialogue Systems of Power Issues for Post-Thatcher Britain Post-Thatcher Britain and Global Politics Political Theatre in an Era of Disengagement Bibliography IndexTrade Review'...a good introduction to the range of new writing in British Theatre over the past ten years...' - Sarah Grochala, Contemporary Theatre Review 'This book answers the need for a general survey of new British plays, including mainstream drama as well as studio work, by focusing on the political aspect of drama staged in the past decade...Kritzer's readings of individual plays, focusing on the symbolic or political aspects of the work, are thorough and thought-provoking... [and] her engaging summaries of some eighty plays make this a very useful book for students.' - Aleks Sierz, New Theatre QuarterlyTable of ContentsAcknowledgements Politics and Theatre Generational Politics: The In-Yer-Face Plays Intergenerational Dialogue Systems of Power Issues for Post-Thatcher Britain Post-Thatcher Britain and Global Politics Political Theatre in an Era of Disengagement Bibliography Index

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Book SynopsisWhilst the focus of the collection falls upon Gothic drama, the contents of the book will embrace an interdisciplinary appeal to scholars and students in the fields of theatre studies, literature studies, tourism studies, adaptation studies, cultural studies, and history.Table of Contents1. Introduction: Gothic theatricality/the theatrical Gothic.- Part I. Attractions.- 2. The Call of the Cthonic: from Titus Andronicus to X, David Ian Rabey.- 3. Death, Decay and Domesticity: The Corpse as Pivotal Stage Presence in Howard Barker’s Dead Hands, Lara Kipp.- 4. Martin McDonagh’s The Pillowman and the Postmodern Gothic, Catherine Rees.- Part II. Consummation.- 5. Staging Angela Carter, Frances Babbage.- 6. Little Monsters: Gothic Children and Contemporary Theatrical Performance, Kelly Jones.- 7. Uncanny Audio: The Place and Use of Sound in Gothic Performance, Richard J. Hand.- 8. The “Phan”-dom of the Opera: Gothic Fan Cultures and Intertextual Otherness, Adam Rush.- Part III. Consumption.- 9. 'I hate this job': Guiding Ripper Tours in the East End, Emma McEvoy.- 10. ‘The Outcast Dead’: Performance, Memory and Sites of Mourning at Cross Bones Graveyard, Clare Nally.- 11. Playing in the Dark: Possession and Performance, Robert Dean.- 12. Staging the Séance: The Spirit Medium and the Gothic in Modern Theatre, Benjamin Poore.- 13. Coda: Writing the Ghost: An interview with playwright Michael Punter, Benjamin Poore.

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Book SynopsisHow many hit musicals are based on films that were shot in two days at a budget of $30,000? The answer is one: Little Shop of Horrors. Roger Corman''s monster movie opened in 1960, played the midnight circuit, and then disappeared from view. Two decades later, Little Shop of Horrors opened Off-Broadway and became a surprise success. Attack of the Monster Musical: A Cultural History of Little Shop of Horrors chronicles this unlikely phenomenon. The Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. ATrade ReviewMeticulously researched … really gets to the heart of what made this production tick. * Broadway World UK *Adam Abraham writes in breathtaking detail about the making of Little Shop of Horrors, the enduring and beloved musical that launched the careers of Howard Ashman and Alan Menken – two immortals who lit up the skies. * Albert Poland, Author of STAGES – A Theater Memoir *It's a must-read for any fan of musical theater, horror, or horticulture. * Town & Country *Insightful, detailed, and just a purely fantastic read. * Everything Theatre *"Full of wonderful details, little-known facts, and great storytelling, this is the amazing history of the little film that became the musical that ate the world! It brought back so many memories of the show that changed my life." * Lee Wilkof, star of the original cast of Little Shop of Horrors *Table of Contents1 Skid Row: From Roger Corman’s Hollywood to Off-Off-Broadway 2 Adaptation: How to Make a Nightmare Sing 3 Opening the Shop: Designers, Auditions, Rehearsals 4 A Monster Hit: The Off-Broadway Production 5 It Conquered the World: New York to London and Beyond 6 Audrey III: Cinematic Dreams and Disillusionment 7 We’ll Have Tomorrow: The Curious Afterlives of a Man-Eating Musical

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Book SynopsisThe Methuen Drama Handbook of Interculturalism and Performance explores ground-breaking new directions and critical discourse in the field of intercultural theatre and performance while surveying key debates concerning interculturalism as an aesthetic and ethical series of encounters in theatre and performance from the 1960s onwards. The handbook's global coverage challenges understandings of intercultural theatre and performance that continue to prioritise case studies emerging primarily from the West and executed by elite artists. By building on a growing field of scholarship on intercultural theatre and performance that examines minoritarian and grassroots work, the volume offers an alternative and multi-vocal view of what interculturalism might offer as a theoretical keyword to the future of theatre and performance studies, while also contributing an energized reassessment of the vociferous debates that have long accompanied its critical and practical usage in a performance Table of ContentsKeywords List of Illustrations Notes on Contributors Daphne P. Lei (University of California, USA), ‘Chapter One: Introduction’ Section I: HIT (Hegemonic Intercultural Theatre)’s Counter-Currents Marcus Cheng Chye Tan (Nanyang Technological University, Singapore), ‘Chapter Two: (Re)Sounding Universals: The Politics of Listening to Peter Brook’s Battlefield’ Emily Sahakian (University of Georgia, USA), ‘Chapter Three: The Intercultural Politics of Performing Revolution: Maryse Condé’s Inter-theatre with Ariane Mnouchkine’ Arnab Banerji (Muhlenberg College, USA) ‘Chapter Four: What lies beyond Hattamala?: Badal Sircar and his Third Theatre as an Alternative Trajectory for Intercultural Theatre’ Section II: Networking New Interculturalisms Bi-qi Beatrice Lei (National Taiwan University, Taiwan), ‘Chapter Five: Decentering Asian Shakespeare: Approaching Intercultural Theatre as a Living Organism’ Diana Looser (Stanford University, USA), ‘Chapter Six: Connecting the Dots: Performances, Island Worlds, and Oceanic Interculturalisms’ Roaa Ali (University of Manchester, UK) ‘Chapter Seven: Subversive Immigrant Narratives in the In/visible Margin: Performing Interculturalism on Online Stages’ Section III: Interculturalism as Practice Jennifer Goodlander (Indiana University, USA), ‘Chapter Eight: Beyond HIT: Towards Regional Interculturalism through Puppetry in Southeast Asia’ SanSan Kwan (University of California, Berkeley, USA), ‘Chapter Nine: Acts of Loving: Emmanuelle Huynh, Akira Kasai, and Eiko Otake’ Angeline Young (Arizona State University, USA), ‘Chapter Ten: reORIENTing interculturalism in the academy: An Asianist Approach to teaching Afro-Haitian dance’ Section IV: Testing the Limits of New Interculturalism Ketu H. Katrak (University of California, USA), ‘Chapter Eleven: Mamela Nyamza and Dada Masilo: South African Black Women Dancer-Choreographers Dancing ‘New Interculturalism’’ Min Tian (University of Illinois, USA), ‘Chapter Twelve: The ‘Dis/De-’ in the Hyphen: The Matrix and Dynamics of Displacement in Intercultural Performance’ Lisa Jackson-Schebetta (Skidmore College, USA), ‘Chapter Thirteen: Interculturalidad: (How) Can Performance Analysis Decolonize?’ Section V: Interculturalism(s): Mapping the Past, Reflecting on the Future Charlotte McIvor National (University of Ireland, Ireland) with Justine Nakase (National University of Ireland, Ireland), ‘Chapter Fourteen: Annotated Bibliography’ Charlotte McIvor (National University of Ireland, Ireland), ‘Chapter Fifteen: Conclusion’ Bibliography Index

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Book SynopsisList of Illustrations Series Introduction: Redefining British Theatre History Notes on Contributors Introduction: A View from the Stage; S.Orgel PART I: QUESTIONS OF EVIDENCE Henslowe's Rose/Shakespeare's Globe; R.A.Foakes Masks, Mimes and Miracles: Medieval English Theatricality and its Illusions; R.Beadle Theatre without Drama: Reading REED ; P.Holland PART II: INTERROGATING DATA A New Theater Historicism; A.Gurr Staging Evidence; A.B.Dawson PART III: WHAT IS A PLAY? Drama in the Archives: Recognizing Medieval Plays; C.Sponsler E/loco/com/motion; B.R.Smith Re-patching the Play; T.Stern PART IV: WOMEN'S WORK Slanderous Aesthetics and the Woman Writer: The Case of Hole v. White; C.Sale Labors Lost: Women's Work and Early Modern Theatrical Commerce; N.Korda The Sharer and His Boy: Rehearsing Shakespeare's Women; S.McMillin IndexTrade Review'Compellingly readable essays.' - Laurie Maguire, Times Higher Education Supplement '...the-after history of early modern England is a field rich with possibilities, and From Script to Stage is a valuable and provocative invitiation to continue and reshape the discipline.' - Sixteenth Century JournalTable of ContentsList of Illustrations Series Introduction: Redefining British Theatre History Notes on Contributors Introduction: A View from the Stage; S.Orgel PART I: QUESTIONS OF EVIDENCE Henslowe's Rose/Shakespeare's Globe; R.A.Foakes Masks, Mimes and Miracles: Medieval English Theatricality and its Illusions; R.Beadle Theatre without Drama: Reading REED ; P.Holland PART II: INTERROGATING DATA A New Theater Historicism; A.Gurr Staging Evidence; A.B.Dawson PART III: WHAT IS A PLAY? Drama in the Archives: Recognizing Medieval Plays; C.Sponsler E/loco/com/motion; B.R.Smith Re-patching the Play; T.Stern PART IV: WOMEN'S WORK Slanderous Aesthetics and the Woman Writer: The Case of Hole v. White; C.Sale Labors Lost: Women's Work and Early Modern Theatrical Commerce; N.Korda The Sharer and His Boy: Rehearsing Shakespeare's Women; S.McMillin Index

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Book SynopsisThis book shows eminent actors performing under stringent conditions in vaudeville. It was a strange notion in 1900 that leading lights of the legitimate stage would ever join a bill of 'turns', with everything from song-and-dance to criminals regaling crowds with their exploits. It chronicles renowned actors showing rough fare in rough times.Trade Review'Woods shows how international performers in American vaudeville and British music hall wrought new understandings of celebrity, gender, patriotism and empire. This lively storyilluminates an era in global culture that bears important lessons for our own time.' - Robert W. Snyder, Rutgers-Newark; Author of The Voice of the City: Vaudeville and Popular CultureTable of ContentsAcknowledgements Introduction Patronizing, 1890-1901 Precious Brits, 1904-1912 Growing Pains, 1910-1913 Suffer the Women, 1910-1914 War and Peace, 1914-1918 Parting, 1921-1934 Afterthoughts Notes Bibliography Index

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Book SynopsisProfessor and cultural historian Michael Keane reveals much in this nostalgia-inducing book packed with original research and interviews. Keane compellingly shows that the ultimate broadcast of the Christmas special-given its incredibly tight five-month production schedule and the decidedly unfavourable reception it received by the skeptical network executives who first screened it-was nothing short of a miracle. Keane explains why the show, despite its technical shortcomings, has become an uplifting and enduring triumph embraced by millions of families every Christmas season, even more than fifty years after its premiere.This gripping and joyful behind-the-scenes story of how the creators of A Charlie Brown Christmas struggled to bring the program to life will also help readers (and loyal fans) understand how America's favourite Christmas special changed our popular culture forever. Keane masterfully weaves the momentous events of 1965 (the turbulent year of the program's production) into his story, providing critical context for a profound new understanding of the program's famous climactic scene, Linus's spot-lit soliloquy answering the question repeatedly posed by Charlie Brown-"Isn't there anyone who knows what Christmas is all about?"

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Book SynopsisInvestigates German religious drama since the 1970s, asking the question whether it develops religious themes or only exploits religious motifs, and exploring how it reflects the changing place of religion and spirituality in theworld. Critics often claim that the twenty-first century has seen a sudden "return" of religion to the German stage. But although drama scholarship has largely focused on politics, postmodernity, gender, ethnicity, and "postdramatic" performance, religious themes, forms, and motifs have been a topic and a source of inspiration for German dramatists for several decades, as this study shows. Focusing on works by four major dramatists - Botho Strauß, George Tabori,Werner Fritsch, and Lukas Bärfuss - this book examines how, why, and to what effect religion is invoked in German drama since the late 1970s. It asks whether contemporary German drama succeeds in developing religious insights or is at most quasi-religious, exploiting religious signs for aesthetic, theatrical, or dramaturgical ends. It considers the performative and historical intersections between drama and religion, contextualizing the playwrights' treatments of religion by exploring how they lean on or repudiate the traditions of modern European drama, especially that of Strindberg, the Expressionists, Artaud, Grotowski, and Beckett. It also draws on the sociology, anthropology,and psychology of religion, exploring how these works reflect the changing place of religion and spirituality in the world, from secularization to the "alternative" modes of religiosity that have proliferated in Western society since the 1960s. Sinéad Crowe is a Teaching Assistant at the University of Limerick, Ireland.Trade ReviewCrowe largely succeeds in reaching her objective of offering thought-provoking interpretations of religion in contemporary avant-gardist German-language theatre. In her analyses of religious elements in individual dramas, in particular, she provides models of thoughtful, well-researched commentary on the use of religion in literature in general, while taking full consideration of the context, the medium, and the audience. * SEMINAR *Table of ContentsIntroduction: Definitions and Themes The Relationship between Theater and Religion Religion in Modern European Theater and Drama "No One Wants to Get to God Anymore"? Botho Strauß's Groß und klein and Die eine und die andere Theological Farce: George Tabori's Mein Kampf "The Last Refuge for Metaphysics": Werner Fritsch's Theater Theory "The Feeling of Faith": Fritsch's Wondreber Totentanz and Aller Seelen Belief and Unbelief in the Twenty-First Century: Lukas Bärfuss's Der Bus (Das Zeug einer Heiligen) Conclusion Bibliography Index

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