Theatre direction and production Books

Book SynopsisThe Reception of Aeschylus' Plays through Shifting Models and Frontiers addresses the need for an integrated approach to the study and staging of Aeschylus’ plays. It offers an invigorating discussion about the transmission and reception of his plays and explores the interrelated tasks of editing, translating, adapting and remaking them for the page and the stage. The volume seeks to reshape current debates about the place of his tragedies in the curriculum and the repertory in a scholarly manner that is accessible and innovative. Each chapter makes a significant and original contribution to its selected topic, but the collective strength of the volume rests on its simultaneous appeal to readers in theatre studies, classical studies, performance studies, comparative studies, translation studies, adaptation studies, and, naturally, reception studies.Trade Review''This is the first study to address the reception of Aeschylus holistically, and although the plays of the Oresteia trilogy are understandably explored in most detail, it is good to see all the extant plays discussed as well as a number of fragments. (...) Overall, this is an exceptionally coherent and well-conceived collection, edited by an expert hand. The chapters speak both to the central concerns of the volume and to each other, with authors clearly engaged with and cross-referencing each other’s work. This book will be indispensable for anyone interested in the reception history of Aeschylus, and has much of value to say, more generally, about the politics of translation and adaptation in the remaking of Greek tragedy.'' Isabel Torrance, The Classical Review 68.1.

Read more less

Book SynopsisIn Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director. Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.Table of ContentsAcknowledgemnts List of Illustrations  Introduction  1 The Three Artists: Background and Selection  2 Rationale for Selection  3 The Making of Art  4 Modernism and Theatre  5 Romantic-modernist Precursor  6 Late Modernism in Theatre  7 Form, Politics and Theatre Theory  8 Chapter Outlines 1 Richard Foreman  1 Theatre as a Philosophical Endeavour  2 Foreman’s Early Influences  3 Phenomena and Ontology Onstage  4 Molecular Creation: Insistence and Gertrude Stein  5 Language, Metaphor and Action in Mid-career Plays  6 Confusion, Enticement and the Spectator  7 Foreman as Director: The Relationship of Word to Action  8 Foreman in the Rehearsal Room  9 Theatre of a Quantum Age  10 Performers in Foreman’s Theatre: Manic Dancers of the Pattern 2 Jenny Kemp  1 Early Influences  2 The Verbal and the Visual  3 Interweaving Theatrical Modes in The Black Sequin Dress  4 Language Registers in Call of the Wild  5 Organisational Strategies in The Black Sequin Dress  6 The Multi-dimensional Woman in The Black Sequin Dress  7 Kemp as Visualiser: Storyboards and Paul Delvaux  8 Kemp as Director: Working with Duration  9 Complementary Autonomy: Artistic Collaboration  10 Actors: New Forms of Representation 3 Richard Murphet  1 Cultural Influences on Subjectivity  2 Seeking an Epileptic Language: Quick Death  3 Scenic Writing: Slow Love  4 The Language of Disintegration: Dolores in the Department Store  5 Construction of Entanglement: The Inhabited Woman  6 Writing Invasion: The Inhabited Man  Conclusion  1 Updating Subjectivity  2 The Writer/Director  3 Two Focal Depths: The Something and the Nothing  4 Resistance within the Practice  Bibliography  Index

Read more less

Book SynopsisSpace: it's everywhere, all around, a given. It's abstract and yet not abstract at all, because it governs all human relations, shapes the way we understand our place on the planet, and orients us toward others (for better and for worse). How do theatre scholars understand space and place in performance? What tools do they use to theorize the political work space does on and beyond the stage? How can students use these tools to unpack the workings of space and place in the performances they see, the plays they study, and the experiences they have outside their classrooms?Theory for Theatre Studies: Space provides a comprehensive introduction to the spatial turn' in modern theatre and performance theory, exploring topics as diverse as embodied space, environmental performance politics and urban performance studies. The book is written in accessible prose and features in-depth case studies of Platform's audio walk And While London Burns, Katie Mitchell's Fraülein JulieTrade ReviewTheory for Theatre Studies investigates a wide range of methodologies to corroborate longstanding discourse surrounding space, place, and performance. Solga uses this volume to examine how new understandings of theatrical and performance events can evolve from varying approaches to and in theatrical spaces. A self-proclaimed modern feminist, Solga is also author of Theatre and Feminism (2016) and Violence against Women in Early Modern Performance: Invisible Acts (2009). From speculative queries to in-depth case studies, the present title offers insight into historical dramatic theories and unpacks 20th-century theater trends. Summing Up: Recommended. * CHOICE *Lucid and compelling ... [Provides] an engaging and accessible synthesis of spatial theories that will make this book an essential addition to undergraduate curricula ... A valuable and timely contribution to research on performance space. * New Theatre Quarterly *Kim Solga’s Theory for Theatre Studies: Space offers new considerations of foundational twentieth-century cultural materialism and boldly takes on vital new discourses. In so doing, Solga reinserts the stakes and dynamizes the discussion of spatiality in twenty-first-century theatre and performance studies. -- Scott Magelssen, University of Washington School of Drama, USASolga’s engaging synthesis of key spatial theories opens up provocative possibilities for better understanding space in and of the theatre. Vivid examples anchor her well-contextualised ideas on texts, venues, scenic design and politics. -- Professor Joanne Tompkins, The University of Queensland, AustraliaA fluid and rigorous field-guide to an important and stimulating area of study: this book covers a great deal of territory, offers a lively and accessible account of a complex theme, and synthesises theory, theatre and analysis with wit, confidence and clarity. -- Sophie Nield, Royal Holloway, University of LondonTable of ContentsAcknowledgements Series Preface Introduction: Making Room for Space at the Theatre Locate Yourself The Way Ahead Section One: Methodologies and Approaches The Back Story: The Spaces of Classical Dramatic Theory Contemporary Lens #1: Theatre and the Production of Social Space Contemporary Lens #2: Genre and “Topographic” Space Contemporary Lens #3: The Heterotopic Stage Section Two: Extended Case Studies Case Study #1: ‘And While London Burns’ Case Study #2: ‘Fräulein Julie’ Case Study #3: ‘The Shipment’ Section Three: Towards a Decolonized Stage Locating Settler Colonialism Seeing Like a Settler “A Concert and a Conversation”: ‘Kiinalik – These Sharp Tools’ Notes Further reading Bibliography Index

Read more less

Book SynopsisCostume is an active agent for performance-making; it is a material object that embodies ideas shaped through collaborative creative work. A new focus in recent years on research in the area of costume has connected this practice in vital and new ways with theories of the body and embodiment, design practices, artistic and other forms of collaboration. Costume, like fashion and dress, is now viewed as an area of dynamic social significance and not simply as passive reflector of a pre-conceived social state or practice. This book offers new approaches to the study of costume, as well as fresh insights into the better-understood frames of historical, theoretical, practice-based and archival research into costume for performance.This anthology draws on the experience of a global group of established researchers as well as emerging voices. Below is a list of just some of the things it achieves:1. Introduces diverse perspectives, innovative new research methods and approaches for researchinTrade ReviewThe ambition and reach of this collection is superb and timely. For those of us working in the area of design, education and practice, this is the book we have been waiting for. [...] Performance Costume contains diverse, yet complementary, perspectives offering a rich and textured resource and is the most significant contribution to the expanded field of costume studies to date. * Studies in Costume & Performance *Performance Costume does an impressive job at covering many areas in the complex world of costume design ... In spite of its expansive scope, this compilation can serve as a useful overview for aspiring costume designers seeking a deeper appreciation for the craft and any reader interested in academic costume theory and research. * Journal of Dress History *A truly pioneering exploration and discovery of new fields of costume study, Performance Costume is the first of its kind. It broadens costume study from within the theatre to consider the design process and its practices and, significantly, aspects of wearing and social significance, looking at TV, cinema, schools, hospitals and the street, alongside theatre. Terrifically stimulating and important ... * Christopher Baugh, University of Leeds, UK *An invaluable resource that is authoritative, international in scope, timely, and riveting. It is unique in its breadth of material, methodologies, and combination of contributions by academic and theatre practitioners in articles and 'snapshots'. * Patricia Lennox, New York University, USA *Table of ContentsList of Figures Notes on Contributors Foreword - Maija Pekkanen (Costume Designer, Finland) Foreword - Simona Rybáková (Costume Designer, Czech Republic) Acknowledgements Introduction: Activating Costume: A New Approach to Costume for Performance - Sofia Pantouvaki (Aalto University, Finland) and Peter McNeil (University of Technology Sydney, Australia) Section 1: Interpreting and Curating Costume 1.1 Real or Virtual?: Studying Historical Costume Drawings and Sketches - Margaret Mitchell (University of the Incarnate Word in San Antonio, Texas, USA) 1.2 Cooking: Studying Film Costume Design - Drake Stutesman (Barrymore Film Center, Fort Lee, USA) 1.3 Displaying Stage Costumes: Exhibitions at the National Centre for Stage Costume, France - Delphine Pinasa (Centre National de Costume de Scène, France) Snapshots 1.4. Cross Cultural Costume Research: Beijing Opera Costumes - Alexandra B. Bonds (University of Oregon, USA) 1.5. Reading Maltese Carnival Costumes - Vicki Ann Cremona (University of Malta) 1.6. Curating Costume – Reflection - Aoife Monks (Queen Mary, University of London, UK) Section 2: Personalities in Costume 2.1. Costume Centre Stage: Re-Membering Ellen Terry (1847-1928) - Veronica Isaac (university lecturer and freelance consultant, UK) 2.2. ‘On and Off the Stage’: Costume, Dress, and Locating the Actor-Manager’s Identity, 1870-1900 - Helen Margaret Walter (Plymouth University and the University for the Creative Arts, Epsom, UK) 2.3. Extravagance, Expense and Notoriety: Gaby Deslys’ French Costumes in America, 1911-14 - Emily Brayshaw (University of Technology Sydney (UTS), Australia) Snapshots 2.4. A Foreign Affair On and Off Screen - Christina M. Johnson (FIDM Museum at the Fashion Institute of Design & Merchandising, Los Angeles, USA) 2.5. Recording Costume Design in the Theatre and Performance Collections at the V&A: Vivien Leigh and Oliver Messel - Keith Lodwick (Victoria and Albert Museum, UK) Section 3: Costume Voices, Costume Histories 3.1. The First Premiere and Other Stories: Towards a History of the Costume Design Profession in Finland - Joanna Weckman (independent post-doctoral costume researcher, exhibition curator, lecturer and costume designer, Finland) 3.2. Spinning Yarns: Locating, Learning and Listening in the Social World of Popular Hindi Film Costume Production - Clare M. Wilkinson (Washington State University, USA) Snapshots 3.3. Hollywood Costume: A Journey to Curation - Deborah Nadoolman Landis (UCLA David C. Copley Center for Costume Design, USA) 3.4. ‘The Getting of Wisdom’: Learning from Anna Senior - Jennifer Gall (National Film and Sound Archive of Australia) 3.5. Design for TV: Costume and Contemporary Clothing - Chrisi Karvonides-Dushenko (costume designer in theatre, film and television, USA) Section 4: Costume and the Body 4.1. The Body as the Matter of Costume: a Phenomenological Practice - Donatella Barbieri (London College of Fashion, University of the Arts London, UK) 4.2. The Body as Site: Interdisciplinary Approaches to Dress in/as Performance - Jessica Bugg (London College of Fashion, University of the Arts London, UK) 4.3. ‘Aware Wearing’ - a Somatic Costume Design Methodology for Performance - Sally E. Dean (interdisciplinary choreographer, performer, teacher and somatic practitioner, Europe, Asia and USA) Snapshots 4.4. Costuming the Foot: a Designer/Performer’s Personal Artistic Methods - Alexandra Murray-Leslie (artist, researcher, performer and co-founder of the international art collective Chicks on Speed, Australia) 4.5. Costume and the Modernist Body: Fashioning August Strindberg - Viveka Kjellmer (University of Gothenburg, Sweden) Section 5: Costume and its Collaborative Work 5.1. Building Costumes, Building Language in the Costume Workshop - Madeline Taylor (Queensland University of Technology and University of Melbourne, Australia) 5.2. Fitting Threads: Embodied Conversations in the Costume Design Process - Suzanne Osmond (National Institute of Dramatic Art in Sydney, Australia) Snapshots 5.3. Haptic Descriptions – Costume Design by Gillian Gallow and April Viczko - Natalie Rewa (Queen’s University, Canada) 5.4. The Costume Designer´s ‘Golden List’ of Competence - Christina Lindgren (Oslo National Academy of the Arts (KHiO), Norway) Section 6: Costume and Social Impact 6.1. Exploring Rossini’s Berta: Young Audiences and the Agency of Opera Costume - Sofia Pantouvaki (Aalto University, Finland) 6.2. Designing Hospital Clown Costumes: Psychological and Social Benefits for Finnish Children’s Healthcare - Merja Väisänen (Aalto University, Finland) 6.3. Costume of Conflict - Mateja Fajt (independent costume designer and researcher, Slovenia) Snapshots 6.4. From Effect to Affect: the Costumed Body and the Autistic Child - Melissa Trimingham (University of Kent, UK) 6.5. ‘Designing Tsunami’: Costume Evolution from Documentary to Surrealist - Michiko Kitayama Skinner (University of Miami, USA) 6.6. The Collaborative Process of Costume Creation: Travesties in São Paulo - Fausto Viana (São Paulo University (USP), Brazil)

Read more less

Book SynopsisA spellbinding historical novel of obsession, the lure of fame, and the power of illusion, perfect for fans of The Binding, Bone China and The Lost Ones The lure of fameSold by her father to a ''Professor of Ghosts'', Lily Bell dreams of a career on the Victorian stage. But Erasmus Salt is promising his audience not mere theatre, but a glimpse of the spirit world. And Lily is to be his ghost.The power of illusionObsessed with perfection, Erasmus goes to extreme lengths to ensure his illusion is complete. When Lily finds her own obituary in the paper, and then her own headstone in the cemetery, she realises that she is trapped.The danger of obsessionBut Erasmus is haunted by more than one betrayal - and as the curtain falls, Lily''s fate is soon to become even darker...***Readers are entranced by The Unforgetting . . .''This haunting VTrade ReviewThis haunting Victorian novel weaves a spellbinding web of deluded dreams and dark deceptionsEvocative and atmospheric, The Unforgetting is a macabre tale of dark obsessions and deadly ambitions, where nothing is quite what it seemsThis Victorian gothic fantasy offers . . . an atmosphere that drips with menace * Daily Mail *A feast of Victorian gothic is served with relish in this dark tale * The People *A lively, pacy read * The Times *Deliciously haunting Gothic fiction * i newspaper *A sinister, fast-paced gothic taleA chilling, atmospheric page-turner * My Weekly *Lose yourself in this atmospheric tale * Best *This is a book of magic, of women's strength, of the power of love . . . a splendid and brilliantly paced novelA story of obsession and haunting illusions that will leave the reader chilled to the bone . . . this book entraps you [and] bewitches youFrom the very first pages, Black's novel grabs our attention, drawing us into a beautifully evoked, sensory world . . . highly recommended

Read more less

Book SynopsisDeindustrialising communities have called upon street theatre companies to re-animate public space and commemorate industrial heritage. How have these companies converted derelict factories into spaces of theatrical production? How do they connect their work to the industrial work that once occurred there? How do those connections manifest in theatrical events, and how do such events give shape and meaning to ongoing redevelopment projects? This book develops an understanding of the relationship between theatre and redevelopment that goes beyond accusations of gentrification or celebrations of radical resistance. Ultimately, Calder argues that deindustrialisation and redevelopment depend on theatrical events and performative acts to make ongoing change intelligible and navigable.Working memories brings together some of current theatre scholarship’s fundamental concerns while demonstrating the significance of those concerns to an interdisciplinary readership.Trade Review'Calder’s chapters invite us to attend to both the destructive and the creative ways that street theatre restages the industrial past, while reminding us how our work today is haunted, whether we embrace it or not, by the work of yesterday.'Theatre Journal -- .Table of ContentsIntroduction: Working memory1. Theatre in ruins: street and theatre at the end of Fordism2. Reincorporation: putting the countryside back to work3. Excavation: the imaginary archaeology of redevelopment4. Resurfacing: continuous theatre for a creative city5. Recuperation: alternate pasts, sustainable futuresNotesReferencesIndex

Read more less

Book SynopsisThe volume contributes to a new articulation of theatre and performance studies via Foucault’s critical thought. With cutting edge studies by established and emerging writers in areas such as dramaturgy, film, music, cultural history and journalism, the volume aims to be accessible for both experienced researchers and advanced students encountering Foucault’s work for the first time. The introduction sets out a thorough and informative assessment of Foucault’s relevance to theatre and performance studies and to our present cultural moment – it rereads his profound engagement with questions of truth, power and politics, in light of previously unknown writings and lectures set in relation to current political and cultural concerns. Unique to this volume is the discovery of a ‘theatrical’ Foucault - the profound affinity of his thinking with questions of performativity. This discovery makes accessible the ‘performance turn’ to readers of Foucault, while opening up ways of reading Foucault’s oeuvre ‘theatrically’.Trade ReviewThis book comes at a time when Foucault’s concerns with power, truth and knowledge could not be more pressing. So the focus here is on Foucault as a theatrical thinker. Taking the philosopher ‘at his word’, essays deploy the tropes and optics of theatre to examine Foucault’s own methods and the practices of governance and workings of power he made it his life’s work to engage with. Demonstrating different ways of responding to the question that underpinned so much of Foucault’s project: ‘What are the practices that permit the daily work of desubjugation?’ the possibilities voiced here could not be more pertinent; a fortification against the perils of the day.Jane Rendell, Professor of Critical Spatial Practice, The Bartlett School of Architecture, UCL. -- .Table of ContentsIntroduction: theatre, performance, Foucault – Tony Fisher and Kélina Gotman1 Foucault’s philosophical theatres – Mark D. Jordan2 The dramas of knowledge: Foucault’s genealogical theatre of truth – Aline Wiame3 Foucault live! 'A Voice That Still Eludes the Tomb of the Text…' – Magnolia Pauker4 Foucault, Oedipus, Négritude – Kélina Gotman5 Foucault’s critical dramaturgies – Mark Robson6 Heterotopia and the mapping of unreal spaces on stage – Joanne Tompkins7 Foucault and Shakespeare: the theatre of madness – Stuart Elden8 Philosophical phantasms: ‘the Platonic differential’ and ‘Zarathustra’s laughter’ – Mischa Twitchin9 Cage and Foucault: musical timekeeping and the security state – Steve Potter10 Foucault and the Iranian Revolution: reassessed – Tracey Nicholls11 Sightlines: Foucault and Naturalist theatre – Dan Rebellato12 Theatre of poverty: popular illegalism on the nineteenth century stage – Tony Fisher13 The philosophical scene: Foucault interviewed by Moriaki Watanabe – translated by Robert Bononno14 After words, afterwards: teaching Foucault – Ann PellegriniIndex

Read more less

Book SynopsisThe Alexander Technique is a long-established, accessible and highly effective way of learning to change and retrain postural and behavioural habits that cause unnecessary tension, stress and illness.Developed over a century ago by F.M. Alexander (who taught the technique to George Bernard Shaw, Henry Irving, Aldous Huxley and many others), the Alexander Technique is a form of conscious awareness and mindfulness avant la lettre. It has always been used principally by actors – though it has wide applications in other professions and in daily life. Kate Kelly has a lifetime’s experience as an actor and Alexander teacher. In Before the Curtain Opens, she invites performers of all sorts to examine the everyday habits of standing, sitting, breathing, speaking and reacting that spill over, unseen, into their professional lives.?Using her own experience, miniature case studies, humour and unfailingly gentle kindness, she shines a spotlight on our deepest-rooted habits. On every page she offers advice, tips, techniques and guidance to help actors and performers retrain themselves in everything they do in daily life – before the curtain opens.Reviews:“Kate Kelly-Tanguay’s Before the Curtain Opens distils a lifetime’s lived experience of the Alexander Technique into an engaging and vivid introduction to what becomes a holistic philosophy of performance. A must-read for actors, drama students, and anyone who wants to feel more at easy within their own skin. Kate writes with a reassuring immediacy that makes your feel she is in the room with you”.David Grant, Senior Lecturer in Drama, School of Creative Arts, Queen's University, Belfast“I find Kate Kelly's capacity to cover a great deal of ground wittily and succinctly very engaging. The writing was itself a kind of Alexander lesson and I felt better for it.”Stephen Dillane, Actor'The Alexander Technique is a way of learning to change and retrain postural and behavioural habits that cause unnecessary tension, stress and illness. More than this, it is a form of conscious awareness and mindfulness avant la lettre.  In this new book the Blake enthusiast and Alexander teacher Kate Kelly  explores why Energy is Eternal Delight.'The Blake Society Newsletter, June 2018

Read more less

Book SynopsisWhat is the role of costume in Shakespeare production? Shakespeare and Costume in Practice argues that costume design choices are central not only to the creation of period setting and the actor’s work on character, but to the cultural, political, and psychological meanings that the theatre makes of Shakespeare. The book explores questions about what the first Hamlet looked like in his mourning cloak; how costumes for a Shakespeare comedy can reflect or critique the collective nostalgias a culture has for its past; how costume and casting work together to ask new questions about Shakespeare and race. Using production case studies of Hamlet, Much Ado About Nothing, and The Tempest, the book demonstrates that costume design can be a site of experimentation, playfulness, and transgression in the theatre – and that it can provoke audiences to think again about what power, race, and gender look like on the Shakespearean stage. Table of Contents1. Chapter One: Introduction.- 2. Chapter Two: Hamlet, Mourning and the Disappearing Costume: Inky Cloaks and Solemn Black.- 3. Chapter Three: Much Ado About Nothing, Restorative Nostalgia and the Costume Drama: Tires and Rebatoes, Corsets and Lace.- 4. Chapter Four: The Post-Colonial Tempest: Costume and Race.- 5. Chapter Five: Conclusion: Practitioner Interviews.

Read more less

Book SynopsisThis book examines how a predominantly negative view of community has presented a challenge to critical analysis of community performance practice. The concept of community as a form of class-based solidarity has been hollowed out by postmodernism’s questioning of grand narratives and poststructuralism’s celebration of difference. Alongside the critique of a notion of community has been a critical re-signification of community, following the thinking of philosopher Jean-Luc Nancy who conceives of community not as common being but as being-in-common. The concept of community as being-in-common generates questions that have been taken up by feminist geographers, J.K. Gibson-Graham, in theorising a post-capitalist approach to community-based development. These questions and approaches guide the analyses in researched case studies of community performance practice. The book revises theoretical debates that have defined the field of community theatre and performance. It asks how the critical re-signification of community aligns with these debates and, at the same time, opens new modes of critical analysis of community theatre and performance practice.Table of Contents 1. Preface – Enacting Community 2. Historical and theoretical perspectives on community-based theatre and performance practice 3. acta Community Theatre, the ‘cycle of engagement’ and a ‘community of [community theatre] practice’ 4. Yijala Yala – Creative Producing Cultural Livelihoods in the Pilbara 5. The Crossings (part of the Islands of Milwaukee): the agency of older bodies enacting pedestrian crossings 6. Articulating a community-engagement methodology in an authoritarian communitarian democracy - Drama Box’s IgnorLAND Of Its Time performing the ‘HDB nation’ at Bukit Ho Swee. 7. Epilogue

Read more less

Book SynopsisThis remarkably illuminating portrait of Tennessee Williams lifts the veil on the heart and soul of his artistic inspiration: the unspoken collaboration between playwright and actor. At a low moment in Williams’s life, he summoned to New Orleans a young twenty-year-old writer, James Grissom, who had written him a letter asking for advice. After a long, intense conversation, Williams sent Grissom on a journey on his behalf to find out if he or his work had mattered to those who had so deeply mattered to him. Among the more than seventy women and men with whom Grissom talked were giants of American theater and film: Lillian Gish, (“the escort who brought me to Blanche”), Jessica Tandy (the original Blanche DuBois on Broadway), Eva Le Gallienne (“She was a stone against which I could rub my talent and feel that it became sharper”), Maureen Stapleton, Julie Harris, Bette Davis, Katherine Hepburn, Elia Kazan, Marlon Brando, John Gielgud, and many mor

Read more less