History of Performing Arts Books

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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Book SynopsisThis book describes the "glory years" of Ira Aldridge's first Continental tour, during which he won more awards and honors, often conferred by royalty, than any other actor of his day. Ira Aldridge: Performing Shakespeare in Europe, 1852-1855, the third volume of Bernth Lindfors's award-winning biography, traces the American-born black classical actor's itinerary on his first Continental tour. Starting inBrussels and following Aldridge up the Rhine to Basel, on to Berlin and Vienna, and cities in Prussia and Hungary, Lindfors recounts the major performances and analyzes audience responses to them. Because European audiences wanted to see this "African" actor in Shakespearean roles rather than in the melodramas and farces that were popular in Britain, Aldridge concentrated almost exclusively on performing as Othello, Shylock, Macbeth, and Richard III. He performed the roles in English even when acting with local companies who spoke in German, Hungarian, or another European language. Aldridge's impressive manner of interpreting these characters won him many honors, awards, and medals, some bestowed by heads of state or by national academies. Drawing on myriad reviews, playbills, and letters, many of them penned by Aldridge himself, Lindfors examines in detail Aldridge's interpretations of these timeless characters and shows why these were Aldridge's glory years. Bernth Lindfors, professor emeritus of English and African Literatures, University of Texas at Austin, is the author of Ira Aldridge: The Early Years, 1807-1833 and Ira Aldridge: The Vagabond Years, 1833-1852, both published by the University of Rochester Press in 2011.Trade ReviewWinner of the Theatre Library Association's 2015 George Freedley Award Special Jury Prize * . *As a meticulously researched study with superb supplementary materials, Lindfor's book is a very valuable historical resource. * THEATRE SURVEY *The third volume of Bernth Lindfor's estimable multi-volume biography of Aldridge provides an in-depth, thoroughly researched account of Alridge's 1852-1855 Continental tour. * NEW THEATRE QUARTERLY *Recommended. * CHOICE *Bernth Lindfors's Aldridge series is a breathtaking and ambitious project of both superlative scholarship and the utmost historical importance, written in a precise, fluent, and charming style that is straightforward and authoritative. In Ira Aldridge: Performing Shakespeare in Europe, 1852-1855, Lindfors provides much new information on topics such as Aldridge's character, acting style, use of gesture and voice, performance strategies, and ideological disposition that will become anchoring reference points for future scholarship. --Colin Chambers, author of Black and Asian Theatre in Britain: A History * . *Table of ContentsIntroduction Making Up a Company Brussels Navigating up the Rhine Moving into the Interior Berlin On to Vienna Hungarian Rhapsodies Comparisons and Contrasts Personal and Personnel Matters Hungarian Rap Sheet Prussia, Germany, Switzerland Homeward Bound Interpreting Shakespeare Further Travels Appendixes Notes Selected Bibliography Index

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Book SynopsisThis final volume of Bernth Lindfors's definitive biography records the remarkable achievements and experiences of Ira Aldridge in the last years of his life, when he performed at theaters throughout Europe. Ira Aldridge The Last Years, 1855-1867, the fourth volume of Bernth Lindfors's definitive biography, places on record Aldridge's remarkable achievements and experiences in the final phase of his life, when he performed at theaters throughout Europe. His first Continental tour in 1852-1855 had been a spectacular success, and though he returned to Britain periodically afterwards, he spent much of the remainder of his career entertaining audiences in central and eastern Europe, mainly in Ukraine and Russia. His Shakespearean performances in St. Petersburg in 1858 and Moscow in 1862 were among his greatest triumphs and led to numerous appearances elsewhere in provincial cities and towns. During his forty-three years on stage in Europe, Ira Aldridge traveled more widely and won more honors, decorations, and awards than any other actor of his day. He is remembered not only as a talented thespian but also as a very visible representative of his race, someone who changed European perceptions of black people through the sheer brilliance of his artistry on stage. And by doing so, he helped to humanize the image of Africans andtheir descendants in Europe at an important transitional moment in history, when the movement to abolish slavery was gathering force and winning international acceptance. Bernth Lindfors is Professor Emeritus of English and African literatures at the University of Texas at Austin.Trade ReviewThrough his thorough mining of a vast array of European archives, Lindfors surpasses all previous studies in recounting the actions of, and wildly contradictory viewpoints towards, this seminal figure ... his absolute mastery of the sources and deep understanding of Aldridge and the period lead to probing insights. * THEATRE JOURNAL *With Ira Aldridge The Last Years, 1855-1867, Berth Lindfors concludes what will surely remain the definitive biography of the great nineteenth-century African American actor, Ira Aldridge, for many a decade ... Through an exhaustive search of local reviews and commentary he is able not only to follow Aldridge on his travels, but also to provide a wide range of observations on the actor's technique and artistic success. * RESEARCH IN AFRICAN LITERATURE *Winner of the Theatre Library Association's 2015 George Freedley Award Special Jury Prize * . *Lindfors's four-volume biography is destined to become the standard life of Aldridge, without equal in the future. Highly recommended. * CHOICE *Table of ContentsList of Illustrations Acknowledgments Abbreviations Introduction Readjusting to Britain Crim. Con. On the Road Again Stockholm The Second Continental Tour Pest and Buda A Short Break The Third Continental Tour Home Again The Fourth Continental Tour The Fifth Continental Tour The Sixth Continental Tour Taking a Break The Seventh Continental Tour Another Break The Eighth Continental Tour The Ninth Continental Tour Final Acts Postmortem Notes Selected Bibliography Index

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Book SynopsisConsiders over sixty Hollywood films set in Austria, examining the film industry, the influence of domestic factors on images of a foreign country, and the persistence of clichés. Maria von Trapp, watching the final scene of The Sound of Music for the first time as "her" family escaped into Switzerland, exclaimed, "Don't they know geography in Hollywood? Salzburg does not border on Switzerland!" Hadshe thought about the beginning of the film, which transports viewers to "Salzburg, Austria in the last Golden Days of the Thirties," when the country was in fact suffering from extreme political and social unrest, she might haveasked, "Don't they know history either?" In The Sound of Music as well as in Hollywood's many other "Austria" films, the projections on the screen resemble reflections in a funhouse mirror. Elements of a "real" place with a"real" history inhabited by "real" people can be found in the fractured distortions, which have both drawn from and contributed to the general public's perceptions of the country and its citizens. Austria Made in Hollywood focuses on films set in an identifiable Austria, examining them through the lenses of the historical contexts on both sides of the Atlantic and the prism of the ever-changing domestic film industry. The study chronicles theprotean screen images of Austria and Austrians that set them apart both from European projections of Austria and from Hollywood incarnations of other European nations and nationals. It explores explicit and implicit cultural commentaries on domestic and foreign issues inserted in the Austrian stories while considering the many, sometimes conflicting forces that shaped the films.Trade ReviewVansant's study is essential reading for students and scholars of film history and criticism, Austrian studies, and intellectual history. . . . It will be an important enhancement to library collections and a key entry on syllabi . . . . -- Felix Tweraser * CONTEMPORARY AUSTRIAN STUDIES *[Shows how] filmmakers drew on the American fascination with the empire, the aristocracy, the baroque, and classical music to address concerns of the day. . . . Students, teachers, and scholars can all draw on Vansant's focused, concise, and clear narrative, a novel and insightful examination of cinematic treatments of national cultures in historical context. -- Alan Lareau * MONATSHEFTE *[W]ould be an excellent addition to a syllabus for a history course on Europe and the United States, or as a country case study for a film course. This is the definitive book on the image of Austria and Austrians in American film. . . . An extraordinary achievement . . . . -- Michael Burri * AUSTRIAN HISTORY YEARBOOK *An immensely readable study: it persuasively illustrates how American films about Austria, both during Hollywood's golden age and at the present time, were and will continue to be projections, which often reveal much more about the contemporary concerns and values of the United States than they do about the Austria they are reconstructing on screen. -- Katya Krylova * AUSTRIAN STUDIES *As a rich source of information on often forgotten celluloid depictions of Austria, this book will be of value to scholars of Austria, and its careful readings of shifting Hollywood depictions of a single subject will make it of interest to many film scholars as well. -- Ted Dawson * GERMAN STUDIES REVIEW *[F]ills a gap in the history of the great migration of Nazi refugees from Europe to California by concentrating on the image of Austria in commercial products coming out of Hollywood. [Vansant] is most illuminating in her discussion of the generation from Erich von Stroheim to Otto Preminger, including Ernst Lubitsch, Michael Curtiz, Billy Wilder, and Josef von Sternberg. * CHOICE *Vansant's monograph about Hollywood's selection of Austrian topics and themes projected through the lens of the American political and sociohistorical perspective is meticulously researched and thus can serve as an excellent source book for teachers and students of film and literary studies. -- Margarete Lamb-Faffelberger * GERMAN QUARTERLY *[C]oncise [and] enjoyable to read and may inspire readers to search out films that they are not yet familiar with. It should definitely be of interest to film scholars and could potentially be useful with undergraduates or graduate students. And perhaps it will inspire a contemporary American filmmaker to reexamine Austria. -- Laura A. Detre * JOURNAL OF AUSTRIAN STUDIES *For far too long in German research on exile and film, Austria and Austrian-influenced works have been all too liberally integrated into the "German." It is exactly for this reason that Jackie Vansant's study is so important. Embedded in historical context and historically stamped motifs, she not only develops Austrian themes in the film production of Hollywood, but also the reasons for them. -- Ursula Prutsch * ZWISCHENWELT *Jacqueline Vansant's book . . . offers a unique look at how Hollywood has imagined Austria in its film production. . . . [It] has many strengths [. . . and] will be a useful reference for scholars of European and Hollywood film. -- Jason Doerre * STUDIES IN 20TH AND 21ST CENTURY LITERATURE *Table of ContentsIntroduction Erich Stroheim, His Austria(ns). and Their US Contexts Cross-Cultural Encounters of the Intimate Kind: Hollywood's Americans in Love with Austria(ns), 1932-60 The Empire Strikes Back: Imperial Austria Fights Nazis, 1938-41 Reflections and Refractions of the Anschluss on the Hollywood Screen, 1941-42 Confronting and Escaping History: The Cardinal (1963) and The Sound of Music (1965) Conclusion: Hollywood's Austria - Its Past, Present, Future Appendix: Hollywood Films Set in Austria Bibliography Index

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Book SynopsisCanadian Performance Documents and Debates provides insight into performance activities from the seventeenth century to the early 1970s, and probes important yet vexing questions about Canada as a country and a concept. The volume collects playscripts and archival material to explore what these documents tell us about the values, debates, and priorities of artists and their audiences from the past 400 years. Analyses throughout rethink the significance of theatre, dance, opera, circus, and other performance genres and events. This landmark collection challenges readers to reconsider Canadian theatre and performance history. Foreword by Jerry Wasserman. Contributors: Clarence S. Bayne, Kym Bird, Justin A. Blum, Amy Bowring, Jill Carter, Jenn Cole, Cynthia Cooper, Heather Davis-Fisch, Moira J. Day, Ray Ellenwood, Alan Filewod, Howard Fink, Liza Giffen, J. Paul Halferty, James Hoffman, Erin Hurley, John D. Jackson, Stephen Johnson, Sasha Kovacs, Sylvain Lavoie, Louis Patrick Leroux, Allana C. Lindgren, Denyse Lynde, Erin Joelle McCurdy, Wing Chung Ng, Glen F. Nichols, M. Cody Poulton, VK Preston, Daniel J. Ruppel, Jordan Stanger-Ross, Paul J. Stoesser, Christl Verduyn, Anthony J. Vickery, Anton WagnerTrade Review“Through the invaluable service of gathering together the breadth of crucial texts and materials addressed in its exploratory essays, Canadian Performance Documents and Debates creates, defines, and shapes the very subject of Canadian performance.” Shelley Scott, Professor, University of Lethbridge“Canadian Performance Documents and Debates reflects profoundly upon conceptualizations of Canadian identity and upon debates over the role of the arts in the formation of that identity: both vital questions for us to understand more deeply as we strive to move towards reconciliation and a more just, equitable, and compassionate society.” Roberta Barker, Associate Professor, Dalhousie University“A gargantuan undertaking by the editors and publisher, [Canadian Performance Documents and Debates] is highly informative, engaging, and enlightening with extremely high-quality editing. Considering the wide variety of themes, genres, and materials included, the designer did a fantastic job ensuring the content is manageable and easy to navigate.” Jury comments, 2023 Alberta Book Publishing Awards"Canadian Performance Documents and Debates: A Sourcebook undeniably fills a gap in resources for the Canadian performance history community through its unique content. The collection is aptly titled A Sourcebook as it spans four centuries, containing carefully considered content in which the compilation juxtaposes new publications and fresh points of view with previously available Canadian performance history materials. The text distinguishes itself as an accessible resource with the inclusion of a thematic Table of Contents which uses resonant and relevant categories, including race and gender, and allows a reader to hone in on topic(s) related to their interests. This organizational format contextualizes the contents and sutures the events and documents in time and place while putting them in conversation with one another…. Racism in performance is a thread that runs through many of the chapters, and the accu­mulation of these examples reifies a vivid tapestry illustrating Canada’s settler colonial rela­tions.” Tanya Berg, Theatre Research in Canada, 2023 (Full review at DOI: 10.3138/tric-2023-0027)Table of ContentsAcknowledgments Introduction | Sandeep Agrawal I THE RIGHT TO THE CITY 1 | Whose Right to What City? Indigenous Rights amidst Claims for Constitutionally Empowered Cities | Alexandra Flynn 2 | The Right to the City as an Emerging Norm: Codification and Cultural Institutions | Jennifer A. Orange II RIGHTS IN THE CITY 3 | Human Rights and the City in the Pre-Charter Era | Sandeep Agrawal 4 | Group Rights and Collective Rights: What Are They and How Do They Affect Urban Issues? | Sandeep Agrawal & Eran S. Kaplinsky 5 | Human Rights and Canadian Municipalities | Sandeep Agrawal 6 | Becoming a Human Rights City: Lessons from Edmonton | Renée Vaugeois III OTHER RIGHTS IN THE CITY 7 | The Right to Adequate Housing Around the Globe: Analysis and Evaluation of National Constitutions | Michelle L. Oren & Rachelle Alterman 8 | Property Rights and the Canadian City | Eran S. Kaplinsky 9 | The Dangers of Allowing “Othering” Speech in a City’s Public Spaces | Ola P. Malik & Sasha Best Afterword: After Rights? | Benjamin Davy Contributors"

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Book SynopsisThis is the first study of the early formative years of one of Wales’s most important cultural organisations – Sianel Pedwar Cymru (S4C). The volume chronicles the decisions and activities of the channel during its trial period between 1981–5. Through a detailed study of minutes, correspondence and interviews with individuals who were key to the channel’s development during its early years, it chronicles the many challenges, successes and failures which faced the S4C Authority and its staff as they aimed to create a Welsh-language television service that would meet the desires and needs of the audience in Wales. S4C is no ordinary channel, and no other period in its history portrays this more effectively than the trial period given to it at the beginning of the 1980s.Table of ContentsList of Illustrations Acronyms Acknowledgements Introduction Chapter 1: The campaign for a Welsh TV channel Chapter 2 : The early days of the Welsh Fourth Channel Authority Chapter 3 : First Broadcasts and Audience Response Chapter 4 : Financial initiatives – securing fair terms and expanding to new areas Chapter 5: Reviewing the Channel – Opinion Polls and the Home Office Review Conclusion Appendix Bibliography

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Book SynopsisThis is a comprehensive study of the impact of censorship on theatre in twentieth-century Spain. It draws on extensive archival evidence, vivid personal testimonies and in-depth analysis of legislation to document the different kinds of theatre censorship practised during the Second Republic (1931–6), the civil war (1936–9), the Franco dictatorship (1939–75) and the transition to democracy (1975–85). Changes in criteria, administrative structures and personnel from these periods are traced in relation to wider political, social and cultural developments, and the responses of playwrights, directors and companies are explored. With a focus on censorship, new light is cast on particular theatremakers and their work, the conditions in which all kinds of theatre were produced, the construction of genres and canons, as well as on broader cultural history and changing ideological climate – all of which are linked to reflections on the nature of censorship and the relationship between culture and the state.Table of ContentsAcknowledgements List of illustrations List of abbreviations Introduction 1. The Evolution of Theatre Censorship in Spain from the 1830s to the 1930s 2. Un teatro de ida y vuelta: All Change and No Change in the Second Republic and the Civil War Case Study: Santa Teresita del Niño Jesús, by Vicente Mena Pérez 3. The Franco Dictatorship: Censorship as ‘Propaganda’, ‘Education’ and ‘Information’ Case Study: La casa de Bernarda Alba, by Federico García Lorca 4. The Pervasiveness of Censorship during the Dictatorship: Right-Wing Triumphalism, Commercial Theatre, Revistas and Catalan Theatre Case Study: La Infanzona, by Jacinto Benavente 5. The Realist Generation: A Spotlight on the Margins of Society Case Study: Escuadra hacia la muerte, by Alfonso Sastre 6. Experimental, Avant-Garde and Independent Theatre: Pushing the Boundaries Case Study: Castañuela 70, by Tábano and Las Madres del Cordero 7. The Censorship of Foreign Theatre: From Taming the Text to Disruptive Drama Case Study: El círculo de tiza caucasiano, by Bertolt Brecht 8. Dénouement: Dismantling the Apparatus during the Transition to Democracy Case Study: La torna, by Els Joglars/Albert Boadella Conclusion Bibliography: Archival sources Legislation Other sources Index

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Book SynopsisA listing of plays performed in the theatres of Alicante during the first decade of the 20th century. With this volume, the scope of the Fuentesseries widens both geographically and chronologically. The first volumes dealt with Madrid, concentrating, though not exclusively, on the sixteenth and seventeenth centuries. Latervolumes covered Alcalà de Henares, Tudela and Córdoba. In the present volume Francisco Reus Boyd-Swan lists the plays performed in the theatres of Alicante during the first decade of the twentieth century. Recent critics have become aware of the need to treat the theatre of the provinces of Madrid in the nineteenth and twentieth centuries as seriously as that of the capital, and to study it in equal depth. In his Introduction the author recounts the history of the twelve theatres which were in use in the period and studies legislation affecting the theatres, special performances, times and prices of perfomances and analyses the theatre-going public and the types of plays presented. The main listing of plays is in chronological order, supported by indexes of playwrights, librettists and composers. Twelve illustrations include plans of theatres and reproductions of contemporary posters. FRANCISCO REUS BOYD-SWAN is a graduate of the Universidad Nacional de Educación a Distancia, Spain's Open University.

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Book SynopsisSurviving theatrical contracts throw light on the remarkable degree of theatrical activity throughout 17c Spain. In 1639 the Madrid notary Juan García de Albertos was appointed Escribano de la Comisión de las comedias - official theatre notary. His annual registers of contracts (protocolos) contain more than two thousand items related to actors and theatrical activity from 1634 to 1660. This exceptionally rich collection of documents offers a fascinating overview of theatrical life, in all its diversity, in Madrid and the surrounding area during the age of Calderón. Especially plentiful are the contracts for performances at festivities in towns and villages, both by professional companies and by local amateurs assisted by individual actresses and musicians hired in Madrid. This extraordinary degree of theatrical activity in even the smallest communities, almost entirely neglected hitherto, forces us to revise and expand our conventional picture of the Spanish Golden Age theatre. The collection also reveals in abundant detail the composition and working practices of acting companies, especially in the numerous asientos (actors' employment contracts), as well as transport conditions, costume hire, staging practices and repertory. The actors' convoluted and often precarious finances are an ever-present theme. The documents are accompanied by appendices and maps, and the extensive introduction provides an exhaustive survey of what can be learned from this remarkable source. CHARLES DAVIS was formerly Lecturer in Spanish at Queen Mary, University of London, and is currently a Ramón y Cajal Research Fellow at the University of Valencia. The late J. E. VAREYwas Professor of Spanish at the University of London and Principal of Westfield College. For description in Spanish see Volume II. Actividad Teatral en la Región de Madrid is published in TWO VOLUMES (I: ISBN 1855660628, II ISBN 1855660792) WHICH MUST BE PURCHASED AS A SET.Trade ReviewAn impressive work. * BULLETIN OF SPANISH STUDIES *The importance of these volumes lies not just in the exemplary provision and presentation of archival material, but in the way that their editors bring to life vividly and persuasively the bustling world of seventeenth-century theatre. * MLR *

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Book SynopsisEste libro es el primero en examinar lo radicalmente nuevo y desafiante Teatro Pánico, un grupo de obras compuestas por Arrabal entre 1957 y 1966, en el apogeo del movimiento avant-garde. ENGLISH VERSION This book is the first to examine closely the radically new and challenging Panic Theatre, a group of plays composed by Arrabal between 1957 and 1966, at the zenith of the avant-garde movement.Trade ReviewTo be sure, Santos Sánchez's detailed textual analyses offer a useful basis for understanding Arrabal's avant-garde theatre and performance practices of the 1960s. * SYMPOSIUM *Table of ContentsIntroducción Las obras La ceremonia pánica Los mecanismos de la memoria y la neg(oci)ación de la narración Las reglas del azar y la ordenación rigurosa de la acción La confusión y la imperfección de los elementos de la escena Conclusión Bibliografía

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Book SynopsisThis collection of original essays focuses on the cross-currents and points of contact among Spain, Portugal and Latin America and their impact on the regions' film industries. This book focuses on the cross-currents and points of contact in film production among so-called Hispanic countries (Spain, Portugal and Latin America), and in particular the impact that co-production and supranational funding initiatives are having on both the film industries and the films of Latin America in the twenty-first century. Together with chapters that discuss and further develop transnational approaches to reading films in the Hispanic and Latin American context, the volume includes chapters that focus on funding initiatives, such as IBERMEDIA, that are aimed at Spain, Portugal and Latin America. An analysis of such initiatives facilitates a nuanced discussion of the range of meanings afforded to the term transnationalism: from the workings of those driven by economic imperatives, such as co-productions and 'Hispanic' film festivals, to the cultural, for example the invention of a marketable 'Latinamericaness' in Spain, or a 'Hispanic aesthetic' elsewhere. Stephanie Dennison is Reader in Brazilian Studies at the University of LeedsTrade ReviewThis volume offers an insightful synthesis of the cross currents and co-operation in film production between Latin America and the Iberian Peninsula..a useful book for university students, especially at honours level, and for some academics working in this area. I would expect it to fall into the category of recommended reading, particularly for courses dealing with Hispanic and Latin-American cinema in both departments of Hispanic Studies and Comparative Literature. * BULLETIN OF SPANISH VISUAL STUDIES *Table of ContentsEditor's Introduction - Stephanie Dennison National, Transnational and Post-national:Issues in Contemporary Film-making in the Hispanic World - Stephanie Dennison Redefining Transnational Cinemas:A Transdisciplinary Perspective - Libia Villazana Deconstructing and Reconstructing 'Transnational Cinema' - Deborah Shaw Ibero-Latin American Co-productions: Transnational Cinema, Spain's Public Relations Venture or Both? - Tamara Falicov Building Latin American Cinema in Europe: Cine en Construcción/ Cinéma en construction - Núria Triana-Toribio Pedro Almodóvar's Latin-American 'Business' - Marvin D'Lugo Transnational Film Financing and Contemporary Peruvian Cinema: The Case of Josué Méndez - Sarah Barrow The Silenced Screen: Fostering a Film Industry in Paraguay - Catherine Leen Finance and Co-productions in Brazil - Alessandra Meleiro Epilogue - Stephanie Dennison Works Cited - Stephanie Dennison

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Book SynopsisPeral Vega explores the importance of Pierrot as a symbol of failure in matters of love in García Lorca's imagery and his literary and personal life. Academic research has paid little attention to the importance of the figure of Pierrot in García Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth,García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both García Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dalí, which can be presented in theatrical terms: Harlequin (Dalí) / Pierrot (García Lorca). Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid.Trade ReviewEmilio Peral Vega's new monograph, . . . a welcome new title on Lorcan queer studies, restores authorial intention to both creative and critical endeavors, while addressing complex relationships between the personal and the aesthetic, artisticand lived experiences, and visual and literary cultural domains. * STUDIES IN 20TH and 21ST CENTURY LITERATURE *[Peral] combines his deep knowledge of the history of this mask with sharp insights and imaginative thinking to shed new light on García Lorca's multifaceted output. * MODERN LANGUAGE REVIEW *[This] book stands as a mandatory reading for those interested in carnival representation of both the poetic self and the dramatic character in Federico García Lorca's works. * ANAGNÓRISIS *Emilio Peral has written a provocative book that will invite further discussion. * BULLETIN OF SPANISH STUDIES *Table of ContentsPrologue A Modern Mask: from Deburau to The Tramp First Examples of an Effeminate Pierrot: from Verlaine to Lorca Pierrot / Lorca: Alter Ego for a Young Poet Lorca / Pierrot: Between Painting and Theatre Love Game and Masquerade: Dalí / Lorca Perlimplín / Lorca / Pierrot: Frustrated Desire A White Clown for a Black Desire: El público and Así que pasen cinco años Epilogue Bibliography

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Book SynopsisDon Chapman tells for the first time the story of the "Oxford Playhouse", to coincide with the seventieth anniversary of its present home in Beaumont Street, Oxford. He traces the history of this great theater back to its earliest roots in a production of Agamemnon in 1880 which led to the founding of the Oxford University Dramatic Society, the rebuilding of Oxford's New Theater and, eventually, the launch of the Playhouse itself. Jane Ellis was the 'young, obscure actress' from London who made it happen, motivated by a desire for a venue where she herself might play decent roles. She asked J.B. Fagan (who was to produce the first successful Chekhov play in England) to be the theater's first director. Subsequent directors who made their mark included Stanford Holme, Eric Dance (who rebuilt the theater in Beaumont Street in 1938), Frank Shelley, Peter Hall, Peter Wood, Frank Hauser, Minos Volanakis, Gordon McDougall, Nicolas Kent and Richard Williams.The book also celebrates a galaxy of actors including Flora Robson, John Gielgud, Maggie Smith, Ronnie Barker, Judi Dench and Helena Bonham-Carter and records the first steps of countless students from Peter Brook to Maria Aitken, Diana Quick to Rowan Atkinson, including a few, like Edward Heath and Joanna Trollope, who gained distinction in other spheres. Most fascinating is the role of the University of Oxford. Using the legal powers invested in Vice Chancellors, Dr Lewis Farnell almost stifled the Playhouse at birth in 1923. And even from 1961 to 1987, when the Playhouse was the University Theater, Dr Chapman describes its relationship with the University as 'a shotgun marriage that ended in a messy divorce'.Since reopening in 1991 following a four-year closure, the theater has flourished as an independent trust with support from the University, Arts Council England and other donors, staging a varied program to delight audiences old and new and benefiting in the process from the sea change in academic attitudes to drama. Thea Shurrock, Rosamund Pike and Holly Kendrick are just three of more recent students who have followed in the footsteps of Michael Palin, Imogen Stubbs and Mel Smith and made names for themselves.Table of Contents1 Oxford rediscovers serious drama2 A 'young, obscure actress' provides a venue3 A highbrow programme4 A tepid response5 A lowbrow programme fails too6 The move to Beaumont Street7 A period of prosperity8 The postwar collapse9 Highbrow again10 The university takes over11 The Arts Council flatters to deceive12 Making subsidy go further13 Under siege14 The dream collapses15 A fresh beginning and a multimillion pound facelift

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Book Synopsis‘It’s a wonderful institution and the training is amazing.’ SAM HEUGHAN ‘I can honestly say, no word of a lie, that the Royal Conservatoire of Scotland changed my life.’ JACKIE KAY For 175 years, a Glasgow institution has been teaching the performing arts to students who have become some of the world’s most distinguished artists. This celebratory history raises the curtain on the inner life of the Royal Conservatoire of Scotland. Peek into the bustling backstage world of Scotland’s national conservatoire, feast your eyes on never-before-seen archival material and bask in dazzling production photography that captures the creative effervescence of its students. Ncuti Gatwa, Richard Madden, Karen Cargill, Alan Cumming, Maggie Kinloch and many other alumni take to the spotlight to share what the Royal Conservatoire of Scotland has meant to them. Raising the Curtain reveals the past, illuminates the present and invites you to look to the future of this world-class performing arts institution.

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Book Synopsis‘It’s a wonderful institution and the training is amazing.’ SAM HEUGHAN ‘I can honestly say, no word of a lie, that the Royal Conservatoire of Scotland changed my life.’ JACKIE KAY For 175 years, a Glasgow institution has been teaching the performing arts to students who have become some of the world’s most distinguished artists. This celebratory history raises the curtain on the inner life of the Royal Conservatoire of Scotland. Peek into the bustling backstage world of Scotland’s national conservatoire, feast your eyes on never-before-seen archival material and bask in dazzling production photography that captures the creative effervescence of its students. Ncuti Gatwa, Richard Madden, Karen Cargill, Alan Cumming, Maggie Kinloch and many other alumni take to the spotlight to share what the Royal Conservatoire of Scotland has meant to them. Raising the Curtain reveals the past, illuminates the present and invites you to look to the future of this world-class performing arts institution.

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Book SynopsisThe television writing of Russell T Davies defies easy categorisation, ranging from children’s programmes, across Shakespeare, historical drama and comedy, to the landmark series that have made him a household name: Queer As Folk, Doctor Who and It’s a Sin. Gay Aliens and Queer Folk takes a deep dive into the queer narratives Russell T Davies has brought to our screens, exploring how each work created new space for LGBTQ+ stories to enter our living rooms and looking at their impact on the people who saw themselves reflected on mainstream television, often for the first time. Covering Russell T Davies’ career from his earliest work to his highly anticipated return to the TARDIS for Doctor Who’s 60th anniversary, and highlighting key themes such as politics, sex, AIDS and the role of Wales in his writing, Emily Garside reveals how Davies broke down barriers, showing gay characters unapologetically living their lives to the full and celebrating the complexity and joy of queer identities.Table of ContentsAcknowledgements Introduction Chapter One Canal Street to the TARDIS: Career overview Chapter Two Can you show that on TV? Queer as Folk Coda Nerds Chapter Three Gay aliens? Doctor Who Coda Welshness Chapter Four Doctor Who for grown-ups: Torchwood Coda Women Chapter Five Other queer stories: Bob & Rose and Cucumber Coda Politics Chapter Six Queering history at the BBC: A Very English Scandal Coda Sex Chapter Seven The future is a scary place: Years and Years Coda Queer characters Chapter Eight Know your history: It’s a Sin Coda AIDS Conclusion Davies and the legacy of queer TV A Personal Reflection : ‘Paul McGann, allons-y’ Epilogue Back to the TARDIS Notes References

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Book SynopsisThis second volume of A History of East African Theatre focuses on central East Africa; on Burundi, Kenya, Rwanda, Tanzania and Uganda. The first chapter is concerned with francophone theatres, comparatively studying work coming out of Burundi and Rwanda alongside a focus on French language theatre in Djibouti. The chapter is particularly concerned to explore how French and Belgian cultural policies impacted theatre during the colonial period and how the French ideas of Francafrique and promotion of elite, French language art have continued to resonate in the post-colonial present. Chapters Two and Three look comparatively at the rich theatre histories of Kenya, Tanzania and Uganda, and are divided between a study of British East African colonial impact and an analysis of the post-colonial period illustrating how divergent political thought and societal make-up led to exponential differentiation in national theatres. The final chapter, on Theatre for Development and related social action theatre, covers the whole East African region, offering the first ever historicised analysis of this mode of theatre making which, since the 1980s, has come to dominate funding and opportunity in performance arts.Table of Contents1. Chapter 1: Francophone Theatre: Burundi, Djibouti and Rwanda.- 2. Chapter 2: Colonial Theatre in British East Africa: Kenya, Uganda and Tanganyika.- 3. Chapter 3: The Post-Independence Theatres of Kenya, Uganda and Tanzania.- 4. Chapter 4: Theatre for Development in East Africa.- 5. Conclusion.

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Book SynopsisThe Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration. Table of ContentsChapter 1: Theatre and Migration: Defining the Field.- Section One: Theatre and Migration: Themes and Concepts. Chapter 2: The Eternal Immigrant and the Aesthetics of Solidarity.Chapter 3: ‘A Real State of Exception’: Walter Benjamin and the Paradox of Theatrical Representation.Chapter 4: Theatre as Refrain: Representations of Departure from the Terezín/Theresienstadt Ghetto.Chapter 5: Refugees and the Right to Have Rights.Chapter 6: Postmigrant Theatre and its Impact on Contemporary German Theatre.Chapter 7: Interculturalism and Migration in Performance: From Distant Otherness to the Precarity of Proximity. Chapter 8: Cosmopolitanism: The Troublesome Offset of Global Migration.-Chapter 9: Indigenous Migrations: Performance, Urbanization and Survivance in Native North America.Chapter 10: Migratory Blackness in Leave Taking and Elmina’s Kitchen.Chapter 11: ‘What needs to happen so we may remain at home?’: Climate Migration and Performance.Chapter 12: Theatre’s Digital Migration, by Matthew Causey.- Section Two: Early Representations of Migration.Chapter 13: Theatre and Migration in Gilgamesh.Chapter 14: Migration and Ancient Indian Theatre.Chapter 15: Fated Arrivals: Greek Tragedy and Migration.Chapter 16: Migration in Greek and Roman Comedy.Chapter 17: Migrating Souls and Witnessing Travellers in the Dramaturgy of Nō Theatre.Chapter 18: The Things She Carried: The Vertical Migrations of Lady Rokujō in Japanese Theatre.Chapter 19: The Stranger’s Case: Exile in Shakespeare.Chapter 20: The ‘English Comedy’ in Early Modern Europe: Migration, Emigration, Integration.Chapter 21: Migrations and Cultural Navigations on Early-Modern Italian Stages.- Section Three: Migration and Nationalism.Chapter 22: Immigration and Family Life on the Early Twentieth-Century Argentine Stage.Chapter 23: Sonless Mothers and Motherless Sons, or How Has Polishness Haunted Polish Theatre Artists in Exile?.Chapter 24: All Our Migrants: Place and Displacement on the Israeli Stage.Chapter 25: Shylock is Me: Aryeh Elias as an Immigrant Jewish-Iraqi Actor in the Israeli Theatre.Chapter 26: Emerging, Staying or Leaving: ‘Immigrant’ Theatre in Canada.Chapter 27: Migrant Artists and Precarious Labour in Contemporary Russian Theatre.Chapter 28: Chicano Theatre and (Im)migration: La víctima.Chapter 29: Staging War at the Home Depot: Yoshua Okón’s Octopus and the Shadow Economy of Migrant Labour.Chapter 30: From Emigrant to Migrant Nation: Reckoning with Irish Historical Duty.Chapter 31: Dwelling in Multiple Languages: The Impossible Journeys Home in the Work of Sidi Larbi Cherkaoui and Akram Khan.- Section Four: Migration, Colonialism and Forced Displacement.Chapter 32: The Theatre of Displacement and Migration in Southern Africa: Zimbabwe and South Africa in Focus.Chapter 33: From the Yoruba Travelling Theatre to the Nobel Prize in Literature: Nigerian Theatre in Motion.Chapter 34: Migratory Subjectivities and African Diasporic Theatre: Race, Gender and Nation.Chapter 35: Immobile Relegations and Exiles: Creation and Migration in French Theatre Between 1980 and 2020.Chapter 36: Storying Home: Retracing the Trail of Tears to Restore Ekvnvcakv.Chapter 37: Diasporic Trauma, Nativized Innovation, and Techno-Intercultural Predicament: The Story of Jingju in Taiwan.Chapter 38: Our Life Together: War, Migration, and Family Drama in Korean American Theatre.Chapter 39: Chronicles of Refugees Foretold, by Hala Khamis Nassar.Chapter 40: Ukrainian Theatre in Migration: Military Anthropology Perspective.- Section Five: Refugees.Chapter 41: Spaces and Memories of Migration in Twenty-First Century Greek Theatre: Station Athens’ I Left (E_Φυγα).Chapter 42: Troubled Waters: The Representation of Refugees in Maltese Theatre.Chapter 43: Staging Borders: Immigration Drama in Spain, from the 1990s to the Present.Chapter 44: Performance and Asylum Seekers in Australia (2000-2020).Chapter 45: Ramadram: Refugee Struggles, Empowerment and Institutional Openings in German Theatre.Chapter 46: To Come Between: Refugees at Sea, from Representation to Direct Action.Chapter 47: Theatre, Migration, and Activism: The Work of Good Chance Theatre.Chapter 48: Theatre and Migration in the Balkans: The Death of Asylum in Žiga Divjak’s The Game.Chapter 49: Theatre of the Syrian Diaspora.Chapter 50: The Finnish National Theatre, Refugees, and Equality.- Section Six: Itinerancy, Traveling and Transnationalism.Chapter 51: Transnationality: Intercultural Dialogues, Encounters, and the Theatres of Curiosity.Chapter 52: German Theatre and August von Kotzebue’s Theatrical Success and Pitfalls in Russia.- Chapter 53: The Itinerant Puppet.Chapter 54: Fin-de-siècle Black Minstrelsy, Itinerancy, and the Anglophone Imperial Circuit.Chapter 55: Actor Migration to and from Britain in the Nineteenth Century.Chapter 56: Migration and Marathi Theatre in Colonial India, 1850-1900.Chapter 57: The Dybbuk: Wandering Souls of the Vilna Troupe and Habimah Theatre.Chapter 58: Indian Circus: A Melting Pot of Migrant Artists, Performativity, and Race.Chapter 59: Contemporary (Post-)Migrant Theatre in Belgium and the Migratory Aesthetics of Milo Rau’s Theatre of the Real.Chapter 60: Belarus Free Theatre: Political Theatre in Exile.

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