Other performing arts Books

Book SynopsisClowns’ slapstick is their primary mode of performance and allows them to provoke audiences to laughter wherever they perform. This innovative book, focussing on contemporary practice in the USA and Europe over the last 50 years, investigates the nature and function of clown performance in modern society. Through analysis of clowning in a range of settings - theatre, the circus, hospitals, refugee camps and churches - Peacock establishes a theoretical framework for the evaluation of physical comedy.Peacock explores clowning that takes place outside of conventional venues, and also the therapeutic potential of clowning in clown doctor organisations, refugee camps and war zones. Serious Play: Modern Clown Performance is the first book of its kind to consider clowning performance venues and performance styles in the light of Play Theory, including comparisons of traditional clown comedy with contemporary circuses such as Circus OZ and Cirque du Soleil, and an in-depth look at famous clowns such as Nola Rae and Slava Polunin.Table of ContentsIntroduction - 'Play: Serious and Frivolous' - Page 9 - Louise Peacock Chapter 1: 'Clowns and Clown Play' - Page 19 - Louise Peacock Chapter 2: 'The Development of the Circus Clown: Frame and Content' - Page 41 - Louise Peacock Chapter 3: 'Clowns on Stage' - Page 65 - Louise Peacock Chapter 4: 'Clowns who Act: Actors who Clown' - Page 87 - Louise Peacock Chapter 5: 'The Truth Tellers: Clowns in Religion and Politics' - Page 107 - Louise Peacock Chapter 6: 'Clown Healers' - Page 127 - Louise Peacock Conclusion: 'The Centrality of Play in Clowning' - Page 153 - Louise Peacock

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Book SynopsisThis volume of essays is the first collection of scholarly studies on the Yiddish theatre to appear in English. Drawing on a variety of academic disciplines, it considers the dramatic and musical repertoire of Yiddish theatre and their historical development, popular and critical reception of productions, and the practice and consequences of state censorship. The time-span covered is broad—from the Middle Ages to the twentieth century—as is the geographical range: Cracow, London, Moscow, New York, St Petersburg, Vienna, and Warsaw. Yiddish Theatre not only presents a comprehensive study of the field but also helps illustrate the significance of the Yiddish theatre as a vital form of expression in the Jewish world. Yiddish drama and theatre has had an enormous capacity to entertain audiences on six continents, while at the same time highlighting social, political, religious, and economic concerns of vital interest to the Jewish people. Yiddish Theatre is a valuable resource for scholars, university students, and general readers interested both in Yiddish theatre specifically and related fields such as Jewish literature and culture, east European history and culture, and European and American theatre. The book contains the most comprehensive bibliography to date of sources relating to the Yiddish theatre.CONTRIBUTORS: Ahuva Belkin, Joel Berkowitz Paola Bertolone, Miroslawa M. Bulat, Brigitte Dalinger, Barbara Henry, John Klier, David Mazower, Leonard Prager, Nahma Sandrow, Nina Warnke, Seth L. Wolitz.Trade Review‘A comprehensive study of the field . . . a wonderful read . . . A valuable resource for any person interested in the history of the Yiddish theatre, or anyone interested in Jewish literature and culture, or anyone interested in the history of theatre in general in eastern Europe and America.’ Sara Marcus, AJL Newsletter'There is nothing comparable in English . . . it is a pioneering volume that necessarily lays a foundation and implies an agenda for Yiddish theatre scholarship in the English-speaking world. Because it is the first and as yet only such publication in English, it will repay careful scrutiny in its parts and as a whole.' Michael C. Steinlauf, All about Jewish Theatre‘One the book’s best attributes is the ability of its contributors to place their subjects within larger European contexts . . . the calibre of the contributions is high, demonstrating the degree to which Yiddish theatre is attracting the attention of serious scholars . . . [the book] succeeds not only in its goal of presenting some of the most important new scholarship on Yiddish theatre, but more importantly in helping to bring the study of this integral component of Jewish culture into wider academic circles and into a more complex scholarly discourse.’ Jeffrey Veidlinger, Shofar‘Aside of the high level of papers there are many extra advantages of the book: selection of interesting plates and tables, many interesting texts (written in transcription for the sake of those not knowing Hebrew . . .), and above all detailed bibliography (34 pages) and thorough index.’ Przemyslaw Piekarski, Scripta Judaica Cracoviensia‘A stimulating and encouraging book that I am happy to recommend to the specialist and the curious reader alike . . . It is not only a politically opportune moment to investigate the history of Yiddish theatre . . . but also a time to create a comprehensive study of Jewish theatre, comparable to what has been done in publications on the history and traditions of Jewish film. It is a pleasure to acknowledge that Yiddish Theatre: New Approaches constitutes a very effective step in this direction.’ Yana Meerzon, Modern Language Review'A pioneering volume that necessarily lays a foundation and implies an agenda, for Yiddish theatre scholarship in the English-speaking world. Because it is the first and as yet the only such publication in English, it will repay careful scrutiny, both in its parts and as a whole.' Michael Steinlauf, Modern Jewish Studies‘The volume contains eleven excellent articles and has been produced by a publisher of repute: the Littman Library . . . All in all, Yiddish Theatre: New Approaches is a landmark in the field of Yiddish cultural history. It is a thought-provoking book, which will hopefully inspire new collective volumes and monographs.’ Gennady Estraikh, East European Jewish Affairs‘Carefully and lovingly edited . . . represents a genuinely heroic effort at elevating a genre . . . The scholarship is impeccable, and the contributors all serious scholars.’ S. Gittleman, ChoiceTable of ContentsNote on Transliteration and OrthographyList of PlatesList of TablesIntroduction: Writing the History of the Yiddish Theatre JOEL BERKOWITZI Purimshpil1. The ‘Low’ Culture of the Purimshpil AHUVA BELKINII Repertoire2. Romanticism and the Yiddish Theatre NAHMA SANDROW3. Jewish Plays on the Russian Stage: Moscow and St Petersburg, 1905–1917 BARBARA HENRY4. The Text of Goldfaden’s Di kishefmakherin and the Operetta Tradition PAOLA BERTOLONE5. Shulamis and Bar kokhba: Renewed Jewish Role Models in Goldfaden and Halkin SETH L. WOLITZIII Regional Centres6. Yiddish Theatre in Vienna, 1880–1938 BRIGITTE DALINGER7. Stories in Song: The Melo-deklamatsyes of Joseph Markovitsh DAVID MAZOWER8. From Goldfaden to Goldfaden in Cracow’s Jewish Theatres MIROSLAWA M. BUWATIV Censorship9. ‘Exit, Pursued by a Bear’: Russian Administrators and the Ban on Yiddish Theatre in Imperial Russia JOHN KLIER10. The Censorship of Sholem Asch’s Got fun nekome, London, 1946 LEONARD PRAGERV. Criticism11. The Child Who Wouldn’t Grow Up: Yiddish Theatre and its Critics NINA WARNKENotes on ContributorsBibliographyIndex

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Book SynopsisUn libro aparentemente inofensivo que te introduce en un tejido, en un universo personal que te atrapa, que mezcla aparentes nimiedades con el sentido del universo, que te asoma a multitud de seres de carne y hueso que han tenido gran influencia en el pensamiento, el arte, la magia y la ciencia del siglo XX… Lo que parece ser el sencillo y frÍo relato de un anciano se convierte enseguida en un tapiz en el que todo encaja y es coherente, y a la vez, en el que cada hebra te invita a tirar de ella y sumergirte en un nombre propio, en un libro, en una imagen... La lectura de Puro Abracadabra. AutobiografÍa de Martin Gardner es solo el fascinante primer paso imprescindible para saborear lo que PÁginas tiene preparado para el aÑo 2018. EdiciÓn facsÍmil de ¡Corta la baraja! Se trata de un librillo antiguo de cartomagia de Martin Gardner, que la ediciÓn original en inglÉs de Martin Gardner Presents reproduce en facsÍmil. Contiene juegos de calidad. Todo un aperitivo que prepararÁ a los lectores para la trilogÍa mÁgica siguiente y una invitaciÓn para atraer hacia la magia a los miles de seguidores de Gardner. TrilogÍa de Gardner: Martin Gardner Presents La Magia de Martin Gardner 1: Matemagia La Magia de Martin Gardner 2: Cartomagia La Magia de Martin Gardner 3: Magia de cerca Con prÓlogos de Max Maven, Stephen Minch y del propio GardnerThis unassuming book may look like the simple story of an old man. However, it soon becomes an immersive experience in a captivating universe populated with figures who defined the thought, art, magic, and science of the twentieth century.

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Book SynopsisWhat started out as a correspondence course in magic ended up becoming a masterpiece of magic literature. Remarkably detailed and clearly explained, this course includes theory, technique, and psychology, along with impactful routines. Eight volumes in all each containing 600 pages complete this set of five books. The most respected course in magic that serves the needs of both beginners and professionals. A must have for every magic library!

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Book SynopsisCartomagia I is an essential guide if you want to learn about the style and secrets of the golden age of card magic. Clear descriptions of all classic card magic techniques as well as detailed explanations of 150 tricks that can be done with a deck of cards are included. In its almost 600 pages you will learn shuffles, cuts, counts, transpositions, vanishes, color changes... and a wide repertoire of secret techniques and tricks that will dazzle your family and friends.

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Book SynopsisThe 2,408 islands of Indonesia's Kepri (Kepulauan Riau or Riau Islands) province are said to be `sprinkled like a shake of pepper' across the Straits of Melaka and South China Sea. For two millennia until colonial times, they were part of the `maritime silk road' between China and Southeast, South and West Asia. Kepri's two million inhabitants thus share a seafaring worldview that is reflected in their traditions and daily life, and is expressed most commonly in the performing arts of its largest and smallest population groups, the Kepri Malays and the formerly nomadic Orang Suku Laut (People of the Sea) respectively. In recent decades, Kepri also has become home to large numbers of immigrants from other parts of Indonesia, some of whom practise the Malay as well as their own ethnic arts. Despite its close proximity to Singapore, this is a little-known world, one brought to life in a fascinating and innovative study. Grounded in extensive fieldwork, the volume explores not only the islands' iconic Malay (Melayu) performing arts - music, poetry, dance, martial arts, bardic arts, theatre and ritual - but also issues of space and place, local identity and popular memory. Generously illustrated and with a companion website presenting related audio-visual material, Performing the Arts of Indonesia will be an essential resource for anyone interested in this fascinating region.

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Book SynopsisThe 2,408 islands of Indonesia's Kepri (Kepulauan Riau or Riau Islands) province are said to be `sprinkled like a shake of pepper' across the Straits of Melaka and South China Sea. For two millennia until colonial times, they were part of the `maritime silk road' between China and Southeast, South and West Asia. Kepri's two million inhabitants thus share a seafaring worldview that is reflected in their traditions and daily life, and is expressed most commonly in the performing arts of its largest and smallest population groups, the Kepri Malays and the formerly nomadic Orang Suku Laut (People of the Sea) respectively. In recent decades, Kepri also has become home to large numbers of immigrants from other parts of Indonesia, some of whom practise the Malay as well as their own ethnic arts. Despite its close proximity to Singapore, this is a little-known world, one brought to life in a fascinating and innovative study. Grounded in extensive fieldwork, the volume explores not only the islands' iconic Malay (Melayu) performing arts - music, poetry, dance, martial arts, bardic arts, theatre and ritual - but also issues of space and place, local identity and popular memory. Generously illustrated and with a companion website presenting related audio-visual material, Performing the Arts of Indonesia will be an essential resource for anyone interested in this fascinating region.Trade ReviewInternationally recognised for her pioneering research into the arts and music of Indonesia, Margaret Kartomi brings together leading scholars of the Malayo-Indonesian world to analyse the relationship between the arts and Malay concepts of identity, place and space. The strategic importance of the islands in the Melaka Straits and the South China Sea is undeniable but this volume is the first in-depth study of how the local peoples express their interpretation of their past and present. The collection is a model of inter-disciplinary research and will be an essential resource for studies of island Southeast Asia. (Virginia Matheson Hooker, Emeritus Professor, Australian National University)

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Book SynopsisA richly illustrated study of wayang, the traditional puppet theater form of Java, based on unprecedented decades-long participatory research. Wayang, the traditional puppet theater form of Java, fascinates and endures thanks to the many ways it works as a medium—bearing the weight of Javanese culture and tradition as a key component of rites of passage, as a medium of ritual and spiritual practice, as public spectacle, and as entertainment of the broadest sort, performed live, broadcast, or streamed. Over the past forty years, the form has been subject to a great deal of experimentation and innovation, pulled in many directions within an ever-changing media landscape. In this book, Kathryn Anne Emerson outlines both significant contributions by a number of key figures and the social and political influences propelling such innovations. She also describes deeper and more lasting changes in wayang, based on what the art form's most accomplished practitioners have to say about it. At the core of the book is one pivotal figure, Purbo Asmoro of the Indonesian Institute of the Arts in Surakarta, who, Emerson argues, has taken the individual and singular innovations of the era and integrated them into a new system of performance practice, one that has shaped the key Surakarta school of performance. Grounded in an unprecedented, decades-long participatory research project involving hundreds of interlocutors, the book is beautifully illustrated and will be of considerable interest in Indonesian studies.Table of Contents List of Illustrations, Tables, and Charts Acknowledgements Basic Terminology Guide to Illustrative Audio-Video Clips Variant Spellings Map of Java Introduction Part One: Historical Perspective Classical Style Condensed Style Birth of an Idea: All-Night Interpretive Style or Garapan Rise to Fame in the Age of the Entertainment Interlude Part Two: All-Night Interpretive (Garapan) Style A New Vocabulary for Wayang Accompaniment The Prologue Creating Dramatic Hierarchy: a New Level of Intensity Multi-Episode Constructions In the Hands of Other Practitioners Passing on the Art Going Virtual Amid a Pandemic: An Unexpected Third Rail Conclusion Bibliography Index

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Book SynopsisEdiciÓn limitada de 1940 «ConfÍa en Dios, jovencito, pero corta siempre la baraja». Antiguo proverbio irlandÉs La cartomagia tiene con Martin Gardner una deuda muy superior de lo que la mayorÍa de los magos son conscientes. En Corta la baraja encontrarÁs diecisiete efectos originales y tremendamente prÁcticos; algunos con una construcciÓn exquisita, y muchos con tÉcnicas e ideas muy valiosas. Juegos que han pasado a formar parte de los repertorios habituales de los cartomagos, aunque otros yacen todavÍa escondidos y merecen ser redescubiertos. Jim SteinmeyerWhile some of the card tricks in this book are repertoire standards, some of them have fallen into obscurity. All seventeen of them are original, highly practical, and exquisitely carried out.

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Book SynopsisWhat started out as a correspondence course in magic ended up becoming a masterpiece of magic literature. Remarkably detailed and clearly explained, this course includes theory, technique, and psychology, along with impactful routines. Eight volumes in all each containing 600 pages complete this set of five books. The most respected course in magic that serves the needs of both beginners and professionals. A must have for every magic library!

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Book SynopsisWhat started out as a correspondence course in magic ended up becoming a masterpiece in magic literature. Remarkably detailed and clearly explained, this course includes theory, technique, and psychology, along with impactful routines. Eight volumes in all, each containing 600 pages complete this set of five books. The most respected course in magic that serves the needs of both beginners and professionals. A must-have for every magic library!

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Book SynopsisThis book is the first serious study of the Victorian music hall from a national perspective. It outlines the history of the halls, their programmes and the particular composition of their audiences, and examines specific conflicts in London and the regions in terms of class and culture. The London scene is shown as being untypical for the nation as a whole.Trade Review"...very solid and meticulously researched achievement...firmly based in the scholarly literature on the halls while definitely extending its boundaries. It is an important historical study of Victorian popular culture...." Michael Pickering, Victorian Studies"...a vital contribution to the field, the result of pioneering research that sets the halls in a truly national perspective for the first time. ...anyone concerned with social/cultural formations in Victorian Britain will need to take full account of the complexity and loical diversity in the development of cultural institutions, and in their relations with the wider society, that Dagmar Kift has demonstrated so effectively in this book. It will be indispensable to all students of the music halls, and of great value to historians of nineteenth century culture and society." Philemon Eva, Journal of Social History"...Kift provides an excellent overview of recent work on the music hall as well as groundbreaking analyses of the provincial halls and their legal troubles. ...an important book that brings fresh evidence and sophisticated interpretation to the complex interelations of popular entertainment, audiences, local government, and pressure groups." Martha Vicinus, American Historical Review"...providing a mine of knowledge and resources for future scholarship." Essays in TheatreTable of ContentsPart I. The English Music Hall: 1. History; 2. The music-hall programme; 3. The audience; Part II. Cultures in Conflict: 4. 1840–1865: rivalry in leisure; 5. 1860–1877: the 'demon drink'; 6. 1875–1888: programmes and purifiers; 7. The special case of London, 1840–1888; 8. Controversies in the 1890s.

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Book SynopsisDr. Gillyanne Kayes is a renowned singing voice specialist and voice researcher. She is internationally recognised as an expert in functioning of singing voice, and as a vocal troubleshooter'. Numerous West End and international artists continue to benefit from her training.Jeremy Fisher is creator of the UK's first downloadable video endoscopy ebooks, and recently created a Voicebox Video for the Science Museum's Dana Centre in London. As a classical musician, Jeremy has worked as repetiteur on eleven productions for Scottish Opera and Opera North, three for the D'Oyly Carte and three for Music Theatre London. He was guest solo artiste for the Yamaha Corporation for five years and Musical Director for the Scarborough Spa Orchestra. Jeremy has also worked extensively in the West End, and as an MD has toured the UK and Europe. Fisher taught singing at the Actors Centre in London for five years and has coached teachers and performers in the use of computer voice anal

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Book SynopsisKrystyn R. Moon explores the contributions of writers, performers, producers, and consumers in order to demonstrate how popular music and performance has played an important role in constructing Chinese and Chinese American stereotypes. The book brings to life the rich musical period of the late nineteenth and early twentieth centuries.Trade Review"Yellowface details the theatrical and musical history of Chinese and Chinese American performance at a time when 'Asian American' identity was unheard of. It should be a welcome addition to Asian American studies and American cultural history, as well as theater and music history." -- Josephine Lee * author of Performing Asian America: Race and Ethnicity on the Contemporary Stage *"Krystyn Moon has produced a finely detailed and nuanced study of China and Chinese Americans on the nineteenth-century American musical stage. Yellowface is an important work for anyone interested in the history of American popular culture and race." -- Robert G. Lee * author of Orientals: Asian Americans in Popular Culture *"Yellowface details the theatrical and musical history of Chinese and Chinese American performance at a time when 'Asian American' identity was unheard of. It should be a welcome addition to Asian American studies and American cultural history, as well as theater and music history." -- Josephine Lee * author of Performing Asian America: Race and Ethnicity on the Contemporary Stage *"Krystyn Moon has produced a finely detailed and nuanced study of China and Chinese Americans on the nineteenth-century American musical stage. Yellowface is an important work for anyone interested in the history of American popular culture and race." -- Robert G. Lee * author of Orientals: Asian Americans in Popular Culture *

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Book SynopsisMen have been dressing as women on stage for hundreds of years, dating back to the thirteenth century when the Church forbade the appearance of female actors but condoned that of men and boys disguised as the opposite sex. Forms of travestism can be traced back to the dawn of theatre and are found in all corners of the world, notably in China and Japan. In recent years, of course, drag has witnessed a dramatic and widespread revival. Newsday recently observed, People are talking about all those fabulous heterosexual film idols who now can't seem to wait to get tarted up in drag and do their screen bits as fishnet queens. Drawing on a cinematic tradition popularized by Tony Curtis and Jack Lemmon in Some Like it Hot, Dustin Hoffman (Tootsie) and Robin Williams (Mrs. Doubtfire) have each delighted mainstream audiences with their portrayals of women. Even former drag queens have experience newfound fame; witness the recent popularity of the late Divine, renowned for her oddly compelli

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