Theatre direction and production Books

Book SynopsisContemporary Scenography investigates scenographic concepts, practices and aesthetics in Germany from1989 to the present. Facing the end of the political divide, the advent of the digital age and the challenges of globalization, German-based designers and scenographers have reacted in a variety of ways to these shifts in the cultural landscape.The edited volume, a compilation of 12 original chapters written in collaboration with acclaimed scenographers,stage designers and distinguished scholars, offers fresh insights and in-depth analyses of current artistic concepts, discourse and innovation in this multifaceted, dynamic field. The book covers a broad spectrum of scenography, including theatre works by Katrin Brack, Bert Neumann, Aleksandar Denic, Klaus Grünberg, Vinge/Müller and Rimini Protokoll, in addition to scenography in museums, exhibitions, social spaces and in various urban contexts.Presenting a range of perspectives, the volume explores the interdisciplinarity of contTrade ReviewA welcome reminder of the innovative and expansive influence of German scenography and an inspirational vision of scenographic potentiality. * Theatre and Performance Design *Table of ContentsList of Illustrations Foreword by Christopher Balme (LMU Munich, Germany) Scenographic Practices and Aesthetics in Contemporary German Theatre, Arts and Design – An Introduction – Birgit Wiens (LMU Munich, Germany) PART ONE Scenography in and beyond the Theatre: Aesthetics and Epistemes 1 ‘I am trying to add more layers to the story’. From the model to the stage: Artistic thinking and design practices in Aleksandar Denic’s theatre works with Frank Castorf and others – A conversation between Aleksandar Denic (Stage Designer, Belgrade, Serbia) and Birgit Wiens 2 Notes on Bert Neumann’s Stage and Costume Designs: Scenography as a Co-Player and Counterpart in Theatre Performances and Rehearsals – A conversation with Sophie Rois (actress, Berlin, Germany) 3 Scenographic materiality: Agency and Intra-Action in stage designs by Katrin Brack – Joslin McKinney (University of Leeds, UK) 4 Composing scenography: Reflexions on theories, practices and processes of Klaus Gruenberg’s collaborations with Heiner Goebbels and others – Joint contribution by David Roesner (LMU Munich, Germany) and Klaus Gru¨nberg (Stage Designer, Hamburg, Germany) 5 Theatre space after the ?spatial turn’: Moving dynamics of the active spectator – Thomas Irmer (Theatre Critic, Berlin, Germany) PART TWO Circulation of Scenographic Knowledge and Cultural Transfer 6 Notation: On the aesthetic potentials and epistemic functions of scenographic scores – Kirsten Maar (Free University of Berlin, Germany) 7 You cannot not not stage. Scenography – beyond theatre: Scenographic practices in museums, exhibitions and corporate design – Uwe R. Brueckner and Linda Greci (Atelier Brueckner, Stuttgart, Germany) 8 The Art of Thinking and Designing Space. Notes from the Studio – Annett Zinsmeister (Artist, Architect, Berlin, Germany) 9 Don’t be afraid of the art of parCITYpation. Scenographic intervention as social design – Benjamin Foerster-Baldenius (raumlaborberlin, Berlin, Germany) PART THREE Rethinking Scenography 10 The ungovernableness of the scene – Dieter Mersch (Zurich University of the Arts, CH) 11 Scenography and actor-network-theory: Analytical approaches – Wolf-Dieter Ernst (University of Bayreuth, Germany) 12 Scenography: Research, education and training in Germany: Some observations – Thea Hoffmann-Axthelm and Robert Kraatz (Stage Designer/Scenographer, Berlin, Germany) Staging the unknown. Scenography and its future potentials: Preliminary résumé – Serge von Arx (Oslo/Frederikstad, Norway) and Birgit Wiens References Index

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Book SynopsisDramaturgy is at the heart of any musical theatre score, proving that song and music combined can collectively act as drama. The Musical Theatre Composer as Dramatist: A Handbook for Collaboration offers techniques for approaching a musical with the drama at the centre of the music. Written by a working composer of British musical theatre, this original and highly practical book is intended for composers, students of musical theatre and performing arts and their collaborators. Through detailed case studies, conceptual frameworks and frank analysis, this book encourages the collaboration between the languages of music and drama. It offers a shared language for talking about music in the creation of musical theatre, as well as practical exercises for both composers and their collaborators and ways of analysing existing musical theatre scores for those who are versed in musical terminology, and those who are not.Speaking directly to the contemporary artist, working examples Table of ContentsIntroduction PART ONE: SECTION ONE - The First Shared Language: Theme - Chapter 1: Finding the Way In - Chapter 2: Theme, Story and Plot - Chapter 3: Theme, Character, and Musical Parameters - Chapter 4: Truth Themes and Branch Themes PART ONE: SECTION TWO - The Second Shared Language: Shape - Chapter 5: Dynamic Curves - Chapter 6: Modes of Enunciation - Chapter 7: Big Shapes - Chapter 8: Small Shapes Chapter 9: Mapping the Musical PART TWO - Chapter 10: Piecing it Together: Everyone's Talking About Jamie PART THREE - Chapter 11: Collaborative Workbook References Bibliography

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Book SynopsisTom Cantrell is a Professor of Theatre and Head of the School of Arts and Creative Technologies at the University of York, UK. He has published widely on acting processes, including Acting in Documentary Theatre (Palgrave 2013), Acting in British Television (Palgrave 2017) and Exploring Television Acting (Bloomsbury 2018), co-written with Christopher Hogg.Katherine Graham is a Senior Lecturer in Theatre at the University of York, UK, where her research focuses on the agency of materials in performance. She has also worked extensively as a lighting designer for theatre and dance and has published work about light in Theatre and Performance Design Journal, Studies in Theatre and Performance, and Contemporary Theatre Review. She is co-editor, with Kelli Zezulka and Scott Palmer, of Contemporary Performance Lighting: Experience, Creativity, Meaning (Bloomsbury 2023).Mark Love-Smith is a Senior Lecture

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Book SynopsisChristie Carson is Reader Emerita in Shakespeare and Performance at Royal Holloway, University of London, UK. Her publications include Shakespeare's Globe: A Theatrical Experiment (2008), co-edited with Farah Karim-Cooper, and the monograph Robert Lepage's Intercultural Encounters (2021).

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Book SynopsisDramaturgy in the Making maps contemporary dramaturgical practices in various settings of theatre-making and dance to reveal the different ways that dramaturgs work today. It provides a thorough survey of three major areas of practice - institutional dramaturgy, production dramaturgy and dance dramaturgy - with each illustrated through a range of case studies that illuminate methodology and which will assist practitioners in developing their own dramaturgical toolbox'.In tracing the development of the role of the dramaturg, the author explores the contribution of Lessing, Brecht and Tynan, foundational figures who shaped the practice. She excavates the historical and theoretical contexts for each strand of the work, uniquely offering a history of dance dramaturgy and its associated theories.Based on extensive research, the volume features material from the author''s interviews with fifty eminent professionals from Europe and North America, including: Robert Blacker, Jack BradleyTrade ReviewOne of the book’s strengths is that while it tells a story about the creative process from the dramaturg’s point of view, it also offers rare and detailed insight into the dramaturgy of creative rehearsal processes. The book is, therefore, also relevant to anyone who is interested in learning more about theatre, performance-making and creative working processes ... The detailed case studies alone make Dramaturgy in the Making a useful and interesting addition to the growing literature on dramaturgy. * Studies in Theatre and Performance *By introducing dramaturg Mira Rafalowicz’s four-stage concept (exploration of the field, creating and shaping the material, finding a shape, performance gains its own life), Trencs´enyi is able to paint a broad comparative picture of different Western practices while still structuring and contextualizing the multiple voices and trying to find and formulate patterns and threads that connect the practices ranging from text-based and devised theatre to dance dramaturgies. In this, the monograph offers an alternative to the often quite eclectic ways in which edited collections present accounts on rehearsal practices. -- Ann-Christine Simke * Theatre Research International *Dramaturgy in the Making first and foremost is a far-reaching book, with an international perspective and ambition ... This work is of an exemplary high quality, deep, and at the same time is infinitely useful and pragmatic. * Színház *Katalin Trencsényi's Dramaturgy in the Making is a welcome, wide-ranging discussion of dramaturgy, featuring historical overviews, geographic diversity, and contemporary case studies in both theatre and dance. It is refreshing and informative to have so many developmental processes described in detail and to hear the varying points of view about dramaturgy from core collaborators within the process. * DD Kugler, Simon Fraser University, Canada *Dramaturgy in the Making ... signals a generational shift. It assumes that for many answering the founding question – “What is dramaturgy?” – is no longer the central challenge for the field. It addresses instead a new and, for many of us, most welcome focus: exploring the rich range of practices found in the lives of individuals who have again and again demonstrated in their work as theatre artists why dramaturgy matters. * Geoff Proehl, University of Puget Sound in Tacoma, Washington, USA *[Trencsényi] has carried out richly informative interviews with a wide range of dramaturgs from across Europe and North America ... [The book's] real strength lies in its range of case studies, and the attention to the detail of specific production processes. * New Theatre Quarterly *[H]aving documentation of the challenges that a dramaturg will experience within the course of their work, and a litany of excellent and useful interviews that detail methods for overcoming those challenges, makes the chapters feel robust and readable, researched, and useful. … [T]he guidebook aspect of the text makes it appropriate and useful for undergraduates and emerging dramaturgs. * Theatre Topics *Table of ContentsAcknowledgements Foreword: The Roles We Play, by Geoff Proehl Preface PART ONE – Institutional Dramaturgy Chapter 1 – Institutional Dramaturgy – The Beginnings Chapter 2 – Methods: Curating Chapter 3 – Methods: Dramaturgy and Translation Chapter 4 – Methods: New Drama Development PART TWO - Production Dramaturgy Chapter 5 – Production Dramaturgy – A Theoretical Overview Chapter 6 – Methods: Product-led Production Dramaturgy Chapter 7 – Methods: Process-led Production Dramaturgy PART THREE – Dance Dramaturgy Chapter 8 – Dance Poetics – The History of Dramaturgical Thinking in Dance Chapter 9 – Dance Dramaturgy – The Development of the Role Chapter 10 – Methods: Dance Dramaturgs at Work Conclusion: Two Things about Dramaturgy Notes Select Bibliography Index

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Book SynopsisIn the early 1970s, London's National Theatre, led by Sir Laurence Olivier, launched an infamous avant garde production of The Architect and the Emperor of Assyria. Concerned that his classical approach would clash with the enfant terrible director, Victor Garcia, Olivier enlisted stage manager Jackie Harvey to keep a diary of the often ludicrous, occasionally creative, always challenging rehearsals. Anthony Hopkins and Jim Dale costarred in the surreal two-man piece. Led by the eccentric Garcia, the play quickly descended into a chaotic farce. Missed deadlines, technical hitches, unauthorized nudity and backstage feuds culminated in an unforgettable production, leaving the company debating whether he was a misunderstood genius or a brilliant con-artist.The production was part of an upheaval in British theater, as old traditions gave way to new trends. Accompanied by recollections from Hopkins, Dale and others, along with photographs and documents that bring the key players to life, th

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Book SynopsisA treasure trove of drama games and exercises, House of Games has proved itself an immensely valuable resource for teachers, theatre directors and drama workshop leaders. Following on from Keith Johnstone's famous Impro and Augusto Boal's Games for Actors and Non-Actors, Chris Johnston's book provides ideas and guidance for drama groups of all kinds.Trade Review'This is an excellent resource book for anyone involved in participatory drama' * Guild of Drama Adjudicators Newsletter *'It is friendly, accessible, well structured and full of good advice - much of it plain common sense... Reading it is like being in a room buzzing with relaxed and informed conversation about basic principles, and good ruses for realising both general and specific aims' * Theatre Research International *'House of Games is a book I will return to and learn much from' -- Dorinda Hulton * Studies in Theatre Production *

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Book SynopsisCharles Marowitz was the first American to direct at the Royal Shakespeare Company and the first American to direct at the Czech National Theatre (while collaborating with Vaclav Havel). Known as a maverick playwright, director, and critic, he nurtured numerous figures who have come to shape contemporary theatre and larger society. Without Marowitz the theories and ideas of Antonin Artaud would remain obscure. The entire trajectory and ecology of theatre and performance since the 1960s have been considerably influenced by this alone. The present-day popularity of immersive theatre was a mode of performance introduced to the British theatre by Charles Marowitz and Allan Kaprow in the famous Happening at the 1963 Edinburgh Drama Conference. In 1968 Marowitz started the Open Space Theatre on Tottenham Court Road in collaboration with Thelma Holt. There is a gap in our collective understanding of this important figure and a gap in currently available literature about him. The Marowitz Compendium seeks to spark a revaluation. The audience for this book includes students, postgraduates, specialists and general readers interested in drama and the history of contemporary theatre.

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Book SynopsisWinner of the 2021 Music & Drama Education Award for Outstanding Drama Education Resource Much of the theatre we make starts with a script and a story given to us by someone else. But what happens when we''re required to start from scratch? How do we begin to make theatre using our own ideas, our own perspective, our own stories? A Beginner's Guide to Devising Theatre, written by the artistic directors of the award-winning young people's performance company Junction 25 and is aimed at those new to devising or wanting to further develop their skills. It explores creative ways to create original theatre from a contemporary stimulus. It offers a structure within which to approach the creative process, including ideas on finding a starting point, generating material, composition and design; it offers practical ideas for use in rehearsal; and it presents grounding in terminology that will support a confident and informed approach to production. The book features contributioTrade Review[A] useful, practical book ... The emphasis, throughout, is on collaboration - an essential life skill ... This book demonstrates just how much drama can contribute to educational development. Any young person who comes successfully through this process will be equipped for almost anything. * Ink Pellet *The introduction chapters are so uplifting, motivating and stimulating that it creates a real buzz for devising … A selling point for this book is that it is not exclusively written for the perspective of teachers; any KS4/5 student would be able to pick up and understand the processes suggested. I like the fact that giving full ownership to students’ creative process would not be a daunting task with this book at the helm. * Drama Magazine *Not just one of the best things I've seen in Edinburgh this year, but one of the best pieces I've seen anywhere - tender, true and brutally honest * Lyn Gardner on Junction 25 *Junction 25 youth theatre company, steered by directors Tashi Gore and Jess Thorpe, have been hailed as one of the finest in the UK, and it's not difficult to see why * Scotsman on Junction 25 *A Beginner's Guide to Devising Theatre offers exactly what it promises: a bean garden with plenty of other possible itinerary that can be rotated for a serious practical benefit. A guidebook to an empire whose many paths, detours and even dead ends are well known, but in such detail no one has ever mapped one of the possible paths to the center. * Theatron (Bloomsbury Translation) *Table of ContentsList of Illustrations Acknowledgements Foreword by Lyn Gardner Part One: An Introduction to devising theatre with young people An Introduction to Junction 25 Who is this book for? Why devise theatre? Beginning to collaborate Part Two: Devising theatre in seven stages An overview Stage 1: Building the group dynamic Stage 2: Selecting an inquiry question Stage 3: Finding the frame Stage 4: Making original material for performance · Writing text · Movement and choreography · Performance images · Action · Music Stage 5: Structure and composition Stage 6: Reflection Stage 7: Production: Sharing your work with an audience Part Three: Five interviews and one running order Interviews with companies that devise theatre; an introduction Interview about the process of devising All the Sex I’ve Ever Had by Mammalian Diving Reflex with Artistic Director Darren O’Donnell Interview about the process of devising Wallflower by Quarantine with Artistic Director Richard Gregory Interview about the process of devising Mission Drift by the TEAM with Artistic Director Rachel Chavkin Interview about the process of devising £¥€$ (LIES) by Ontroerend Goed with Artistic Director Alexander Devriendt Interview about the process of devising Trilogy by Nic Green with Artist Nic Green An example of a running order – ANOESIS by Junction 25 Index List of Contributors

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Book SynopsisHow are Black artists, activists, and pedagogues wielding acts of rebellion, activism, and solidarity to precipitate change? How have contemporary performances impacted Black cultural, social, and political struggles? What are the ways in which these acts and artists engage varied Black identities and explore shared histories? Contemporary Black Theatre and Performance investigates these questions to illuminate the relationship between performance, identity, intersectionality, and activism in North America and beyond. It features contributions from scholars, artists, and activists from across disciplines who explore the nuances and varied forms of Black performance in the 21st century while incorporating performance-based methodologies and queer and black feminist theories. Among the many topics addressed by contributors are antiracist pedagogy, Black queer identity formation in Black playwriting, digital blackface, and Black women''s subversive practices within contemporary pTable of ContentsList of Illustrations Notes on Contributors Preface Acknowledgments Introduction, DeRon S. Williams (Loyola University Chicago, USA), Khalid Y. Long (University of Georgia, USA), and Martine Kei Green-Rogers (DePaul University, USA) PART I: STAGE AS A SITE OF RADICAL POSSIBILITIES 1. Sweat Equity: Lynn Nottage's Radical Dialectic of Deindustrialization, Jocelyn L. Buckner (Chapman University, USA) 2. "Those Songs Were More than Just": Spirituals, Queer Reckonings and Tarell Alvin McCraney's Choir Boy, Isaiah Matthew Wooden (Swarthmore College, USA) 3. Trauma, Truth, and Turning the Lens: Black Theater Artists and White Theater Audiences, Suzanne Delle, (York College of Pennsylvania, USA), and Loretta Brady (Saint Anselm College, USA) In The Trenches: A Conversation with Christina Anderson, DeRon S. Williams (Loyola University Chicago, USA) PART II: PERFORMANCE IN THE MAKING 4. Re-Writing the Declaration: Healing In Theater From A Black, Queer, Feminist Lens, Quenna Barrett (NYU Steinhardt, USA) 5. ineffable dramaturgies: Experiments in Black Queer and Trans Liberation On and Off Stage, s.e. callender (Independent Scholar/Artist, Canada) 6. Reconsidering and Recasting, Ray Proctor (Tulane University, USA) 7. We are the Canon: Anti-Racist Theatre Pedagogy, Maya Johnson (Independent Scholar and Practitioner, USA), Daphnie Sicre (Loyola Marymount University, USA), and Karl O'Brian Williams (NYU, USA) In The Trenches: A Conversation with Donja R. Love, Martine Kei Green-Rogers (DePaul University, USA) PART III: PERFORMANCE AND/AS PROTEST 8. (W)right Of Way: Black Geographies and American Interstates, Jenny Henderson (Tufts University, USA) 9. Honk for Justice, Jocelyn Prince (Northwestern University, USA), and Harvey Young (Boston University, USA) 10. Serena Williams' Sonic Refusal, Leticia Ridley (Santa Clara University, USA) 11. Cancel Culture, Digital Blackface, and Internalized Anti-Blackness, Aviva Helen Neff (Columbus College of Art and Design, USA) In The Trenches: A Conversation with Willa J. Taylor, Khalid Y. Long (University of Georgia, USA) Bibliography Index

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Book SynopsisTHE TIMES'' BEST BOOKS OF THE YEARThis book charts the personal and professional journey of Greg Doran, Artistic Director of the Royal Shakespeare Company from 2012 until 2022 and one of the great Shakespearians of his generation (Sunday Times). During his illustrious career, Doran has directed or produced all of the plays within Shakespeare''s First Folio -- a milestone reached in the same year that the world celebrates the 400th anniversary of its original publication. Each chapter looks at a different play, considering the choices made and weaving in both autobiographical detail and background on the RSC, as well as giving insights into key collaborations, including those with actors such as Judi Dench, David Tennant, Harriet Walter, Patrick Stewart, Simon Russell Beale, Paterson Joseph and Doran''s husband, the late Antony Sher, as well as seminal practitioners such as Cicely Berry, John Barton and Terry Hands. The book also includes 16 striking pages with stills frTrade ReviewThis career retrospective, centred on the Folio, reflects Doran’s temperament: decent, diligent, likeable, lucid. It’s openly learned, plunging into a close reading of Romeo and Juliet’s prologue, but it’s also candid. -- Dominic Cavendish * The Telegraph *It has given me so much joy to read the story of Greg Doran's journey through these great plays. Fantastic, informative, revealing, occasionally gossipy and thoroughly engrossing, this is a remarkable memoir of a remarkable career. Greg Doran’s brilliance, clarity of thought and – most of all – his humanity shines through. * David Tennant *One of the distinctive achievements of Greg Doran’s recently concluded term as artistic director of the Royal Shakespeare Company was to direct all the plays in the First Folio, creating a deposit of excellent, thoughtful renderings. His recollections and reflections on these productions are collected in My Shakespeare. Some chapters are almost entirely anecdotal, but there are few if any that fail to cast some new light on the drama under discussion. -- Rowan Williams * New Statesman *Doran reflects with intelligence and grace and wit on himself and those with whom he has worked, and on the ways in which they sought to breathe fresh life into a series of plays that, for the most part, audiences think they know well … You’ll find it an informative-instructive delight. -- Rhodri Lewis * Prospect Magazine *This year marked the 400th anniversary of Shakespeare’s First Folio, which was met with a deluge of accompanying books. This is the best and most fun. * The Times, Best Poetry and Literature Books of the Year *A revelatory and revolutionary breakdown of the canon in a way that works for both the professional and uninitiated. His (obviously tight) grip on Shakespeare's universe is permeated by reverence and deference, but what seeps through the pages is his pure love for his language and characters … It's a joy to (re)discover Shakespeare's plays through his eyes. -- Cindy Marcolina * Broadway World *Whether you are looking for insights into both major and minor works by the Bard, the story of two theatrical giants or a history of the RSC over the last few decades, My Shakespeare is a must-read and must-buy, since this is the kind of thoughtful, well-written and consistently entertaining book that any lover of serious theatre would be delighted to read or receive as a gift. For any budding director who wants to bring Shakespeare to the stage, it could also act as a highly readable manual, offering morsels of intelligent guidance that only come with a lifetime’s experience. -- Philip Fisher * British Theatre Guide *What runs through this fascinating book is not only [Doran’s] passionate commitment, but his belief that Shakespeare holds up a mirror to all our lives and to the tumultuous times in which we live … The results are constantly illuminating … This is a very good book that reminds us that practitioners often make the best commentators … [A] thought-provoking journey through the First Folio. -- Michael Billington * Country Life *Greg Doran’s My Shakespeare generously offers us all the most intimate understanding of what the works of Shakespeare can give us; life with all its tragic and comic masks. Doran writes for the lover of Shakespeare, but allows those tentative about Shakespeare's genius to understand why his storytelling is miraculously both universal and local. My Shakespeare is a worthy addition to the study of Shakespeare’s plays in performance - and I’ll be damned if it doesn’t make me itch to get on stage again, to exercise my acting muscles in the greatest poetry-gym in the English language. * Paterson Joseph *Greg Doran’s writing, like his productions, comes from an honest, ungimmicky place. He infects the reader with his own curiosity about the world that gave birth to Shakespeare and how and why he still connects with us. He combines an unostentatious erudition with stories of a deeply personal journey from schoolboy visits to the RSC at Stratford to becoming its Artistic Director. I am so glad everyone can now be let in on his revelatory insights and not just those of us who have been lucky enough to be in a rehearsal room with him. * Harriet Walter *Table of ContentsChapter Page Introduction 8 1 Romeo and Juliet: A Prologue 9 2 Titus Andronicus 23 3 Henry VIII, or All is True. 31 4 The Merchant of Venice 39 5 The Winter’s Tale 45 6 Timon of Athens 50 7 Macbeth 55 8 As You Like It 65 9 King John 69 10 Much Ado About Nothing 75 11 The Taming of The Shrew 85 12 All’s Well That Ends Well 92 13 Othello 98 14 Venus & Adonis 110 15 A Midsummer Night’s Dream 116 16 Antony & Cleopatra 127 17 Merry Wives: The Musical 134 18 Coriolanus 139 19 Hamlet 144 20 Love’s Labour’s Lost 153 21 Twelfth Night 161 22 Julius Caesar 168 23 Richard II 176 24 Henry IV Part One 183 25 Henry IV Part Two 200 26 Henry V 203 27 King Lear 209 28 The Tempest 217 29 Troilus and Cressida 225 30 Measure for Measure 231 31 The Comedy of Errors (a lockdown chapter) 235 32 Henry VI Part One 240 33 Henry VI Part Two 249 34 Henry VI Part Three 253 35 Richard III 255 36 Cymbeline: An Epilogue 268

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Book SynopsisI'm really looking forward to robbing this bank!Mischief's smash-and-grab hit The Comedy About A Bank Robbery is a fast, fabulous comedy caper and the funniest show in the West End! Summer 1958. Minneapolis City Bank has been entrusted with a priceless diamond. An escaped convict is dead set on pocketing the gem with the help of his screwball sidekick, trickster girlfriend and the maintenance man. With mistaken identities, love triangles and hidden agendas, even the most reputable can't be trusted. In a town where everyone's a crook, who will end up bagging the jewel?Written by Henry Lewis, Jonathan Sayer and Henry Shields, the creators of the Olivier Award-winning Best New Comedy The Play That Goes Wrong and Peter Pan Goes Wrong, The Comedy About A Bank Robbery opened at the Criterion Theatre in London's West End in April 2016.The best new comedy to open straight into the West End in decades'Time OutThrilling and daringly inveTrade Review‘This is the funniest show in town’ * The Telegraph *Fast and fabulous comedy caper is a joyful night out * The Times *The team behind ‘The Play That Goes Wrong’ hit the funnybone again...The best new comedy to open straight into the West End in decades * Time Out *Thrilling and daringly inventive...This lung-bustingly funny play is just what the therapist ordered * The Guardian *

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Book SynopsisWithout scenery, costumes, and stage action, an opera would be little more than a concert. Offering a comprehensive history of the behind-the-scenes world of opera production and staging, this book follows the evolution of visual style and set design in continental Europe from its birth in the seventeenth century up to today.

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Book SynopsisWritten by a team of leading international scholars, The Cambridge Companion to Shakespeare and War illuminates the ways Shakespeare''s works provide a rich and imaginative resource for thinking about the topic of war. Contributors explore the multiplicity of conflicting perspectives his dramas offer: war depicted from chivalric, masculine, nationalistic, and imperial perspectives; war depicted as a source of great excitement and as a theater of honor; war depicted from realistic or skeptical perspectives that expose the butchery, suffering, illness, famine, degradation, and havoc it causes. The essays in this volume examine the representations and rhetoric of war throughout Shakespeare''s plays, as well as the modern history of the war plays on stage, in film, and in propaganda. This book offers fresh perspectives on Shakespeare''s multifaceted representations of the complexities of early modern warfare, while at the same time illuminating why his perspectives on war and its consequences continue to matter now and in the future.Trade Review'The Cambridge Companion to Shakespeare and War is much more than an overview of a field or guide to an area and performs valuable intellectual work in bringing together diverse perspectives on a subject that embarrasses as well as attracts readers, many of whom want a straightforward understanding of a complicated subject that will inevitably resist mastery.' Andrew Hadfield, Times Literary SupplementTable of Contents1. Beyond shallow and silence: war in the age of Shakespeare Paul E. J. Hammer; 2. Just war theory and Shakespeare Franziska Quabeck; 3. Shakespeare on civil and dynastic wars David Bevington; 4. Foreign war Claire McEachern; 5. War and the classical world Maggie Kilgour; 6. 'The question of these wars': Shakespeare, warfare, and the chronicles David Scott Kastan; 7. Instrumentalizing anger: warfare and disposition in the Henriad Gail Kern Paster; 8. War and Eros David Schalkwyk; 9. Shakespeare's language and the Rhetoric of war Lynne Magnusson; 10. Staging Shakespeare's wars in the twentieth and twenty-first centuries Michael Hattaway; 11. Reading Shakespeare's wars on film: ideology and montage Gregory Semenza; 12. Shakespeare and World War II Garrett A. Sullivan Jr; 13. Henry V and the pleasures of war Paul Stevens; 14. Macbeth and Trauma Willy Maley; 15. Coriolanus and the use of power Catherine M. S. Alexander.

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Book SynopsisTransforming Space over Time: Set Design and Visual Storytelling with Broadway''s Legendary Directors tells the stories of six diverse productions: five on Broadway and one Off-Broadway. Beowulf Boritt, theater designer and Tony Award winner, begins with the moment he was offered each job and takes readers through the conceptual development of the set, in collaboration with the director, the challenges of its physical creation, and the intense process of readying it for the stage. Since theater is at heart a collaborative art form, he includes details of his work with the many professionalsdesigners, technicians, producers, stage managers, and actorswho contribute their talent and ideas to each show. Boritt offers insight into the sometimes frustrating but unavoidable realities of the biz part of showbiz: budgets, promotion, reviews, and awards, and he provides enough detail to interest aspiring and seasoned theater professionals and enough spice to satisfy passionate theatergoers.

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Book SynopsisGregory Doran's account of his quest to re-discover Cardenio, the lost play written by Shakespeare and John Fletcher. A thrilling act of literary detection that takes him from the Bodleian Library in Oxford, via Cervantes' Spain to the stage of the Royal Shakespeare Company in Stratford. Fully illustrated throughout, Shakespeare’s Lost Play tells a fascinating story, which, like the play itself, will engross Shakespeare buffs and theatregoers alike. Doran’s much-praised production of Cardenio for the Royal Shakespeare Company marked the culmination of years spent searching for a famously 'lost’ play co-authored by William Shakespeare. In this book, Doran takes us with him on his quest to unearth every extant clue and then into the rehearsal room as he pieces together a play unseen since its first performance in 1613. The result, as the Guardian attested, is ‘an extraordinary and theatrically powerful piece, one that should both please audiences and keep academic scholars in work for years’.Trade Review'Part detective story, part lively summary of the historic research and theatrical processes involved in resurrecting a lost play... It is one of the pleasures of Shakespeare's Lost Play that the reader picks up an education in a whole range of topics' * Around the Globe magazine *'Throughout Doran is a charming and invariably helpful guide... Furthermore, he successfully communicates his passion for the theatre and enables the reader to understand the wealth of labour that lies behind a complicated production' * Times Literary Supplement *'Reading this book is like entering a marvellous emporium... the delight is in the detail.... endlessly entertaining and informative.' * ReviewsGate.com *'Fascinating' * The Stage *

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Book SynopsisSome years ago, Frank Hauser, then a retired freelance director, and writer Russell Reich, his former student, self-published Notes on Directing in hardcover. It was immediately acclaimed as “a gem-witty and full of insight;” “so sensible, so complete, and so right;” and “amazingly illuminating” by the likes of Judi Dench, Edward Albee, and Terry Teachout. Gathered over Frank Hauser's long career, and polished to a sharp edge by Russell Reich, the 130 "Notes" address a wide range of topics, from understanding the script and defining the director's role, to casting, how to handle a first read-through of a script, rules for rehearsal, how to talk to actors, how to get a laugh, and the key elements of staging. Filled with enduring good advice expressed in assertive, no-nonsense language, and supported with explanatory commentary, insightful quotes and examples, and six valuable appendices, this deceptively slim book has the impact of a privileged apprenticeship, providing deep insight into the hidden process of creating a live, shared experience. For the student or professional engaged in a directing or acting career, the executive or manager looking for inspiring new ideas on leadership, or the arts lover wanting insight into the creative process, this book will be an invaluable experience. This new edition includes an interview with the co-author.Trade Review"This book is a gem witty and full of insight. It should be compulsory reading for every aspiring director." Dame Judi Dench"This book is so sensible, so straightforward, so complete, and so 'right' that somebody might think it was not serious. They would be wrong." Playwright Edward Albee, 3X Pulitzer Prize Winner"The next best thing to working with Frank Hauser is to read his book. His wise and pithy observations on acting and rehearsing don't age, reminding me how much I have learned from him." Sir Ian McKellen"Excellent bookI've dipped everywhere, always with profit and pleasure. Very attractive book, too." Sir Tom Stoppard"This book is filled with smart, useful, thoughtful advice, born of years of service to an elusive craft. How rare it is for two of our own to talk so shrewdly, candidly and succinctly about the process of making a production. I learned a lot from this remarkably straightforward book, and I debated with it. It is invaluable." Director Mark Lamos"It's a testament to the value of these modestly titled Notes that they go far beyond their wonderful applicability to the staging of a play or the creation of a film. This book will be a delightful read for nearly anybody, filled as it is with humor and life lessons, and the priceless insight of two keen observers of human behavior." Scenic Designer Robin Wagner, Multiple Tony Award Winner"Blunt, funny, utterly relevant, amazingly illuminating. I've never read anything that taught me more about the theater in so short a space . . . deserves to earn at least a million dollars, if not a Nobel Peace Prize." Terry Teachout, Drama Critic, The Wall Street Journal

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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

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Book SynopsisThe change will come. And it''s not far away, I promise you that. Some figure will emerge from the dark screaming ''Get out of the way''. And not far behind others will follow... The young are waiting. In all their power. Knocking on the door.The master builder Halvard Solness has a fear of falling. A self-made man, without professional qualifications, he has achieved domination in the town but he''s increasingly frightened of being displaced by the young. A woman, Hilde Wangel, appears from the mountains, claiming to have known Solness ten years previously, and telling him of a promise he made to her when she thirteen.David Hare has written a new adaptation of one of Henrik Ibsen''s most complex autobiographical masterpieces - a mesmeric exploration of control, power, lust and death, which builds to a vertiginous climax.The Master Builder premiered in this English version at The Old Vic, London, in January 2016.

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Book SynopsisThe commedia dell''arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell''arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell''arte.Table of ContentsIntroduction: commedia dell'arte: history, myth, reception Daniele Vianello; Part I. Elements: 1. Knots and doubleness: the engine of the Commedia dell'Arte Ferdinando Taviani; 2. Popular traditions, carnival, dance Riccardo Drusi; 3. Notebooks, prologues and scenarios Stefan Hulfeld; 4. Between improvisation and book Piermario Vescovo; Part II. Commedia dell'Arte and Europe: 5. Journeys Siro Ferrone; 6. France Virginia Scott; 7. The Iberian Peninsula María del Valle Ojeda Calvo; 8. German-speaking countries M. A. Katritzky; 9. Eighteenth-century Russia Laurence Senelick; 10. England Robert Henke; 11. Northern Europe Bent Holm; Part III. Social and Cultural Conflicts: 12. Commedia dell'arte and the church Bernadette Majorana; 13. Commedia dell'arte and dominant culture Raimondo Guarino; Part IV. Opera, Music, Dance, Circus and Iconography: 14. Commedia dell'arte in opera and music 1550–1750 Anne MacNeil; 15. From Mozart to Henze Andrea Fabiano; 16. Commedia dell'Arte in dance Stefano Tomassini; 17. The circus and the artist as Saltimbanco Sandra Pietrini; 18. Iconography of the commedia dell'arte Renzo Guardenti; Part V. Commedia dell'Arte from the Avant-Grade to Contemporary Theatre: 19. Stanislavsky and Meyerhold Franco Ruffini; 20. Copeau and the work of the actor Marco Consolini; 21. Staging Gozzi: Meyerhold, Vakhtangov, Brecht, Besson Franco Vazzoler; 22. Staging Goldoni: Reinhardt, Strehler Erika Fischer-Lichte; 23. Eduardo De Filippo and the Mask of Pulcinella Teresa Megale; 24. Dario Fo, Commedia dell'arte and political theatre Paolo Puppa; 25. Commedia dell'arte and experimental theatre Mirella Schino; Conclusion: commedia dell'arte and cultural heritage Christopher B. Balme.

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Book SynopsisBetween 1895 and 1922 the Anglo-American actor and manager, Maurice E. Bandmann (18721922) created a theatrical circuit that extended from Gibraltar to Tokyo and included regular tours to the West Indies and South America. With headquarters in Calcutta and Cairo and companies listed on the Indian stock exchange, his operations represent a significant shift towards the globalization of theatre. This study focuses on seven key areas: family networks; the business of theatrical touring; the politics of locality; repertoire and publics; an ethnography of itinerant acting; legal disputes and the provision of theatrical infrastructure. It draws on global and transnational history, network theory and analysis as well as in-depth archival research to provide a new approach to studying theatre in the age of empire.Trade Review'The theatrical enterprises of Maurice E. Bandmann played, at the start of the twentieth century, a highly significant role in promoting Western plays, musical comedies and revues throughout Asia, but they have been hitherto overlooked by historians. Christopher B. Balme has, through ingenious and thorough research, reconstituted the manifold activities of this pioneering manager. More importantly, he has situated them as a hub from which to explore such matters as global networks, transnational commerce, intercultural relations, playhouse architecture, and the diffusion of taste. His enquiries open out into thought-provoking analyses that stretch far beyond theatre itself. The result is an engrossing and intellectually stimulating study which is bound to open up new directions in theatre scholarship, much as Bandmann blazed trails in India and the Far East.' Laurence Senelick, Fletcher Professor of Drama and Oratory, Tufts University'This ground-breaking study provides new insights into theatrical touring in an age of globalization, particularly across the Asian continent, and the networks that made it possible. Focussing on the circuit developed by Maurice E. Bandmann in the late-nineteenth and early-twentieth century, it charts the impact of economics and politics on touring theatre and its structures, while also investigating managerial practices, performer and spectator experience, and the types of repertoire presented. Balme's informative and carefully researched book is an important addition to our understanding of transnational theatre practices and networks in a period of significant change and increasing internationalisation.' Jim Davis, University of WarwickTable of ContentsIntroduction; 1. Family networks; 2. Mobile enterprises; 3. The micropolitics of locality; 4. Repertoires and publics; 5. Transported actors; 6. Contested contracts; 7. Infrastructure: from theatre to cinema; 8. Legacies.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year''s textual and critical studies and of the year''s major British performances. The theme for Volume 73 is ''Shakespeare and the City''. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.Table of Contents1. Continental Shakespeare Karen Newman; 2. The stranger at the door: belonging in Shakespeare's Ephesus Nandini Das; 3. City origins, lost identities and print errors in The Comedy of Errors Alice Leonard; 4. The circulation of youthful energy on the early modern London stage: migration, intertheatricality, and 'growing to common players' Harry R. McCarthy; 5. In conversation with Shakespeare in Jacobean London: social insanity and its taming schools in 1 and 2 Honest Whore Chi-Fang Sophia Li; 6. Hearing voices: signal vs urban noise in Coriolanus and Augustine's Confessions Lars Engle; 7. Caesar and Lear in Hong Kong: appropriating Shakespeare to express the inexpressible Miriam Lau Leung Che; 8. Before we sleep: Macbeth and the curtain lecture Neil Rhodes; 9. 'The story shall be changed': antique fables and agency in A Midsummer Night's Dream Charlotte Scott; 10. A lawful magic: new worlds of precedent in Mabo and The Winter's Tale Nicholas Luke; 11. 'Cabined, cribbed, confined': advice to actors and the priorities of Shakespearean scholarship' Michael Cordner; 12. 'What country, friends, is this?': Tim Supple's Twelfth Night revisited Peter J. Smith; 13. Through a glass darkly: Sophie Okonedo's Margaret as racial other in The Hollow Crown: The Wars of the Roses Jennie M. Votava; 14. 'Who's there?': Britain's twenty-first century obsession with celebrity Hamlet (2008-2018) Gemma Kate Allred; 15. Shakespearean performance in England 2019 Stephen Purcell and Paul Prescott; 16. Professional Shakespeare productions in the British Isles 2018 James Shaw; 17. Critical studies Charlotte Scott; 18. Shakespeare in performance Russell Jackson; 19. Editions and textual studies Peter Kirwan.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year''s textual and critical studies and of the year''s major British performances. The theme for Volume 74 is ''Shakespeare and Education. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.Table of Contents1. Whither goest thou, Public Shakespearian? Sharon O'Dair and Timothy Francisco; 2. Teaching Shakespeare in a Time of Hate Alexa Alice Joubin and Lisa S. Starks; 3. Playful Pedagogy and Social Justice: Digital Embodiment in the Shakespeare Classroom Gina Bloom, Nicholas Toothman, and Evan Buswell; 4. Digital Resources, Teaching Online and Evolving International Pedagogic Practice Christie Carson; 5. Teaching Shakespeare with Performance Pedagogy in an Online Environment Esther Schupak; 6. PPE for Shakespeareans: Pandemic, Performance, and Education Kevin A. Quarmby; 7. 'In India': Shakespeare and Prison in Kolkata and Mysore Sheila T. Cavanagh; 8. Shakespeare for Cops Jeffrey R. Wilson; 9. Younger Generations and Empathic Communication: Learning to Feel in Another Language with Shakespeare at the Silvano Toti Globe Theatre in Rome Maddalena Pennacchia; 10. Shakespeare in nineteenth-century Bengal: An Imperative of 'New Learning' Madhumita Saha; 11. Forging a Republic of Letters: Shakespeare, politics and a new university in early twentieth-century Portugal Rui Carvalho Homem; 12. Cultural Inclusivity and Student Shakespeare Performances in Late-Colonial Singapore, 1950-9 Emily Soon; 13. Using performance to strengthen the higher education sector: Shakespeare in twenty-first century Vietnam Sarah Olive; 14. Counterpublic Shakespeares in the American Education Marketplace Jillian Snyder; 15. Taking Love's Labour's Lost seriously Nigel Wood; 16. The Thyestean Language of English Revenge Tragedy on the University and Popular Stages Elizabeth Sandis; 17. Going to School with(out) Shakespeare: Conversations with Edward's Boys Harry R. McCarthy and Perry Mills; 18. Intimacy and Schadenfreude in Reports of Problems in Early Modern Productions Ceri Sullivan; 19. The True Tragedy as a Yorkist Play? Problems in Textual Transmission Richard Stacey; 20. Henry VIII and Henry IX: Unlived lives and re-written histories Laura Jayne Wright; 21. 'And his works in a glass case': The Bard in the Garden and the Legacy of the Shakespeare Ladies Club Genevieve Kirk; 22. Hamlet and John Austen's Devil with a (Dis)pleasing Shape Luisa Moore; 23. Shakespeare, #MeToo, and his New Contemporaries Pamela Royston Macfie; 24. 'While memory holds a seat in this distracted globe': A Look Back at the Arden Shakespeare Third Series Jennifer Young; 25. Shakespeare Productions in London Lois Potter; 26. Productions Outside London Peter Kirwan; 27. Professional Productions in the British Isles, January – December 2019 James Shaw; 28. The Year's Contribution to Shakespeare Studies: 1. Critical Studies reviewed by Jane Kingsley-Smith; 2. Editions and Textual Studies reviewed by Emma Depledge.

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Book SynopsisThe 42 exercises detailed in this comprehensive guide provide both the instructor and the student a ''user-friendly'' workshop structure. The basic concepts of directing are learned progressively. This approach is totally new -- the student discovers the demands and problems of directing by actually doing it step-by-step. The student''s own directing style emerges with each exercise.

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Book Synopsis A More Perfect Ten is a revision of Gary Garrison''s pioneering book on writing and producing the 10-minute play, and it is now the most authoritative book on this emerging play form. The 10-minute play has become a regular feature of theatre companies and festivals from coast to coast, and Garrison has distilled the advice of many of those people who had been instrumental in promoting the ten minute play for the last few years. Replete with advice and tips on creating the successful 10-minute play, and cautions for avoiding the pitfalls, this new edition also includes addresses for the biggest and most important 10-minute festival opportunities, new sample 10-minute plays and questions for thought and discussion, and sample layout templates for laying out the play for submission. The savvy playwright at any level of skill can use this little book to great advantage. Plus Gary Garrison is warm, funny, irreverent, and essential.

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Book SynopsisPlaywriting Master Class is a book about the process of playwriting for the active playwright, the evolution of the play as the playwright engages with it and the choices the playwright makes in creating the play. Through the use of a number of case studies of playwrights engaged in writing and rewriting plays, Michael Wright focuses on different individual approaches to their work, fostering their own unique visions and voices as a means of helping the working playwright find her or his own voice. From the various forms of inspiration, overcoming writing blocks, revising a manuscript, etc., this book provides the playwright with models to follow, new techniques to explore, or even mere confirmation in the many ways that playwrights tackle the tasks of creating a play.

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Book Synopsis"Experiencing Theatre completely engages the beginning theatre student in the art of theatre. Students become playwrights, dramaturges, actors, directors, designers, adapters and collaborators though dynamic readings and excercises. This text gives them a great awareness of the work of being a theatre artist. Teachers have long strived towards creating these opportunities for their Intro students--finally a text that will make it happen." --Barbara Burgess-Lefebvre, Robert Morris University

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Book SynopsisThree Comedies features the work of three dramatic geniuses of the glorious, no-holds-barred tradition of ancient Athenian comedy. Here Aristophanes, the eight-hundred-pound gorilla of Old and Middle Comedy meets Menander, elephant in the room of New Comedy, in a match made possible by Douglass Parker--if not Athenian exactly, or even ancient, possibly the maddest chameleon ever to absorb the true colors of an ancient choral song, transpose a lost pun, or channel a venerable, giant, dung-eating cockroach for the benefit of those who couldn't be there the first time. Timothy J. Moore offers concise and informative introductions and notes to Parker's brilliant translation of Aristophanes' fantastical Peace and Money, the God and Menander's lively, domestic Samia --and includes, as a bonus, Parker's James Constantine Lecture at the University of Virginia, "A Desolation Called Peace : Trials of an Aristophanic Translator."

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Book SynopsisEdmonton''s Loud & Queer Cabaret has been blazing trails and shining a light on Queer arts and culture for twenty years. The showcase has debuted more than three hundred pieces of stunning performance and art from both established and emerging talent alike. From the Loud & Queer Cabaret archives, here are some of the most memorable pieces, from monologues to cabarets to one-act plays. Diversity of the LGBTQ experience is at the heart of this powerful collection. Voices ring out with stories and perspectives that will make you laugh, cry, and glow with Pride. This heartfelt anthology is a testament to great courage, a celebration of art, and the power of authenticity. Contributions from: Trevor Anderson Marc Colbourne Beau Coleman T.L. Cowan Nathan Cuckow Ruth DyckFehderau Peter Field R.W. Gray Nick Green Kristy Harcourt Susan Holbrook Susan Jeremy Laurie MacFayden Chandra Mayor Darrin M. McCloskey Berend McKenzie Gerald Osborn Rosemary Rowe Norm Sacuta Trevor Schmidt christina starr Michaela Washburn

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Book SynopsisThis book, the first to document the significant work carried out in these places, transports us back to a time of fearless experimentation in theatre.

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