Other performing arts Books

Book SynopsisTHE FIRST EXAMINATION OF STAND-UP COMEDY THROUGH THE LENS OF FOLKLOREIn A Vulgar Art Ian Brodie uses a folkloristic approach to stand-up comedy, leveraging the discipline''s central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a rather broad category, people who study it often begin by relating it to something they recognize such as literature or theatre, and analyze it accordingly. A Vulgar Art begins with a more fundamental observation: someone is standing in front of a group of people, talking to them directly, and trying to make them laugh. So this book takes the moment of performance as its focus and shows that stand-up comedy is a collaborative act between the comedian and the audience.Although the form of talk on the stage resembles talk among friends and intimates in social settings, stand-up comedy remains a profession. As such, it requires performance outside of the comedian''s own community to gain larger and larger aud

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Book SynopsisWhat happens when one of Germany’s most important writers, himself a Muslim, immerses himself in the world of Christian art? In this book, Navid Kermani is awestruck by a religion full of sacrifice and lamentation, love and wonder, the irrational and the unfathomable, the deeply human and the divine – a Christianity that today’s Christians rarely speak of so earnestly, boldly and enthusiastically. With the open-minded curiosity of a non-believer – or rather a believer in another faith – Kermani engages with Christian art in its great richness and diversity. The result is an enchanting reflection which reinvests in Christianity both its spectacular beauty and its terror. Kermani struggles with the cross, falls in love at the sight of Mary, experiences the Orthodox Mass and appreciates the greatness of St Francis. He teaches us to see the questions of our present-day lives in the pictures of old masters such as Botticelli, Caravaggio and Rembrandt – not with lectures on art history or theology, but with an intelligent eye for the essential details and the underlying relations to seemingly remote worlds, to literature and to mystical Islam. Kermani’s poetic school of seeing draws us in as we are carried along by his unique perspective on Christianity, rekindling our interest in great art at the same time. We are captivated by his unique and brilliant Islamic reading of the West.Trade Review"A work of genius" Ian Sansom, The Guardian"This truly is one of the best books I've read in years: funny, outrageous, touching, intimate, glorious."Nicola Barker, The Guardian Best Books of 2017"Navid Kermani has written one of the funniest, most perceptive, outrageous and engaging books about art, life and faith that I have ever read… It’s wonderful. It’s cathartic. It's transformative."The Spectator"An astonishing, deeply sympathetic, constantly surprising meditation on Christianity from one of the greatest Muslim writers and thinkers in the Western world. Kermani writes perceptively about individual works of art and particular places, about the New Testament, and about the rich traditions of Christian theology and practice. Still more important, he articulates a vision of Islamic–Christian friendship that is, in our vexed world, a human gift of rare importance." Stephen Greenblatt, Cogan University Professor of the Humanities, Harvard University"In this beautifully written book, Navid Kermani performs something which, if not unprecedented, is still highly unusual, as he considers Christianity from the distance of a different faith. He does not claim any superiority here, quite the opposite. Unencumbered by the need to accept or reject, he explores the Christian faith with an alert interest and consuming curiosity. Through his keen gaze, coupled with a profound knowledge of theology and art history, Kermani captivates readers with the marvels of artworks that they might otherwise never really notice. The anglophone world needs and deserves this gem of a book."Daniel Boyarin, University of California, Berkeley "In this book Navid Kermani draws on his unique perspectives as a Muslim intellectual to offer thoughtful reflections on the complex divine ideas underlying Christian art and the deep parallels that can be drawn between it and other traditions, including mystical Islam. As an outside observer of Christianity, Kermani reminds us that the great faith traditions have more in common than they have difference and how, at the end of the day, we all pay tribute to the same divine spirit. May more Muslim and Christian thinkers alike be inspired by his deep reflectiveness and willingness to engage across faith traditions."Ambassador Akbar Ahmed, Ibn Khaldun Chair of Islamic Studies, American University, Washington, DC "When I lived in Deir Mar Musa, Paolo Dall’Oglio would sometimes press a “very important” book on me to read. I am sure that Wonder Beyond Belief is one of these books. It encourages debate and impresses the reader with the need for communication and respect for other people’s beliefs."Emma Loosley, University of Exeter "Superbly written with occasional suprises, this book is hard to put down"Premier Christianity ‘Kermani holds in fine balance his reverence and irreverence, his sense of the holy, his outrage at the outrageous… His “wonder” at art in the Christian – mainly Catholic – tradition is expansive, responsive, humane and imaginative. Sometimes it is also very funny. His curiosity as both a scholar and an art lover is prodigious and infectious… His very openness means that looking at Christianity and its art through his eyes can be moving, entertaining, illuminating, uncomfortable and very rewarding.’Art and Christianity“Many Christians, and especially many Catholics, will learn a great deal not just about the Islamic point of view, but about what they think of as their own true faith... This is a book which ought not to be missed by anyone concerned with issues in the modern world.”Irish Catholic

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Book SynopsisNarratives produce the ties that bind us. They create community, eliminate contingency and anchor us in being. And yet in our contemporary information society, where everything has become arbitrary and random, storytelling becomes storyselling and narratives lose their binding force. Whereas narratives create community, storytelling brings forth only a fleeting community – the community of consumers. No amount of storytelling could recreate the fire around which humans gather to tell each other stories. That fire has long since burnt out. It has been replaced by the digital screen, which separates people rather than bringing them together. Through storytelling, capitalism appropriates narrative: stories sell. They are no longer a medium of shared experience. The inflation of storytelling betrays a need to cope with contingency, but storytelling is unable to transform the information society back into a stable narrative community. Rather, storytelling as storyselling is a pathological phenomenon of our age. Byung-Chul Han, one of the most perceptive cultural theorists of contemporary society, dissects this crisis with exceptional insight and flair.Table of ContentsPreface From Narration to InformationThe Poverty of ExperienceThe Narrated LifeBare LifeThe Disenchantment of the WorldFrom Shocks to LikesTheory as NarrativeNarration as HealingNarrative CommunityStoryselling Notes

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Book SynopsisIn the span of four months in 2012, Tig Notaro was hospitalized for a debilitating intestinal disease called C. diff, her mother unexpectedly died, she went through a breakup, and then she was diagnosed with bilateral breast cancer. Hit with this devastating barrage, Tig took her grief onstage. Days after receiving her cancer diagnosis, she broke new comedic ground, opening an unvarnished set with the words: 'Good evening. Hello. I have cancer. How are you? Hi, how are you? Is everybody having a good time? I have cancer.' The set instantly went viral, and was ultimately released as Tig's sophomore album, Live, which sold one hundred thousand units in just six weeks and was later nominated for a Grammy.Now, the wildly popular star takes stock of that no good, very bad year - a difficult yet astonishing period in which tragedy turned into absurdity and despair transformed into joy. An inspired combination of the deadpan silliness of her comedy and the open-hearted vulnerability that has emerged in the wake of that dire time, I'm Just a Person is a moving and often hilarious look at this very brave, very funny woman's journey into the darkness and her thrilling return from it.Trade ReviewThe book is heartbreaking, and brilliant, and funny. . . it’s fantastic. * Ellen Degeneres *Notaro's thrilling, candid, and hilarious memoir is a provocative and convincing rallying cry to seize the day * Booklist *I’m Just a Person will make you laugh, or cry, or both. * Marie Claire *Notaro’s story is funny not because it’s true (although it is), but because it’s told by the world-class stand-up with wit and vulnerability. * O Magazine *Anyone who can write a sharply funny-and bravely optimistic-story about losing her mother, going through a break up, and being diagnosed with breast cancer all in the span of four months is an absolute heroine in our book. All hail, Tig Notaro! -- GlamourComedian Tig Notaro takes pain and successfully converts it into laughs in I’m Just a Person… It’s an intriguing and inspiring look at one woman’s way of pressing on * Bustle *I'm Just a Person is Tig's journey in her own words, taking us through the repeated and unexpected heartaches of loss, the awkwardness and humiliation that comes with being ill, and all the social and personal struggles that come with either of those taxing situations. And yet, she has penned a very funny, deeply moving narrative. This isn't emotional torture porn or blandly uplifting treacle; this is hardcore honesty and sincerity told through a hilarious, sardonic lens.Not only is it a terrific, meaningful read, but it was a wonderful guidebook that helped me be there for a friend who endured a similar loss. Knowing what to say and what not to say is just one worthwhile lesson Tig provided amongst all those laughs and poignant words. * Glen Dallas, Manhattan Book Review *A tragedy turned into a thing of beauty * Elle UK *

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Book SynopsisComedy and Critique explores British professional stand-up comedy in the wake of the Alternative Comedy movement of the late twentieth century, seeing it as an extension of the politics of the New Left: standing up for oneself as anti-racist, feminist and open to a queering of self and social institutions. Daniel Smith demonstrates that the comic sensibility pervading contemporary humour is as much ‘speaking truth to power’ as it is realising one’s position ‘in’ power. The professionalisation of New Left humour offers a challenge to social and cultural critique. Stand-up comedy has made us all sociologists of self, identity and cultural power while also resigning us to a place where a comic sensibility becomes an acknowledgment of the necessity of social change.Trade Review"Provides a stimulating account of the way in which stand-up comedians respond to their sociological contexts and offers valuable insights into how comedians `do’ sociology." Sophie Quirk, University of KentTable of ContentsIntroduction; I: Analytical Part; The Art of Stand-up Comedy; The Professionalization of Stand-up Comedy; II: Synthetic Part; Representation; Persona; III: Critical Part; The Critique of Comic Reason.

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Book SynopsisEvery year, tens of thousands of acting students dip their toes into the world of improv comedy. From Harvard University, the Immediate Gratification Players bring a new way to learn this popular art form. Written from the student''s perspective, the book is divided into two sections of six drapers each. The book gives students training with useful drills, important rules to remember. and a basic uxorial in building your first improv scene. The will explain what no other book does: how to put your product in front of an audience. From creating a troupe to treating your audience right, this is the only book that can make its readers show-worthy. Sample chapters include: A Scene: The Basic Unit of Improv; Do or Not to Do; Short Form or Long Form?: The Eternal Debate; Developing Format; Creating a Troupe; Audition - Being the Best; Publicity: Turning on the Machine; And the Crowd Goes Wild: A Successful Show. Full of practical tips and techniques.

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Book SynopsisAn empowerment manifesto for creatives, misfits, innovators, and disruptors from the star of So You Think You Can Dance and creator of Broadway's Finding NeverlandA Unicorn in a World of Donkeys offers a playbook for living a creative and authentic life. Using her own story as a launching spot, and creative quizzes, charts, and lists to engage the reader in an interactive journey, Mia Michaels explores the experience of the unicorn in a world of donkeys, a world where fitting in, pleasing others, following rules, and maintaining norms-no matter how messed up those norms are-is the only acceptable path. She acknowledges the struggles of the unicorn life-loneliness, ridicule, being misunderstood and undervalued-and goes on encourage readers to reframe the unicorn life the way she has, as essential to a life of brilliance.Trade ReviewOne word describes Mia Michaels . . . FEARLESS! Everything she touches goes beyond expectations. Which says a lot because the expectations on her are always high. Working with her was such a highlight of my career because I've always been such a fan. That fearlessness is perfectly translated into this book. C'mon, it's Mia, you already know that this book is going to be incredible before you even open the cover! * Matthew Morrison, TV star of Glee, actor, dancer, and singer-songwriter *Mia embodies magic in her dance. It's no wonder she now runs with unicorns. Young artists, buy this book! * Kristin Chenoweth, Tony-winning actress and singer *Mia Michaels is a brilliant choreographer and director. Now add "writer," and you have a triple threat--and we all know good things come in threes. * Harvey Weinstein *Mia is a force of nature! She has an infectious energy that inspires you want to create with her. * Heidi Klum, model, TV host, producer, fashion designer *

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Book Synopsis"For over fifty years, Barbara T. Smith has been at the forefront of artistic movements in California. Her work across many mediums explores concepts that strike at the core of human nature, including sexuality, physical and spiritual sustenance, technology, and death. In this memoir, Smith weaves together descriptive accounts of her pioneering performances with an intimate narrative of her life. The Way to Be covers the years 1931 to 1981, up to the artist’s fiftieth birthday, resulting in an exhaustive catalogue of her early work. It reveals the personal stories and events behind her pieces and the challenges she faced in an art world dominated by sexism and machismo. Drawing on Smith’s archive at the Getty Research Institute, this enthralling book presents previously unpublished notes, documents, photographs, and firsthand accounts of her life and practice, as well as her more recent reflections on the past. The Way to Be demonstrates Smith’s lasting contributions to the field of contemporary art and provides an engaging commentary on a recent period of great cultural and political change. "

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Book SynopsisIn A Vulgar Art Ian Brodie uses a folkloristic approach to stand-up comedy, engaging the discipline's central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a rather broad category, people who study it often begin by relating it to something they recognize--""literature"" or ""theatre""; ""editorial"" or ""morality""--and analyze it accordingly. A Vulgar Art begins with a more fundamental observation: someone is standing in front of a group of people, talking to them directly, and trying to make them laugh. So this book takes the moment of performance as its focus, that stand-up comedy is a collaborative act between the comedian and the audience.Although the form of talk on the stage resembles talk among friends and intimates in social settings, stand-up comedy remains a profession. As such, it requires performance outside of the comedian's own community to gain larger and larger audiences. How do comedians recreate that atmosphere of intimacy in a roomful of strangers? This book regards everything from microphones to clothing and LPs to Twitter as strategies for bridging the spatial, temporal, and socio-cultural distances between the performer and the audience.

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Book SynopsisExamines the history of one of the best known dramatic dance performance practices on Bali and its connection with cultural tourism. The kecak is one of the best-known dramatic dance performance practices on Bali. Based on the ancient Indian Ramayana epic, it is performed by an ensemble of male and female solo dancers and accompanied by a hundred men who function as both musicians and living scenery. Since its creation in the 1930s, the kecak has been primarily a tourist performance. Drawing on over twenty years of fieldwork and meticulous archival study, Kendra Stepputat provides here a comprehensive study of the history, form, and cultural significance of the kecak. The first part of the book focuses on the kecak in its present form, including musical, choreographic, and dramatic elements. The connection between cultural tourism on Bali and kecak performance practice is analyzed in detail, including the dependency between tourism professionals and artists and ways of promoting the kecak. Tourists' perspectives on the kecak are addressed separately. The second part deals with the genesis and development of the kecak from the 1930s onward, exploring how it became and stayed a tourist genre for more than eighty years.Table of ContentsIntroduction Part 1: the Presence Chapter 1. Kecak -- The Music Rhythmic structures: juru klempung, juru gending (first part), pola cak Intermission: scales in kecak Melodic elements: juru gending (second part), juru tembang, and pangalang The lead: juru tarek and dalang Use of stage space by the jurus and pengecaks Chapter 2. Kecak -- The Dance Movements of the pengecak group Genre influences on the solo characters' movements Balinese dance characterization: halus, keras, and kasar The solo characters' individual dance styles Choreomusical interrelations between pengecaks and soloists in music and dance Chapter 3. Kecak -- The Drama Ramayana kakawin Ramayana adaptations in Balinese performing arts The kecak compromise: stage design, story, entrances The Kecak Ramayana "Kepandung Sita" kecak performance Chapter 4. The Social Organization of Kecak Aims and structures of kecak organizations and groups The members of a kecak group Teaching a kecak group Performance quality and performance quantity Chapter 5. Kecak -- The Tourist Performance The study of tourism and culture The development of cultural tourism on Bali Kecak in cultural tourism Tourists' perspectives The authenticity issue Some concluding remarks on kecak in tourism Part 2: The History Chapter 6. From Sanghyang Dedari to Kecak Ritual structures Musical structures Dance structures Sanghyang dedari in the early twenty-first century Performing sanghyang dedari on film and on stage Sanghyang dedari in performance at the end of the twentieth century Chapter 7. The First Kecak 1931: Kecak in "Insel der Dämonen"? 1926 to 1931: Changes in setting, choreography, and music Related kecak experiments in the 1920s and 1930s: Janger 1935: Kecak documented by Vicki Baum Villages and organizations: Bedulu and Bona Balinese artists: I Wayan Limbak and I Nengah Mudarya Expatriates: Walter Spies and Katharane Mershon Colonial power structures Who created the kecak? Chapter 8. Almost a Century of Kecak 1930s-1940s: Kecak becomes a tourist attraction Development in Bona and Bedulu Early tourists' conceptions of the kecak During and after the Second World War: Kecak deadlocked After the coup d'état and political persecution: Kecak standardization The early twenty-first century: The Bali bombings An alternative kecak approach: Kecak kreasi Some concluding remarks: Does the kecak have a future? Appendixes 1. Kecak dan Wisata Budaya di Bali (Indonesian Summary) 2. Kecak Groups of Bali in 2000-2001 (Badung and Gianyar) 3. Facsimile of a letter from Walter Spies to Leo Spies, 1932 Glossary Bibliography Index

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Book SynopsisOn 2 January 2013, just a day before Jim Davidson was due to enter the Celebrity Big Brother house, he found himself behind far more serious locked doors when he was arrested by the Yewtree detectives over alleged sex offences. Twelve months later, the public voted to crown Jim Davidson as the winner of the latest series of Celebrity Big Brother. Finally, with all charges dropped and no further action being taken - and with the public offering him their staunch support - Jim can finally look back on his year from hell. Facing a series of damaging false allegations, Jim was forced to fight, not just for his reputation and his career, but for his freedom too. Mounting legal costs and a deepening sense of injustice saw Jim sink to the lowest point of his career as the Yewtree investigation threatened to ruin him both financially and emotionally. Finally, after months of pain came the words he and his supporters had been waiting to hear: 'No Further Action'. Now, with the public's approval, Jim reflects on this painful period with the regular dose of wit and humour that have made him so successful.Searingly honest, No Further Action pays tribute to those who stood by him and takes a wry look at what life is like under investigation in the public eye.

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Book SynopsisDigital traces, whether digitized (programs, notebooks, drawings, etc.) or born digital (emails, websites, video recordings, etc.), constitute a major challenge for the memory of the ephemeral performing arts.Digital technology transforms traces into data and, in doing so, opens them up to manipulation. This paradigm shift calls for a renewal of methodologies for writing the history of theater today, analyzing works and their creative process, and preserving performances. At the crossroads of performing arts studies, the history, digital humanities, conservation and archiving, these methodologies allow us to take into account what is generally dismissed, namely, digital traces that are considered too complex, too numerous, too fragile, of dubious authenticity, etc.With the analysis of Merce Cunningham’s digital traces as a guideline, and through many other examples, this book is intended for researchers and archivists, as well as artists and cultural institutions.Table of ContentsForeword ixBruno BACHIMONT Preface xiii Introduction xxxv Chapter 1. The Digital Trace: From Data to Metatrace 1 1.1. Tracing the ephemeral 2 1.1.1. An impossible history? 3 1.1.2. Relying on traces 4 1.2. The digital trace 8 1.2.1. Digitized traces 9 1.2.2. Born digital traces 10 1.2.3. Heterogeneous, numerous and fragile traces 11 1.3. Transforming traces into data 14 1.3.1. Analog trace and digital trace 14 1.3.2. From trace to data: the datatrace 16 1.3.3. Metatrace 22 1.4. Performing arts data 25 1.4.1. Performing arts data landscapes 25 1.4.2. The Semantic Web paradigm 27 1.4.3. Transforming the living archive into data 33 1.5. Conclusion 38 Chapter 2. Preserving the Impermanent 41 2.1. Note: scoring the representation 42 2.1.1. Notation of the performing arts 43 2.1.2. Scoring 49 2.1.3. From autography to allography: scoring digital works 52 2.1.4. The performing arts, between allography and autography 57 2.2. Diachronic documentation: reconnecting with the process 62 2.2.1. Making digital traces last 63 2.2.2. Taking the creation processes into account 66 2.3. Annotating: redocumentarizing traces 69 2.3.1. Digital as an annotation practice 71 2.3.2. The special case of video recording 73 2.3.3. Intra- and inter-documentary approaches 76 2.3.4. MemoRekall, a video annotation tool for redocumentarizing traces 79 2.4. Denote/connote: artistic intent and datatraces 83 2.4.1. Articulating close and distant reading 83 2.4.2. Rekall 90 2.5. Conclusion 95 Chapter 3. Writing the History of the Performing Arts 97 3.1. Sources and resources 99 3.1.1. Theater studies and digital humanities 100 3.1.2. Scrutinizing 105 3.1.3. Going back to the source 110 3.2. Exposing traces 113 3.2.1. Linking 114 3.2.2. Structuring 119 3.2.3. Reconstructing 124 3.3. Analyzing performing arts data 127 3.3.1. History 129 3.3.2. Literature 135 3.3.3. Shows 141 3.4. Conclusion 147 Conclusion 149 Glossary 153 References 163 Index of Names 179 Index of Terms 183

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Book SynopsisWhen the final episode of Seinfeld aired on 14th May 1998, an amazing 76.3 million Americans tuned in, making it the most popular situation comedy is US television history. * The first show-by-show episode guide to be written about this iconic television series * Not just a hit in the USA, Seinfeld remains a cult show in the UK and Europe, now available on DVD and on Amazon Prime * Bang up to date, the book includes recent Seinfeld-related activity including the revival episode on 'Curb Your Enthusiasm' and Seinfeld's own 'Comedians in Cars Getting Coffee' Co-created by Larry David, this 'comedy about nothing' made celebrities of its four stars: stand-up comedian Jerry Seinfeld; comedian and actor Michael Richards who played eccentric neighbour Kramer; Julia Louis-Dreyfus who played Seinfeld's former girlfriend Elaine and Jason Alexander as Jerry's volatile best friend George. Completely unique in its outlook and execution, the success of the series lay in its early years, able to develop its own style below the radar as a minor network hit, before reaching a mass public with its fourth season in 1992. Much analyzed during its time on screen, the show has not been re-evaluated for many years. Now, 21 years since the series finished, Stephen Lambe's timely and superbly-crafted new book examines Seinfeld's first five seasons episode by episode, tracing the development of every character, catchphrase and quirk, from the series' embryonic pilot episode in 1989, to its status as an Emmy award-winning show by the time that season five wrapped in 1994. While the series was a huge success in the USA, it was also a cult hit across the globe and its legacy continues into the new millennium.

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Book SynopsisAfrican dance is discussed here in its global as well as local contexts as a powerful vehicle of aesthetic and cultural exchange and influence. To date, scholars have tended, with a few exceptions, to write about African dance in primarily ethnographic terms. This collection seeks to challenge this pattern and expand dance research by engaging with the aesthetics and socio-political impact of dance for communities in and out of Africa in an increasingly global context. Contributors to this issue look at the impact that specifically situated indigenous dance forms have had on the development of newforms locally, and the reciprocal impact of local and international infrastructures, including funding bodies, tourism and festivals. African Theatre 17 examines how dance is contributing to a particularly African interculturalism, while analysing the issues of representation of Africa in a postcolonial context. Articles address the efficacy of dance to engage audiences with disavowed issues regarding gender, sexuality and dis/ability both within and beyond Africa. Highlights include a dance photo essay on F.O.D. Gang's 2017 site-specific street performance "Untitled" in Lagos, a new non-themed section, and the playscript Lunatic! by Zimbabwean playwright Thoko Zulu. Volume Editors: YVETTE HUTCHISON & CHUKWUMA OKOYE Series Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.Table of ContentsObituary: J.C. Abbey, Master Puppeteer of Ghana (Steve Feld & Nii Noi Ortey) Introduction - Yvette Hutchison and Chukwuma Okoye DANCE James Mweu & Kunja Dance Theatre: Contemporary dance as African cultural production - 'Funmi Adewole Looking behind the mirror: Challenging representationalism in contemporary dance in postcolonial African contexts - Kristina Johnstone Looking behind the mirror: Challenging representationalism in contemporary dance in postcolonial African contexts - Kristina Johnstone Decolonizing the stage: Reflecting on a Canadian-hosted South African Performance Festival - Kymberley Feltham Unmuting South African citizenship through integrated/ disability dance - Yvette Hutchison From television to the streets: The rise and rise of dance-based advertising in Nigeria - 'Tosin Kooshima Tume Dance photo essay: Untitled: FOD Gang's Environmental Activism - Chukwuma Okoye OPEN SECTION Cultural production in a digital age: A reflection on the adaptation of an African folktale for a young audience - J.C. Niala And With Them Came Devils: Ebrahim Hussein, Mashetani & the poetics of doubt - Joshua Williams Playscript: Lunatic! by Thoko Zulu Book Reviews edited by Sola Adeyemi

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Book SynopsisGeorgiana Keable introduces us to a staggering wealth of world stories all about nature and our role as humans in it. These are traditional stories that have stood the test of time. They often speak of something universal or enduring about our experience and relationship with nature. Culturally diverse and all told with great energy and panache, the stories will engage young readers and encourage them to become natural storytellers.The book includes several storymaps to help the reader think visually about stories as well as other ways to remember the different stages that make up each tale. The author also reflects on the heart of each tale, what it's about, and whether there is a way the reader can turn their own experience into a story. Each section has a practical activity that can be undertaken individually or as a group.The author's message is clear: the resources needed for Natural Storytelling are abundantly around us nature and our imagination.

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Book SynopsisIn this step by step companion guide, Nancy Mellon explores the secrets of what makes a good story and how to become a confident storyteller from scratch. The healing power of stories is a strong antidote to today's electronic screen world. Storytelling is an engaging, meaningful way of sharing our thoughts and feelings. As a path of self-development, storytelling awakens archetypal experiences, symbols and forces within for healing oneself and others

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Book SynopsisAn Indie Next Pick for July 2017 "7 Best Books of July," Men's Journal "10 Titles to Pick Up Now," O, The Oprah Magazine "Most Anticipated Books of 2017," The Millions "A unique, poetic critical appreciation of Marcel Marceau.... A fascinating book.... Readers will marvel not only at Marceau, but at the book itself, which displays such command of the material and such perfect pitch." —Kirkus Reviews, starred review As a fledgling radio producer, Shawn Wen became fascinated by the one subject who seemed impossible to put on air: French mime Marcel Marceau, the internationally acclaimed “artist of silence.” At the height of his fame, Marceau was synonymous with Bip, the red-lipped, white-faced mute in a sailor suit who conjured scenes, stories, and sweeping emotion through the gestures of his body alone. Influenced by Charlie Chaplin’s Little Tramp, credited with inspiring Michael Jackson’s Moonwalk, Marceau attempted in his performances to “reveal the fundamental essences of humanity.” Beyond Bip, Marceau was a Jewish Holocaust survivor and member of the French resistance; a bombastic iconoclast; a collector of failed marriages, masks, antique knives and doting fans; an impassioned workaholic who performed into his eighties and died deeply in debt soon after leaving the stage. In precise, jewel-like scenes and vignettes, A Twenty Minute Silence Followed by Applause pays homage to the singular genius of a mostly-forgotten art form. Drawing on interviews, archival research, and meticulously observed performances, Wen translates the gestural language of mime into a lyric written portrait by turns whimsical, melancholic, and haunting.Shawn Wen is a writer, radio producer, and multimedia artist. Her writing has appeared in The New Inquiry, The Seneca Review, The Iowa Review, The White Review, and the anthology City by City: Dispatches from the American Metropolis (Faber and Faber, 2015). Her radio work has been broadcast on This American Life, Freakonomics Radio, and Marketplace. She is the recipient of numerous fellowships, including the Ford Foundation Professional Journalism Training Fellowship and the Royce Fellowship. Trade Review"A unique, poetic critical appreciation of Marcel Marceau. . . . A fascinating book. . . . Readers will marvel not only at Marceau, but at the book itself, which displays such command of the material and such perfect pitch." —Kirkus Reviews, starred review “Effectively pays homage to both the history of mime and its solitary master, Marcel Marceau. . . . Wen crafts diamond-cut paragraphs that place the reader in Marceau’s enthralled audiences. . . . These invaluable descriptions by a writer versed in the tradition of making the nonvisible vibrant should be read slowly and with the same seemingly effortless focus Marceau gave to his art.” —Booklist, starred review "I had no idea how much I would love a small collection of essays about the famous mime Marcel Marceau until I picked it up. What a gem!" —Liberty Hardy for Book Riot “It isn’t easy to turn a biography into poetry. But Shawn Wen does exactly that with her portrait of mime artist Marcel Marceau, who introduced the world to this wordless art form. Wen, a radio producer and multimedia artist, has written her first book with the kind of poetic zeal that suits an artist who practically created silent cinema on stage. . . . Wen’s evocative writing invites us into the audience to watch the powdered face arch into emotional heights, the body sway against unseen wind. . . . With A Twenty Minutes Silence Followed by Applause, Wen offers an invigorating and memorable paean to Marceau’s talent and tragedies, wrapped in a melodic critique that is unafraid to show the pain of an artist who sometimes felt trapped in a box.” —The Washington Post “Shawn Wen’s debut book, the novella-length essay A Twenty Minute Silence Followed by Applause, is a captivating exercise in style and form. It immortalizes the silent man in words. . . . Wen distills Marceau’s life by allowing his eccentricities, words, life, and work to speak for him. Wen’s admiration for Marceau is most evident in her beautifully wrought descriptions of his best-known performances; these careful renderings and thoughtful observations bring Marceau’s movements to life on the page.” —The Los Angeles Review of Books “Marceau was a case study for Wen’s personal queries of selfhood—what it means to be an adult, what it means to be a good person, or an artist, or both. It was also an exercise in form and its limits and capabilities. . . . Her lyric essays observe the life of Marceau from slanted angles: traces of performance scenes, brief excerpts of his views drawn from interviews, lists of Marceau’s gleaming collections of worldly possessions whose accumulation reflects an emptiness. The terse, often poetic vignettes leave a quality of hauntedness appropriate to someone like Marceau.” —San Francisco Chronicle “[Shawn] Wen’s whimsical ode to Marcel Marceau showcases the performer’s determination to ‘fill the blank spaces’ with a silence that stirs.” —O, The Oprah Magazine, “10 Titles to Pick Up Now” “The book is by turns a journalistic endeavor, an imaginative inroad into the artist’s world, and a history. Like Leslie Jamison, Wen is a rigorous investigator. And like Maggie Nelson, her prose is artful without being precious or gaudy. Throughout, Wen carefully pulls her subject into focus for the reader, even as she acknowledges the contradictions and complications inherent to Marceau’s legacy.” —American Short Fiction “Rare is the book about which one can say, in earnest, ‘I’ve never read anything like this before,’ yet with A Twenty Minute Silence Followed by Applause, Shawn Wen has written such a book. From its idiosyncratic area of interest to its chameleonic formal modalities, Applause resists easy categorization at every turn, and this is one of its many strengths. What begins as an inviting and imaginative gesture toward a biography of the mime Marcel Marceau branches out into a broader consideration, at turns lyrical and philosophical, of the conflict that exists between silence and language. . . . a truly magnificent debut.” —Kirkus Reviews, feature profile “Wen . . . provides powerful words to fill in for all the silences [Marceau] nevertheless left behind. A standard biography would have crushed the subtlety of his performances. Instead, Wen’s range of approaches mirror performance pieces that call for their own applause.” —Signature "Wen offers us an experimental book-length essay on the renowned mime Marcel Marceau, playing with form much as Marceau played with human expression." —The International Examiner "With great rigor and a feeling patience, [Wen] writes into the empty space created by Marceau’s wheeling arms, his gesturing eyes, his open and soundless mouth." —Jezebel “Artist and radio producer Wen’s first book is about one of the most fascinating performance artists of the last century: French mime Marcel Marceau, known for his ‘Bip the Clown’ persona. Wen uses videos of Marceau’s performances, as well as interviews with him, to pay tribute to the enigmatic actor and Holocaust survivor.” —Men’s Journal, “The Seven Best Books of July” “Amazing . . . Sarabande knew I wanted a book about Marcel Marceau before I did.” —Liberty Hardy, BookRiot editor and judge for Book of the Month Club “Wen...unfold[s] the mime's most powerful revelations about humanity. She may redefine mime for you, just as this little volume redefines terms like poetry, prose, biography, and book...Wen is infusing every word with as much power as Marceau used in each muscle to mime.” —Indy Week, online, "Shawn Wen's Unorthodox Book About Mime Somehow Gives Voice to the Eloquent Silence of Marcel Marceau" "As in the work of Marcel Marceau, Shawn Wen crafts a language of silence and absence around the life of her subject to give a much richer picture of a true and unusual talent. These are essays as pantomime, drawing readers in to reveal work of simple and delicate elegance, executed with the utmost precision.” —Jarrod Annis, Greenlight Bookstore, Brooklyn, NY “Wen uses the omnivorous form of the essay to full effect in this elegant, winsome biography of the iconic mime Marcel Marceau. Through an intricately structured series of scenes, lists, quotes, and breathy meditations on the body and voice, Marceau comes alive on the page: dancing with an unseen woman, ducking bullets on a silent battlefield. ‘He is not exactly a comedian,’ Wen writes. ‘Not a tragedian. He swings between these two poles.’ Between those poles, and between the covers of this deceptively slim volume, the full range of human emotion is splayed and felt.” —Mairead Stead, Literati Bookstore, Ann Arbor, MI “If you’re into elliptical meditations on silence, performance, the weirdness of bodies, and loss, this is the book for you.” —Stephen Sparks, Point Reyes Books, Point Reyes Station, CA “A Twenty Minute Silence Followed by Applause is as mesmerizing as a performance from Marceau himself. With perfect concision and vivid prose, Wen depicts a legend with humor, empathy, and keen observation. I loved this book.” —Katie Eelman, Papercuts J.P., Boston, MA “Shawn Wen’s book isn’t just an exploration of the unique genius of Marcel Marceau, but also of how performers, writers, and other artists shape the space of our thoughts. Wen dives through one of the most misunderstood forms of performance to reach for more fundamental ideas of how and why we try to communicate with each other. A strange and beguiling book.” —Josh Cook, Porter Square Books, Cambridge, MA "Shawn Wen’s A Twenty Minute Silence Followed By Applause is a loving tribute to a most untranslatable figure: Marcel Marceau, the mime who defined his art for the 20th century. A connoisseur of silence who could out-talk Studs Terkel, a world-famous performer who felt like a failure, Marceau presents contradictions that make him hard to grasp, but these nimble essays rise to the task beautifully. You don’t need to know anything about mime, or Marceau, to appreciate Wen’s lyrical and innovative take on biography." —Travis Smith, Flyleaf Books, Chapel Hill, NC "A Twenty Minute Silence Followed by Applause is the sort of book that makes every line feel like a revelation. A meditation on the French mime Marcel Marceau, Wen weaves a mixture of poetry and journalism to create a beautiful look at a misunderstood art. Reminiscent of Maggie Nelson and Sarah Manguso, Shawn Wen is a an exciting and talented new voice." —Emily Baillaine, Green Apple Books on the Park, San Francisco, CA "If writing about music is like dancing about architecture, then what is writing about mime like? In Shawn Wen's capable hands, it can be descriptive and fresh, aphoristically wise, and artfully somber. Whether Wen's animating, with her precise words, the motions of Marcel Marceau's famous stage persona ("Bip the Clown"), or spotlighting his private life through lists of his holdings, or revealing scraps of speech (interview answers, commercial transcripts, his advocacy for fencing as a "school of humility," or his belief that Michael Jackson had "the soul of a mime"), A Twenty Minute Silence Followed by Applause rivets and rewards its reader. Read it to learn a new kind of body language, from an exciting writer worth watching." —John Francisconi, Bank Square Books, Mystic, CT “Intellectually agile and tenderly imagined, Shawn Wen’s incandescent essay reminds readers that writing is gesture, that movement is a language of thought, and that the union of the two is a thing of beauty.” —Alexandra Kleeman, author of You Too Can Have a Body Like Mine “Like pulling a ghost from a dark room, this is an accomplished work of historical portraiture: precise in its objects, complex in its melancholy, and insightful in its humor.” —Thalia Field, author of Experimental Animals “In A Twenty Minute Silence Followed By Applause, Shawn Wen draws a portrait of Marcel Marceau that is equal parts heart breaking and delightful. Her poetic and tender prose gorgeously captures the man whose body and life were inextricable from his art, an art written by silence. The play of the mime through Wen’s loving gaze becomes the play of us all as we live, and love, and like him, eventually pass off the stage into our own ultimate quiet.” —Hannah Lillith Assadi, author of Sonora “Shawn Wen has written a surprising, impressionistic portrait of a man who was among the best-known artists of his day.” —Nancy Updike, producer, This American Life "A Twenty Minute Silence Followed by Applause. . . establishes critic Shawn Wen as [a] strong new voice in literature." —FanzineTable of ContentsTable of Contents Why this black box? Young Marceau Mangel Pedagogy Bip is born Scene 1 Bip the soldier Genealogy Scene 2 Bip, great star of the traveling circus M. on speech M. on Marceau The empty stage is a universe! Bip at a society party Collections: Work-related reading M. on America, 1955 Scene 4 Bip plays David and Goliath M. on the connective tissues M. on his own Scene 5 Bip attempts suicide M. on boundaries and borders Scene 6 Bip, the Bullfighter M. on man's modern problems M. on Chaplin Marceau's show returns in fragments? Scene 7 Bip as skater and spectator M. on Chaplin II Collections: Reading for a well-rounded education Scene 8 Scene 9 Scene 10 Time passes? M. interacts with fans M. on mastering one's feelings Collections: items from Japan Collections: knives Collections: miscellaneous Collections: icons Pierre Verry But remember? M. on failure M. on technology Bip as sleek creature of the deep Scene 11 Collections: masks Collections: zoomorphe M. on video Scene 12 Camille on M. Collections: ancient dolls Collections: paintings M. versus M. Collections: Japanese dolls Scene 13 An interview "Marcel Marceau has no private life." Scene 14 A twenty minute silence followed by applause Other works Clive Barnes on materialism Scene 15 Seeing is a way? M. writes about M. Bip the stoic Scene 16 Collections: clocks You are ever the beholder? M. on most mimes Collections: performing dolls Collections: sacred dolls M. on the king of pop "It was the winter of-" M. on Theriensenstadt From Marcel and Me... Collections: the furniture Collections: the boxes Critics on aging Scene 17 Bip hunting butterflies Bip gets left behind M. on aging Pere Lachaise Cemetery Collections: pleasure reading Collections: silverware Collections: Roman tableware from the 2nd century After M. M. on the truth Scene 18

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Book SynopsisBeyond telling the story of Twine and how to make Twine stories, Twining reflects on the ongoing process of making. While there have certainly been attempts to study Twine historically and theoretically...

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Book Synopsis

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Book SynopsisDating back to the blackface minstrel performances of Bert Williams and the trickster figure of Uncle Julius in Charles Chesnutt’s Conjure Tales, black humorists have negotiated American racial ideologies as they reclaimed the ability to represent themselves in the changing landscape of the early 20th century. Marginalized communities routinely use humor, specifically satire, to subvert the political, social, and cultural realities of race and racism in America. Through contemporary examples in popular culture and politics, including the work of Kendrick Lamar, Key and Peele and the presidency of Barack Obama and many others, in Played Out: The Race Man in 21st Century Satire author Brandon J. Manning examines how Black satirists create vulnerability to highlight the inner emotional lives of Black men. In focusing on vulnerability these satirists attend to America’s most basic assumptions about Black men. Contemporary Black satire is a highly visible and celebrated site of black masculine self-expression. Black satirists leverage this visibility to trouble discourses on race and gender in the Post-Civil Rights era. More specifically, contemporary Black satire uses laughter to decenter Black men from the socio-political tradition of the Race Man. Trade Review"Played Out is an instantly canonical book. It tackles narratives of the Race Man, racial uplift, and respectability politics through the lens of satire to reveal the enduring mythos of acceptable Black social justice work. Through this brilliant, deeply researched book, Brandon Manning rescripts the pathways to social transformation and progress." -- Robin R. Means Coleman * author of African American Viewers and the Black Situation Comedy: Situating Racial Humor *“Brandon Manning joins a group of brilliant scholars working on contemporary African American satire who have redefined scholarship on Black texts and Black bodies. His analyses of Percival Everett’s recent work and President Barack Obama’s role in this era cannot be missed.” -- Darryl Dickson-Carr * author of Spoofing the Modern: Satire in the Harlem Renaissance *Left of Black | Brandon J. Manning on Black Satire * Left of Black Podcast, produced by the John Hope Franklin Humanities Institute *"Played Out is an instantly canonical book. It tackles narratives of the Race Man, racial uplift, and respectability politics through the lens of satire to reveal the enduring mythos of acceptable Black social justice work. Through this brilliant, deeply researched book, Brandon Manning rescripts the pathways to social transformation and progress." -- Robin R. Means Coleman * author of African American Viewers and the Black Situation Comedy: Situating Racial Humor *“Brandon Manning joins a group of brilliant scholars working on contemporary African American satire who have redefined scholarship on Black texts and Black bodies. His analyses of Percival Everett’s recent work and President Barack Obama’s role in this era cannot be missed.” -- Darryl Dickson-Carr * author of Spoofing the Modern: Satire in the Harlem Renaissance *Left of Black | Brandon J. Manning on Black Satire * Left of Black Podcast, produced by the John Hope Franklin Humanities Institute *Table of ContentsContents Acknowledgements Preface Introduction: Please Let Me Be Misunderstood Chapter 1: Of Our Satirical Strivings Chapter 2: Neoliberalism and the Funny Race Man Chapter 3: Integrationist Intimacies Chapter 4: The President and His Translator Conclusion: Beyond the Funny Race Man

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Book SynopsisDating back to the blackface minstrel performances of Bert Williams and the trickster figure of Uncle Julius in Charles Chesnutt’s Conjure Tales, black humorists have negotiated American racial ideologies as they reclaimed the ability to represent themselves in the changing landscape of the early 20th century. Marginalized communities routinely use humor, specifically satire, to subvert the political, social, and cultural realities of race and racism in America. Through contemporary examples in popular culture and politics, including the work of Kendrick Lamar, Key and Peele and the presidency of Barack Obama and many others, in Played Out: The Race Man in 21st Century Satire author Brandon J. Manning examines how Black satirists create vulnerability to highlight the inner emotional lives of Black men. In focusing on vulnerability these satirists attend to America’s most basic assumptions about Black men. Contemporary Black satire is a highly visible and celebrated site of black masculine self-expression. Black satirists leverage this visibility to trouble discourses on race and gender in the Post-Civil Rights era. More specifically, contemporary Black satire uses laughter to decenter Black men from the socio-political tradition of the Race Man. Trade Review"Played Out is an instantly canonical book. It tackles narratives of the Race Man, racial uplift, and respectability politics through the lens of satire to reveal the enduring mythos of acceptable Black social justice work. Through this brilliant, deeply researched book, Brandon Manning rescripts the pathways to social transformation and progress." -- Robin R. Means Coleman * author of African American Viewers and the Black Situation Comedy: Situating Racial Humor *“Brandon Manning joins a group of brilliant scholars working on contemporary African American satire who have redefined scholarship on Black texts and Black bodies. His analyses of Percival Everett’s recent work and President Barack Obama’s role in this era cannot be missed.” -- Darryl Dickson-Carr * author of Spoofing the Modern: Satire in the Harlem Renaissance *Left of Black | Brandon J. Manning on Black Satire * Left of Black Podcast, produced by the John Hope Franklin Humanities Institute *"Played Out is an instantly canonical book. It tackles narratives of the Race Man, racial uplift, and respectability politics through the lens of satire to reveal the enduring mythos of acceptable Black social justice work. Through this brilliant, deeply researched book, Brandon Manning rescripts the pathways to social transformation and progress." -- Robin R. Means Coleman * author of African American Viewers and the Black Situation Comedy: Situating Racial Humor *“Brandon Manning joins a group of brilliant scholars working on contemporary African American satire who have redefined scholarship on Black texts and Black bodies. His analyses of Percival Everett’s recent work and President Barack Obama’s role in this era cannot be missed.” -- Darryl Dickson-Carr * author of Spoofing the Modern: Satire in the Harlem Renaissance *Left of Black | Brandon J. Manning on Black Satire * Left of Black Podcast, produced by the John Hope Franklin Humanities Institute *Table of ContentsContents Acknowledgements Preface Introduction: Please Let Me Be Misunderstood Chapter 1: Of Our Satirical Strivings Chapter 2: Neoliberalism and the Funny Race Man Chapter 3: Integrationist Intimacies Chapter 4: The President and His Translator Conclusion: Beyond the Funny Race Man

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Book SynopsisTouch is a fundamental element of dance. The (time) forms and contact zones of touch are means of expression both of self-reflexivity and the interaction of the dancers. Liberties and limits, creative possibilities and taboos of touch convey insights into the ‘aisthesis’ of the different forms of dance: into their dynamics and communicative structure, as well as into the production and regulation of affects. Touching and Being Touched assembles seventeen interdisciplinary papers focusing on the question of how forms and practices of touch are connected with the evocation of feelings. Are these feelings evoked in different ways in tango, Contact improvisation, European and Japanese contemporary dance? The contributors to this volume (dance, literature, and film scholars as well as philosophers and neuroscientists) provide in-depth discussions of the modes of transfer between touch and being touched. Drawing on the assumptions of various theories of body, emotion, and senses, how can we interpret the processes of tactile touch and of being touched emotionally? Is there a specific spectrum of emotions activated during these processes (within both the spectator and the dancer)? How can the relationship of movement, touch, and emotion be analyzed in relation to kinesthesia and empathy?

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Book SynopsisOver the past few decades, French filmmaker Olivier Assayas has become a powerful force in contemporary cinema. Between his first feature Désordre (1986) and such major works as L'Eau froide, Irma Vep, Les Destinées Sentimentales, demonlover and, most recently, L'Heure d'été and Carlos, he has charted an exciting path, strongly embracing narrative and character and simultaneously dealing with the 'fragmentary reality' of life in a global economy. He also brought a fresh perspective to the problem of politics after '68, a subject that he revisits in his memoir A Post-May Adolescence (published as a companion book to this volume) and in his most recent film Après-Mai. This first English-language book about Olivier Assayas includes a major essay by Kent Jones, based on his two decades of correspondence and exchanges of ideas with the filmmaker, as well as contributions from Assayas and his most important artistic collaborators. The central part consists of individual essays on each of his works, written by Chris Chang, Larry Gross, Howard Hampton, Kristin M. Jones, B. Kite, Glenn Kenny, Michael Koresky, Alice Lovejoy, Greil Marcus, Geoffrey O'Brien, Jeff Reichert, Richard Suchenski, and Gina Telaroli.Trade ReviewEnthusiastic, personal, and easy to read.... Recommended. * Choice *The book is really beautiful: the layout is terrific, the illustrations fantastic, well-chosen; it’s truly a wonderful package. -- Some Came RunningA thoughtful, personal survey of Assayas's career by American critics edited by Jones and an English translation of Assayas's 2002 memoir 'A Post-May Adolescence: Letter to Alice Debord', both published in handsome volumes by the Austrian Film Museum, expose this tension in Assayas's work: between a desire for risk and a sensitive intelligence resistant to easy solutions; between allegiance to cinema 'degree zero,' a cinema of presence, and a romantic fascination with the passage of time...Jones, who writes four of the essays himself, has been in correspondence with Assayas for two decades, and the richness of the book is due not only to his deep affinity for Assayas's work but from the dialogue that has developed between the two of them on the nature of cinema and art. -- Film CommentTable of ContentsPreface, by Kent JonesWestway to the World, by Glenn KennyBlack Boxes. Désordre, by Jeff ReichertCold Comforts. L'Enfant de l'hiver, by Alice LovejoyWhen You Leave, You Want Time to Stand Still. Paris s'éveille, by Michael KoreskyMoving On. Une nouvelle vie, by Kent JonesRevival. L'Eau froide, by Howard HamptonThe Strange Case of Irma Vep. Irma Vep, by Larry GrossAfter Art Cinema. HHH—Portrait de Hou Hsiao-hsien, by Kristin M. JonesThe Soul in Times of Danger. Fin août, début septembre, by Richard Suchenski"How Futile Work Is." Les Destinées sentimentales, by B. KiteStop Stop Start Again. Demonlover, by Nick PinkertonBetter to Fade Away. Clean, by Chris ChangThe Doctor Is In. Noise, by Gina TelaroliAnywhere and Everywhere. Boarding Gate, by Kent JonesCosmic Pulses. Eldorado, by Geoffrey O'brienThe Secret Life of Objects. L'Heure d'été, by Greil MarcusWhat the Film Wants. Carlos, by Kent JonesLost Companions and Fleeing Ghosts. Après-Mai, by David Phelps, Kent JonesEarly and In-Between. Short Films, by CollaboratorsDenis Lenoir, Éric Gautier, Sylvie Barthet, and Luc Barnier in conversation with Kent Jones, by Olivier AssayasTen FilmsTimelineFilmographyBibliographyContributorsList of IllustrationsAcknowledgments

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Book SynopsisOlivier Assayas is best known as a filmmaker, yet cinema makes only a late appearance in this volume. A Post-May Adolescence is an account of a personal formation, an initiation into an individual vision of the world. It is, equally, a record of youthful struggle. Assayas' reflective memoir takes the reader from the massive cultural upheaval of France in May 1968 to the mid-1990s, when the artist made his first autobiographical film about his teenage years, L'Eau froide. The movement of thought and creation known as Situationism is the golden thread that connects and, in part, inspires his memoir. This book also includes two essays by Assayas on the aesthetic and political legacy of Guy Debord, who played a decisive role in shaping the author's understanding of the world and his path towards an extremely personal way of making films. A Post-May Adolescence was first published in French in 2005. Its expanded English edition makes a valuable companion to the first English-language monograph on Assayas' body of work, Olivier Assayas, edited by Kent Jones, also published by the Austrian Film Museum.Trade ReviewA thoughtful, personal survey of Assayas's career by American critics edited by Jones and an English translation of Assayas's 2002 memoir A Post-May Adolescence: Letter to Alice Debord, both published in handsome volumes by the Austrian Film Museum, expose this tension in Assayas's work: between a desire for risk and a sensitive intelligence resistant to easy solutions; between allegiance to cinema 'degree zero,' a cinema of presence, and a romantic fascination with the passage of time...The slim memoir, packaged with two additional essays by Assayas on Debord, is a valuable companion to the Jones collection, which is often in explicit dialogue with Assayas's analysis of his own work. -- Film CommentAssayas' voice is clear, urgent, and persuasive. For him the matter at hand, the subject that keeps slipping away, is the story of how he came to know the work of Guy Debord. This is nothing less that the story of his life. -- Film Quarterly

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Book SynopsisThe king of radio comedy from the Great Depression through the early 1950s, Jack Benny was one of the most influential entertainers in twentieth-century America. A master of comic timing and an innovative producer, Benny, with his radio writers, developed a weekly situation comedy to meet radio's endless need for new material, at the same time integrating advertising into the show's humor. Through the character of the vain, cheap everyman, Benny created a fall guy, whose frustrated struggles with his employees addressed mid-century America's concerns with race, gender, commercialism, and sexual identity. Kathryn H. Fuller-Seeley contextualizes her analysis of Jack Benny and his entourage with thoughtful insights into the intersections of competing entertainment media and argues that transmedia stardom, branded entertainment, and virality are, in fact, the newest versions of key elements in the history of American popular culture.Trade Review"By discussing in depth the ways the show was and wasn’t distributed during and after its initial run (including the balance of radio stations carrying the show vs. TV stations carrying the show throughout the ‘50s), Fuller-Seeley makes the book itself an intermedia experience, encouraging readers to contribute to the vital work of media archiving." * Splitsider *“…a deeply researched and powerfully argued analysis of Benny’s persona, productions, distribution, advertising, and sponsorship from the early 1930s through the late 1950s. …It is a must-read for scholars seeking to understand the inner workings, products, and impact of mass media and intermedia develop­ment, consumer culture, and celebrity culture during the heyday of mid-twentieth-century American commercial radio broadcasting and how to write about such issues incisively and inclusively.” * The Journal of American History *"Kathryn H. Fuller-Seeley’s monograph on Jack Benny provides the first full-length scholarly account of the comedian’s influential broadcasting career, which began in 1932 and ended with his death in 1974. As well as discussing his film and television work, she presents an extremely detailed analysis of Benny’s long-running, but largely overlooked, multifaceted radio program (1932–1955) which she calls his ‘greatest achievement’." * Historical Journal of Film Radio and Television *Table of ContentsList of Illustrations Acknowledgments Introduction 1 • Becoming Benny: Th e Development of Jack Benny’s Character-Focused Comedy for Radio 2 • “What Are You Laughing at, Mary?” Mary Livingstone’s Comic Voice 3 • Masculine Gender Identity in Jack Benny’s Humor 4 • Eddie Anderson, Rochester, and Race in 1930s Radio and Film 5 • Rochester and the Revenge of Uncle Tom in the 1940s and 1950s 6 • Th e Commercial Imperative: Jack Benny, Advertising, and Radio Sponsors 7 • Jack Benny’s Intermedia Juggling of Radio and Film 8 • Benny at War with the Radio Critics 9 • Jack Benny’s Turn Towards Television Conclusion Notes Bibliography Index

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Book SynopsisAn exploration of radical political theatre in Britain from 1968 to present day.Trade Review'This is an indispensable archive of resistant performance practice, combining memoir, dramatic and critical writing. Wiltshire, Cowan, and their collaborators confront Project Austerity's culture of contempt and despair by recovering and asserting British theatre's history of critical refusal' -- Victor Merriman, author of ' 'Because We are Poor': Irish Theatre in the 1990s''Believe that 1960s theatre making is dead duck pass? Reader, best start re-thinking. Editor/authors Kim Wiltshire and Billy Cowan forge an original and powerfully mind-bending take across 50 years of radicalised performing. Essential territory for driving future performance toward politicised hope' -- Baz Kershaw, Emeritus Professor of Theatre and Performance, University of Warwick'Recommended' -- CHOICETable of ContentsIntroduction: A Very Brief History of Political Theatre in the Twentieth Century up to 1968 - Kim Wiltshire and Billy Cowan Prologue by Lyn Gardner Scene 1: Agitprop and Political Theatre Introduction - Kim Wiltshire Interview with Rod Dixon (Red Ladder) and Kathleen McCreery (Red Ladder and Broadside Mobile Workers' Theatre) - Kim Wiltshire Apartheid: The British Connection (Extract), Broadside Mobile Workers' Theatre - Kathleen McCreery Contemporary Protest Theatre in South Africa - David Peimer The Lost Art of Agitprop and the Return of Socialist Praxis - Rebecca Hillman Scene 2: Working-Class Theatre Introduction - Kim Wiltshire Blood Red Roses at the Liverpool Everyman - Bob Eaton Ways of Seeing: Class, Gender and the Universal, from Blood Red Roses to The Sum - Lizzie Nunnery Plugging into History: Time Travel with John McGrath and 7: 84 - Lindsay Rodden Scene 3: Theatre in Education Introduction - Anthony Jackson Farewell to Erin (Extract), Belgrade TIE Company Interview with Tony Hughes (M6 Theatre Company) and Justine Themen (Belgrade TIE Company) - Billy Cowan Everyone's Got a Story to Tell ... and Their Own Way of Telling It - Julia Samuels (20 Stories High) Scene 4: Women's Theatre Introduction - Kim Wiltshire Interview with Sue Parrish (Sphinx) and Mica Nava (Women's Theatre Group) - Kim Wiltshire Work To Role (Extract), Women's Theatre Group The Work of Open Clasp and Why Women-centred Theatre is Still Relevant Today - Catrina McHugh (MBE) and Jill Heslop Forty Years of Women-centred Theatre-Making - Anna Hermann with Kim Wiltshire A Conversation on Sexual Assault in Theatre - Mighty Heart and Kim Wiltshire Scene 5: Queer Theatre Introduction - Billy Cowan Men (Extract), Don Milligan and Nol Greig Interview with Julie Parker (Drill Hall, 1981-2011) - Billy Cowan Interview with Ruth McCarthy (Outburst Queer Arts Festival, Belfast) - Billy Cowan We Who are Here Together: (Re-)making Queer Theatre - Chris Goode Scene 6: Theatre and Race Introduction - May Sumbwanyambe A Tainted Dawn (Extract) - Sudha Bhuchar and Kristine Landon-Smith The Personal is Always Political - Sudha Bhuchar Pokfulam Road Productions: A Political Theatre Company? - Jingan Young Epilogue: Where Next for Political Theatre? - Billy Cowan and Kim Wiltshire Further Reading Notes on Contributors Index

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Book SynopsisMeet Leela: nineteen, charismatic and fearlessly outspoken. With her sharp wit and stubborn optimism, she is the best paid bar dancer on Bombay''s notorious Mira Road. Leela has a ''husband'' (who is already married), a few lovers whose names she can''t remember, an insufferable mother camping out in her flat and an adored best friend, Priya - the most beautiful woman she has ever seen. But when the dance bars are banned, Leela''s proud independence faces its greatest test. In a city where everyone is certain that someone, somewhere, is worse off than them, Leela fights to survive - and win.Trade ReviewA harrowing and heart-breaking account . . . a tour de force of reportage, whose depth, insight and resonance make it the equal of the best fiction. [Faleiro] has portrayed the tragedy of this world without a shred of sentimentality. In this she has done justice to her characters for whom sentimentality - like romance, love and honesty - are luxuries they can rarely afford. * * Sunday Times * *A riveting exposé ... For a book that's so short, Faleiro manages to pack a lot in: pimps, gangsters, transvestites, cops and madams. But its most outstanding quality to my eye is the window it offers on the widespread sexual repression that exists in India today, and the murky middle-class morality that rules it ... The real triumph of Beautiful Thing is how Faleiro dismantles the grand tradition of marriage in India, exposing it for what it is - a form of slavery for a large percentage of women who are bound to their husbands for food and the roofs over their heads, but rarely ever for love. * * Observer * *A gripping and intimate portrayal of the lives of the women who work in that industry. She manages to evoke shock, rage and laughter...this book is a moving testament to the girls like [Leela]. * * Literary Review * *Useless to describe the pathos and singular power of this book. Beautiful Thing is, quite simply, one of the finest books on Bombay ever written. * * Spectator * *In this tour de force of heartrending reportage, Sonia Faleiro shows the ugly brutality which has torn away the foundations of so many lives * * Independent * *The rich, gaudy tapestry that Faleiro weaves is a reminder that some of the best recent books about India . . . give us the big picture by focusing on the microcosm. * * Financial Times * *Beautiful Thing is a brilliant debut that catapults Sonia Faleiro straight to the top of the premier division of Indian writers of non-fiction . . . Beautiful Thing opens up a hidden world with startling insight and intimacy, and strangely is both a tragic monument to the abused bar girls of Bombay and a celebration of their amazing resilience and spirit. -- William Dalrymple, author of Nine LivesFaleiro writes her way into the bloodstream with this mesmeric book, fashioned with heart and enviable acuity. A shocking, funny and memorable ride. -- Nikita Lalwani, author of GiftedA rare glimpse into dismissed lives. Sonia Faleiro brings a novelist's eye for detail and a depth of empathy to her work. This is a magnificent book of reportage that is also endowed with all the terror and beauty of art. -- Kiran Desai, Booker prize-winning author of The Inheritance of Loss. . . With her we hear, we see, we feel and finally know the world behind that door: a world that was unimaginable before Faleiro drew us there, but is unforgettable when the last page is turned, the last beaded curtain drawn to a close. -- Gregory David Roberts, author of ShantaramThrows the doors open on Mumbai's sex trade. * * Independent * *[Leela's] rich character is sparked to vivid life in a highly coloured work of brilliant literary reportage. * * Times * *Saved from doominess by [Faleiro's] striking empathy, sensitivity, and sharp ear. * * Independent on Sunday * *Beautiful Thing is a meticulous, moving account of the battle for social mobility and personal freedom in Bombay. * * Daily Telegraph * *Beautiful Thing is not for the faint-hearted. The stories of the girls Faleiro meets are as brutal as anything fiction could conjure. * * The Scotsman * *Remarkable ... the only hard thing about Beautiful Thing will be putting it down once you've started. ... Truly one of a kind * * Curious Book Fans * *

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Book SynopsisCan a subject be sovereign in a hegemony? Can creativity be reined in by forces of empire? Studying closely the oral narrations and writings of four Indian authors in colonial India, The Audacious Raconteur argues that even the most hegemonic circumstances cannot suppress audacious raconteurs: skilled storytellers who fashion narrative spaces that allow themselves to remain sovereign and beyond subjugation. By drawing attention to the vigorous orality, maverick use of photography, literary ventriloquism, and bilingualism in the narratives of these raconteurs, Leela Prasad shows how the ideological bulwark of colonialismformed by concepts of colonial modernity, history, science, and native knowledgeis dismantled. Audacious raconteurs wrest back meanings of religion, culture, and history that are closer to their lived understandings. The figure of the audacious raconteur does not only hover in an archive but suffuses everyday life. Underlying these ideas, Prasad''Trade Review[A] charming retelling of Hanuman's visit to Lanka[...] her insightful studies of her four subjects at times suggest to me a more complex and equivocal relationship with colonial ideology and its hegemonic language. * Journal of the American Oriental Society *Table of ContentsIntroduction: "That Acre of Ground" 1. The Ruse of Colonial Modernity: Anna Liberata de Souza 2. The History of the English Empire as a Fall: P. V. Ramaswami Raju 3. The Subjective Scientific Method: M. N. Venkataswami 4. The Irony of the "Native Scholar": S. M. Natesa Sastri Conclusion: The Sovereign Self

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Book SynopsisHelen Lewis' acclaimed memoir, A Time to Speak (Blackstaff Press, Belfast, 1997), tells the story of the first thirty years of her life in Czechoslovakia, from childhood to her professional training as a choreographer and dancer. It also contains her devastating account of Nazi persecution, of loss and suffering in the Holocaust: Helen came very close to death. Maddy Tongue now completes the story of this extraordinary woman who overcame unimaginable suffering to become a creative force in Ireland. The author's friendship with Helen lasted for more than fifty years. As a dancer she performed in many of Helen's significant works. Shadows Behind the Dance describes Helen's creative approach, her struggle to overcome an Irish indifference to modern dance, her pursuit of perfection and her unshakeable belief in humanity. In Ireland today the presence of modern dance owes much to her innovative teaching and practice. Shadows Behind the Dance is supplemented with Chris Agee's 2002 interview with Helen, "An Irish Epilogue", and a folio of Holocaust poems and drawings by Michael Longley and Sarah Longley (who was a pupil of Helen's). Helen's sons, Robin and Michael, have also written a Foreword. The book has been generously funded through subscription by family, friends, colleagues and admirers of the unforgettable Helen Lewis.

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Book SynopsisTandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness suggesting motion that is achieved by two bodies working together and acting in conjunction with one another is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focTrade ReviewRitter opens up new territory for performance studies in her fascinating discussion of 'extended audiencing', which drives SNM into a spectator-controlled digital sphere of blog posts, discussion boards, fan art and the like. * Alison D'Amato, Performance Research *Tandem Dances is an essential book for those invested in immersive performance or, broader yet, any body-based performance that incorporates the audience's participation and physicality as core elements to the production itself. * Mara Mandradjieff, Dance Research Journal *Recommended. Upper-division undergraduates through faculty; professionals. * S. E. Friedler, CHOICE *Tandem Dances makes a welcome intervention in a field that has marginalised the perspectives and insights of dance scholars, dancers, choreographers, and choreographed audiences. It prompts reconsideration of how audiences are immersed in contemporary performance by centring on choreography, kinesthesia, and improvisatory engagement as key elements underpinning the design and experience of immersive environments, and offers a helpful means of conceptualising and analysing audience immersion in ways that I'm sure will inspire fresh consideration of the political in immersive performance. * Adam Alston, Goldsmiths, University of London *While dance is integral to so much immersive theatre, its contribution remains relatively covert. Ritter has written a much-needed book to work through the production and reception of choreography within this contemporary performance form. * Kate Elswit, author of Theatre & Dance and Watching Weimar Dance *Table of ContentsAcknowledgements Introduction 1. Tracing Choreography 2. Designing Differently With Dance 3. Elicitive Dramaturgy: Third Rail Projects' Then She Fell 4. Insider Dynamics & Extended Audiencing: Punchdrunk's Sleep No More 5. Coauthorality: bluemouth inc.'s Dance Marathon 6. Speculative Futures References Index

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Book SynopsisImprovisation and Inventio in the Performance of Medieval Music is an innovative and groundbreaking approach to medieval music as living repertoire. The book provides philosophical frameworks, primary-source analysis, and clear, actionable exercises aimed at recovering the improvisatory and inventive aspects of medieval music for contemporary musicians.Trade ReviewI would recommend this book as an addition to the library of any teacher or student of medieval music, medieval-curious musician, or experienced medieval professional who would like to reflect on their mediebal music practice. * Leah Stuttard, Music and Letters *This book is a gift, born of the experience, artistry, and memory of a leading practitioner and teacher of medieval music. It is full of learning lightly worn, and invaluable advice born of long experience. Scholars will appreciate its practical approach, and performers will respect and admire its deep learning. * Thomas Forrest Kelly, Morton B. Knafel Professor of Music, Harvard University *Finally, instructions for recreating the most basic technique in the performance of Medieval music - improvisation. Improvisation and Inventio in the Performance of Medieval Music is a welcome and long-awaited addition to early music performance practice. Angela Mariani sets a new standard for early music performance! * Timothy McGee, University of Toronto *Table of ContentsCONTENTS List of Figures List of Tables List of Examples List of Practices 1. The Process of Inventio 2. Models: Living and "Imagined" 3. Notation and Memoria: What's Not on the Page 4. Mode: The Vocabulary of Melody 5. Inventing Melody: Old Instruments, New Voices 6. Inventing Organum: Memoria and Formula 7. Playing Poetry: The Rhetoric of Invention 8. The Long Memory: Reflections on Teaching Medieval Music APPENDIX 1: Mode Models BIBLIOGRAPHY

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Book SynopsisDrawing from a rich trove of archival sources, Eubie Blake: Rags, Rhythm, and Race tells the extraordinary story of a key 20th-century African American composer and traces the path his career blazed for other black artists.Trade ReviewEubie Blake: Rags, Rhythm and Race, published in 2020, reveals so much more than that about the life of James Hubert "Eubie" Blake...it is much more expansive and detailed, filled with quotes from interviews and material such as Blake's contracts, schedules and pay records. * Bob Jacobson, Syncopated Times *Recommended. Lower-division undergraduates through faculty; general readers. * K. R. Dietrich, CHOICE *Carlin and Bloom have created an all embracing and unique musical chronicle of Eubie Blake that is compelling, heartbreaking and ultimately joyous thanks to his late life rediscovery. With the use of voluminous first hand research artifacts, they have created a multi faceted account of Blake's life and in the process, have given us one of the truest depictions of the endemic racism and cut throat culture of 20th Century show business. * Michael Feinstein *well-written ... a significant achievement. * Steve Ramm, The Antique Phonograph *Authors and music specialists Richard Carlin and Ken Bloom present a densely packed, meticulously researched, and painstakingly incisive portrait of a jazz icon and his times. * Deb Miller, DC Metro Theater Arts *I've been 'just wild' about Eubie Blake since I was a kid, and after reading Carlin and Bloom's multi-layered and historically deep book my appreciation has still managed to grow by leaps and bounds. Placing Blake in both the social and musical contexts of a fast-changing century has greatly added to my enjoyment and full-throated respect for his amazing life, music, and music career. * Benjamin Bierman, Associate Professor of Music at John Jay College, City University of New York *Blake, in his ten decades of life, persevered through some highs and many lows, only to be truly celebrated for his remarkable talents when he reached his nineties.That we never, ever really know a person is a much-said truism. And yet, Carlin and Bloom, through their extensive and exhaustive research, will make a reader feel and believe that he indeed does know Eubie Blake. * Peter Filichia, critic emeritus of The Newark Star-Ledger *Along with many others, I have been waiting for a new, scholarly, thorough, and insightful biography of this one-of-a-kind American figure. Finally, we have one, nicely-illustrated and carefully documented. * John Edward Hasse, author of Beyond Category: The Life and Genius of Duke Ellington *Table of ContentsPrelude: "It's Getting Dark On Old Broadway" Acknowledgments 1. Family and Early Life: 1887-1903 2. Becoming an Established Musician: 1904-1915 3. Blake Meets Sissle: 1915-1919 4. Vaudeville: 1919-1921 5. Shuffle Along: 1921 6. Shuffling On: 1922-1923 7. Chocolate Dandies and the End of Sissle and Blake: 1924-1930 8. Hard Times: 1930-1936 9. Government Worker: 1937-1946 10. After the War: 1946-1952 11. Lean Times to Revival: 1953-1970 12. Final Years: Concert Stage and a Return to Broadway, 1971-1983 A Partial List of Eubie Blake's Compositions Abbreviations for Source Notes Bibliography

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Book SynopsisNotes for Violists offers key historical and analytical information about thirty-five of the best-known pieces written for viola. Its engaging prose, detailed analytical charts, and rich contextual and theoretical insights make it an indispensable guide for professional, amateur, and student violists.Trade ReviewA wonderful new resource, this book is available in a variety of formats, contains interesting historical and analytical information on 35 major viola repertoire works, from Telemann to Penderecki. Composer biographies, analysis of works and setting the works in their historical and social context make this a fascinating read ... This book is highly praised by my esteemed USA viola colleagues, and I recommended this book unreservedly. * Helen Tuckey, AUSTA National Journal Reviews *David Bynog's new book is irresistible...All violists owe a debt of gratitude to David Bynog for this masterful book, which will serve as an inexhaustible resource for decades to come. * Andrew H. Weaver, The Catholic University of America, Journal of the American Viola Society *The persuasive capsules will be invaluable to program-note writers and casual music lovers, while the scope of the music provides an insight into the world of the viola. * Laurence Vittes, Strings *David Bynog's deep love and equally deep knowledge of the viola and its repertory's 'greatest hits' shine through in every chapter of this book. It is a must-have for every viola student and teacher, providing an invaluable 'jumping off point' for the preparation of an informed performance of each of these masterpieces. What a gift it is to the viola community to have this wonderful research and analysis all in one place! * Carol Rodland, Violist, Professor of Viola and Chamber Music, The Juilliard School *A fascinating book highlighting important select works for viola. I found it a captivating treasure-trove of unexpected insights into every composer's life, each composition, and its place now in history. A must for all who love the viola! * James F. Dunham, Professor of Viola and Chamber Music, Rice University, Shepherd School of Music *Table of ContentsPreface Acknowledgments Chapter 1. Johann Sebastian Bach: Brandenburg Concerto No. 6, BWV 1051 Chapter 2. Béla Bartók: Concerto for Viola and Orchestra, Sz. 120 (BB 128) Chapter 3. Hector Berlioz: Harold in Italy, op. 16 Chapter 4. Ernest Bloch: Suite hébraïque Chapter 5. York Bowen: Sonata No. 1 in C Minor for Viola and Piano, op. 18 Chapter 6. Johannes Brahms: Sonata for Clarinet (or Viola) and Piano in E flat Major, op. 120, no. 2 Chapter 7. Benjamin Britten: Lachrymae, op. 48 Chapter 8. Max Bruch: Romanze for Viola and Orchestra, op. 85 Chapter 9. Henri Casadesus: Concerto in B Minor for Viola and Orchestra (attributed to G. F. Handel) Chapter 10. Rebecca Clarke: Sonata for Viola and Piano Chapter 11. George Enescu: Concertstück for Viola and Piano Chapter 12. Cecil Forsyth: Concerto in G Minor for Viola and Orchestra Chapter 13. Lilian Fuchs: Sonata Pastorale for Unaccompanied Viola Chapter 14. Aleksandr Glazunov: Élegié for Viola and Piano, op. 44 Chapter 15. Paul Hindemith: Sonata for Viola and Piano, op. 11, no. 4 Chapter 16. Paul Hindemith: Der Schwanendreher: Concerto after Old Folksongs for Viola and Small Orchestra Chapter 17. Franz Anton Hoffmeister: Concerto for Viola and Orchestra in D Major Chapter 18. Johann Nepomuk Hummel: Sonata for Piano and Viola, op. 5, no. 3 Chapter 19. Bohuslav Martinü: Rhapsody-Concerto for Viola and Orchestra, H. 337 Chapter 20. Felix Mendelssohn: Sonata in C Minor for Viola and Piano Chapter 21. Darius Milhaud: Quatre Visages for Viola and Piano, op. 238 Chapter 22. Wolfgang Amadeus Mozart: Sinfonia concertante for Violin, Viola, and Orchestra, K. 364 (320d) Chapter 23. Krzysztof Penderecki: Cadenza for Viola Solo Chapter 24. Quincy Porter: Suite for Viola Alone Chapter 25. Max Reger: Three Suites for Solo Viola, op. 131d: No. 1 in G Minor Chapter 26. Robert Schumann: Märchenbilder for Viola and Piano, op. 113 Chapter 27. Dmitry Shostakovich: Sonata for Viola and Piano, op. 147 Chapter 28. Carl Stamitz: Concerto for Viola and Orchestra in D Major Chapter 29. Igor Stravinsky: Élégie for Viola or Violin Unaccompanied Chapter 30. Toru Takemitsu: A Bird came down the Walk, for viola and piano Chapter 31. Georg Philipp Telemann: Concerto in G Major for Viola, Strings, and Basso continuo, TWV 51:G9 Chapter 32. Ralph Vaughan Williams: Suite for Viola and Small Orchestra Chapter 33. Henry Vieuxtemps: Élegié for Viola and Piano, op. 30 Chapter 34. William Walton: Concerto for Viola and Orchestra Chapter 35. Carl Maria von Weber: Andante e Rondo ungarese for Viola and Orchestra, J. 79 Bibliography Index

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Book SynopsisThis book investigates the expanding parameters for site-specific performance to account for the form's increasing popularity in the twenty-first century. Leading practitioners and theorists interrogate issues of performance and site to broaden our understanding of the role that place plays in performance and the ways that performance influences itTrade Review'This excellent anthology provides a wide-ranging collection of essays on critical issues of place-based theatre. It includes articles that treat historical and contemporary themes from the perspectives of both theorists and practitioners in a variety of institutional contexts. As the best anthologies do, it both bolsters and challenges the discipline.' - Professor Laurie Beth Clark, University of Wisconsin Madison, USA 'This is a welcome addition to the developing literature on site-specific theatre and performance, whose chief virtue lies in providing a range of original essays testifying to the diversity and disparateness of contemporary site-based work.' - Steve Bottoms, New Theatre Quarterly 'Performing Site-Specific Theatre is an insightful collection of essays that presents an interesting examination of site-specific theory and practice. It is a welcome addition to a field still largely located in performance studies and art, here exploring its intersection with theatre... [The book] will be a useful book for researchers and teachers of site-specific performance, including its theories and practices.' - Kris Darby, Contemporary Theatre ReviewTable of ContentsList of Illustrations Acknowledgements Notes on Contributors The 'Place' and Practice of Site-Specific Theatre and Performance; J.Tompkins PART I: SITE-SPECIFICITY AND ECONOMICS Rethinking Site-Specificity: Monopoly, Urban Space, and the Cultural Economics of Site-specific Performance; M.McKinnie PART II: SITE-SPECIFICITY AND THE NARRATIVES OF HISTORY Rehearsing Across Space and Place: Rethinking A Masque Presented at Ludlow Castle; S.Bennett & J.Sanders Embodied Presence and Dislocated Spaces: Playing the Audience in Ten Thousand Several Doors in a Promenade, Site-specific Performance of John Webster's The Duchess of Malfi ; J.Collins Haunted House: Staging The Persians with the British Army; M.Pearson Toiling, Tolling and Telling: Performing Dissensus; K.Irwin PART III: SITE SPECIFITIY AND THE SLIPPAGE OF PLACE Beyond Site-specificity: Environmental Heterocosms on the Street; S.Haedicke Repetition and Performativity: Site-specific Performance and Film as Living Monument; A.Birch Contemporary Ekkeklemas in Site-specific Performance; L.Ferris 'Places, like property prices, go up and down': Site-specificity, Regeneration and The Margate Exodus; L.Owen PART IV: SITE-SPECIFICITY AND THEATRICAL INTIMACY Ambulatory Audiences and Animate Sites: Staging the Spectator in Site-specific Performance; K.Zaiontz Immersive Negotiations: Binaural Perspectives on Site-specific Sound; B.Barton & R.Windeyer My Sites Set on You: Site-specificity and Subjectivity in 'Intimate Theatre'; H.Iball PART V: SITE SPECIFICITY AND POLITICS Siting the People: Power, Protest and Public Space; S.Nield Bibliography Index

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisDrawing equally from Viennese operetta, Parisian cabaret, vaudeville, and Tin Pan Alley, the American musical theatre has thrived in an unprecedented variety of forms and styles as our truest hybrid art. From Show Boat and Oklahoma! to West Side Story, Fiddler on the Roof, and A Chorus Line, the musical has attracted our finest actors, composers, writers, directors, and choreographers. The greats and near-greats are finally brought together in this essential reference guide to over 2,000 personalities, productions, and songs of the musical theatre in both New York and London from the late nineteenth century right up to Sweeney Todd and Evita. Scholars, professionals, critics, and devoted fans alike will find a wealth of fascinating information on the backgrounds, plots, casts, scores, and credits of the leading musicals biographies of their artists and complete lists of Broadway, off-Broadway, and London productions, long runs, and awards. With a complete bibliography and d

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Book SynopsisHere at last is an introduction to film theory and its history without the jargon. Noted film scholar V. F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs common sense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director. Readers will learn why a scene from the humbler movie Carmen Jones is a deeper realization of filmmaking than the bravura lion sequence in the classic Battleship Potemkin. Along the way Perkins invites readers to re-experience with clarity, directness, and simplicity other famous scenes by directors like Hitchcock, Eisenstein, and Chaplin. Perkins examines the origins of movies and embraces their use of both realism and magic, their ability to record as well as to create. In the process he seeks to discover the synthesis between these opposing elements. With the delight of the fan and the perception of the critic, Perkins

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Book SynopsisBy 1982 Francis Ford Coppola had won five Academy Awards at the same time he was over 20 million in debt following the disastrous failure of One from the Heart. This astute biography critically examines Coppola''s singular vision and why it makes such paradoxes not only possible but prevalent in his long turbulent career. At the age of 32 Coppola became a superstar in Hollywood with The Godfather, which rapidly climbed to the top of the all-time box-office hits. Two years later he won the coveted Palme d''Or at the Cannes festival for The Conversation. His savage epic of the Vietnam War, Apocalypse Now, established him as the most daring, brilliant filmmaker of his generation. This book not only goes behind the cameras to track the creative and financial turmoil involved in his productions, but offers perceptive analyses of his films, including all three parts of The Godfather and the visually stunning remake of Dracula. Based on three years of research and exclusive intervTable of Contents* Introduction * The Italian Connection * The Studio Grind * Independence and the Dream of Zoetrope * The Godfather * Picking Up The Conversation * Back to Corleone * Lost in the Jungle * Blows to the Heart * Back to Back in Tulsa * Playing The Cotton Club * From Rip van Winkle to Peggy Sue * Tragedy and Revival * TuckerThe Dream Triumphant * Back to the Future * Filmography

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Book SynopsisParker Tyler (1904-1974), one of the few great American film critics, was intimate with and enormously respected by many of the underground and experimental filmmakers of his time. In this book, Tyler evaluated the Underground in general and the seminal films in particular, covering the history and scope of the genre with insight and verve. Like Tyler''s Screening of the Sexes: Homosexuality in the Movies is one of the masterpieces of cinema literature.Table of Contents* The Underground Taboo Versus the Taboo on Reality * The Exploding Peephole of the Underground * Toward Exhibition and Exhibitionism * Popularizing Peepshows: the Infantile Gimmick * No Establishment at All? * Underground Climb: from Exhibitionism to Art * Underground Infantilism: Surfacing Superstars * Superstar Space: the Playroom * Can the Technician Escape the Pad? * The Pad Can Be Commercialized * Performing Children, Performing Madmen * The ParanoiacCritical Kick * The Pads Predecessor: an Archetype * Underground Film Is Primitive Film * Where the Rub Is * The Abstractness of the Avant-Gardes * The Avant-Garde Laboratory * Dotting the Eyes of Distortion * Psychedelic Anamorphosis and Its Lesson * Dotting the Eye of History * Film Aesthetics: Rampant and Purist * The Plot Thickensbut Seriously * The Plastic Pulse Ticks On * In the Pad: Plastique versus Surplot * Hard-core History * The Esthetics of Film History * The Population Explosion and the Remedy * Basic Film Forms * Hisotyr and Manifesto * The Shape of Things to Come? * Coda

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Book Synopsis"One of the greatest Italian filmmakers, Federico Fellini (1920-1993) created such masterpieces as La Strada, La Dolce Vita, 8 1/2, Juliet of the Spirits, Satyricon, and Amarcord. His prodigious body o"Table of Contents* Rimini, My Home Town * Sweet Beginnings * Miscellany IIm a liar, but an honest one. * Letter to a Marxist Critic * Letter to a Jesuit Priest * Via Veneto: dolce vita * Notes On Censorship * The Bitter Lifeof Money * With 8 in Moscow * Miscellany IILike a puppet-master who falls in love with his puppets * Why Clowns? * Comic-Strip Heroes * Whom Do You Most Admire? * Miscellany IIII See No Dividing Line Between Imagination and Reality * The Birth of a Film

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