Theatre direction and production Books

Book SynopsisApplied theatre is a continually growing and diversifying field. This book is the first of its kind to examine the use of applied theatre with looked-after children. It interrogates the experiences of young people in care in the UK and the potential of applied theatre as a liberation tool within these settings. Informed by twelve years of practice-based research, the book examines how a central pedagogy was initially developed with young people and front-line staff within a residential children's home. The author then critiques the ways in which this pedagogy was adapted and expanded to work with other looked-after, misrepresented and marginalised young people in related settings.The research presented here describes a unique journey through care homes, children's prisons and inner-city estates, exploring the possibility of reclaiming childhoods through theatre practice. It asks the questions: what does it mean to be looked after and cared for by an institution? What are the challenges of developing liberatory practice within rigid and homogenising frameworks? And how can theatre forge radical creative spaces within a network of power and control?

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Book Synopsis«Perhaps the greatest actor-manager of his time», wrote the distinguished playwright Harold Pinter, whose first job in the theatre was with Anew McMaster’s classical theatre company and whose little book, called Mac, Pinter published as a tribute to him after his death. For over thirty years «Mac», as he was known, toured the Irish provinces giving the country people their first sight of Shakespeare. Anew McMaster died over fifty years ago, and though he figures largely in biographies by Micheal O’hAodha, Simon Callow and his brother-in-law, Micheál MacLiammóir, he has not had, as yet, a full book devoted to his life and work.Table of ContentsCONTENTS: Birkenhead, the Early Years - London, a Mentor and a Significant Meeting - The Willmores - Mac, Mana, Micheál, and the First World War - Vanished to Australia - An Arabian Prince Returns, and «Iris» - Flight into Ireland - First Tours, and Micheál and Hilton - Shakespeare at the Abbey - A Second Abbey Season - Williamstown, and Mrs Patrick Campbell - Hard Times - Stratford - Chiswick - Religion, Scotland, and the Second World War - Loughleven Cottage - Touring During the War - Lord Longford and Oedipus - Fire, Lights and the War - Facts of Life - Burgess, Paulette, and Winterset - Pembroke Road and Some Actors - Australia Again - Changing Times and Equity - I Leave the Company - America and Long Day’s Journey - Home Again and More Changes - The Writing on the Wall.

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Book SynopsisSullied Magnificence: The Theatre of Mark O’Rowe is a collection of essays that combines the voices of Mark O’Rowe’s collaborators and critics with analysis by leading academics. It examines the role of the actor and director in monologue theatre. It questions the use of violence in O’Rowe’s films and plays. It explores influences and inspirations, and provides a thorough introduction to the work of one of Ireland’s most unique theatrical voices. It also takes a brief look at O’Rowe’s work for film, as both writer and director, and the crossover effect this work has had on his plays.Trade Review«Mark O’Rowe is one of contemporary theatre’s great extremists - vivid, violent, beautiful, grotesque, each play a savage war between form and content. It takes some daring to explore the minefields he creates and in this very welcome volume, the authors do so with an intelligence that matches their intrepidity. Anyone with an interest in Irish theatre now will want to read it.» (Fintan O’Toole)Table of ContentsCONTENTS: Jimmy Fay: A Sense of Place, A Place of Dread - David S. Clare: «Keep the Aspidistra Flying»: The Satirizing of Celtic Tiger, «Aspirational» Lifestyles in Mark O’Rowe’s Early Work - Thomas B. Costello: Expletive Narrative: Mark O’Rowe’s Howie the Rookie: The Early Critical Reception of Dublin’s Dark Diegetic Narrative - Aidan Kelly: The Small Guy with the Glasses - Sara Keating: Crestfall: A Production Study - Tim Barrett: Performativity and Class in Mark O’Rowe’s Monologue Plays - Emma Creedon: From «Up-Yer-Hole» Theatre to the Shakesqueer: Made in China (2001) and Henry IV Part I (2002) - Marie Kelly: At the Terminus in the Brain: Illusions of Consciousness in Mark O’Rowe’s Terminus - Nelson Barre: Interwoven Locality and a Globalized Dublin: Mark O’Rowe’s Terminus - Harvey O’Brien: Violated Sanctuaries: The Screenplays of Mark O’Rowe - Emilie Pine: Review of Our Few and Evil Days - Cormac O’Brien: A Tallaght of the Mind: In Conversation with Mark O’Rowe.

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Book SynopsisMarie Jones is one of the most prolific and popular writers working in Northern Irish theatre today. Her work has achieved local relevance and international recognition. In the course of a remarkable career now spanning five decades, Jones has been an actor, playwright, and screenwriter; she also helped to establish two major Irish theatre companies (Charabanc and DubbelJoint) as well as playing a major role in theatre-in-education through her plays for Replay Productions. From her earliest work with Charabanc in the early 1980s to the present day, Jones’s work has engaged with Irish (and, more often than not, specifically Northern Irish) experience in ways that reveal the extent to which the personal is political in a distinctive form of popular theatre. This volume of essays engages critically with Jones’s oeuvre, her reception in Ireland and beyond, and her position in the canon of contemporary drama. Table of ContentsCONTENTS: Eugene McNulty: Marie Jones and Charabanc: Popular Theatre in / for Northern Ireland - Charlotte J. Headrick: Finding her legs: Lay Up Your Ends and Marie Jones’s international success - Deirdre O’Leary: Purchasing Power: Material Culture and the Function of America in Marie Jones’s post Charabanc plays - Wei H. Kao: An Alternative Peace Process: Violence and Reconciliation in Marie Jones’s Plays - Fiona Coffey: Marie Jones and the DubbelJoint Theatre Company: Performance, Practice, and Controversy - Eleanor Owicki: «I am a Protestant Man, I’m an Irish Man» : Politics, Identity, and A Night in November in Performance - Catherine Rees: Masculinity and the Performance of Gendered Identities in the plays of Marie Jones - Shonagh Hill: «Popular Feminisms» and the Radical Within: Menopausal Women’s Desire for Visibility in Marie Jones’s Women on the Verge of HRT - Dawn Fowler: Women’s Suffrage and the Politics of Militancy in The Milliner and The Weaver.

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Book SynopsisA useful and provocative book that collects the diverse and related practices of theatre makers and theatre professionals deserving of greater attention from artists, teachers and scholars. (Willie White, Director of Dublin Theatre Festival and President of IETM) Radical Contemporary Theatre Practices by Women in Ireland is an important contribution to the fields of Irish theatre and performance studies, and gender and performance in Ireland. The essays and interviews explore the work of women directors, designers, and playwrights on both sides of the Irish Border, who are currently shaping theatre practice on the island. By gathering such an impressive range of material, Mária Kurdi and Miriam Haughton have produced a collection that offers a snapshot of radical practice on the Irish stage in the early 21st century. (Lisa Fitzpatrick, Senior Lecturer in Theatre, University of Ulster)Trade Review«A useful and provocative book that collects the diverse and related practices of theatre makers and theatre professionals deserving of greater attention from artists, teachers and scholars.» (Willie White, Director of Dublin Theatre Festival and President of IETM) «Radical Contemporary Theatre Practices by Women in Ireland is an important contribution to the fields of Irish theatre and performance studies, and gender and performance in Ireland. The essays and interviews explore the work of women directors, designers, and playwrights on both sides of the Irish Border, who are currently shaping theatre practice on the island. By gathering such an impressive range of material, Mária Kurdi and Miriam Haughton have produced a collection that offers a snapshot of radical practice on the Irish stage in the early 21st century.» (Lisa Fitzpatrick, Senior Lecturer in Theatre, University of Ulster)Table of ContentsCONTENTS: Jessica Kennedy/Megan Kennedy/junk ensemble: Collectable junk: Moving through a Decade of Dance Theatre - Shonagh Hill: Olwen Fouéré’s Corpus: The Performer’s Body and her Body of Work - Cathy Leeney Second Skin: Costume and Body: Power and Desire - Miriam Haughton: From Laundries to Labour Camps: Staging Ireland’s «Rule of Silence» in ANU Productions’ Laundry - Caitriona Mary Reilly: The Fetishization and Rejection of Womanhood in the Performance Works of Áine Phillips - Sam Yates: «We Will Be Seen»: Documenting Queer Womanhood in I (Heart) Alice (Heart) I - Emma Creedon: Performative Reappropriation: A Case Study of Taking Back Our Voices - Brenda O’Connell: «The Horror, The Horror»: Performing «The Dark Continent» in Amanda Coogan’s The Fountain and Samuel Beckett’s Not I - Fiona Coffey: Blurring Boundaries and Collapsing Genres with Shannon Yee: Immersive Theatre, Pastiche, and Radical Openness in the North - Kasia Lech: Pain, Rain, and Rhyme: the Role of Rhythm in Stefanie Preissner’s Work - Charlotte Headrick: Reflections and Interviews with Radical Theatre Makers - Lynne Parker: «Radical» Director. Reflections of a Fellow Director - Matt Jennings: Activism and Responsibility: Women Directing Theatre in Contemporary Northern Ireland - Karen Quigley: HERE AND NOW, There and Then: An Interview with Veronica Dyas - Noelia Ruiz: The 10kW Girl: An Interview with Aedín Cosgrove - Tanya Dean: Landmark Decisions: An Interview with Anne Clarke

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Book SynopsisStanislavski in Ireland: Focus at Fifty is an insight into Ireland’s only arthouse theatre from the people who were there. Through interviews, articles, short memoirs and photographs, the book tracks the theatre from its inception, detailing the period under its founder Deirdre O’Connell and then the period following Joe Devlin’s arrival as its new artistic director. Many of Ireland’s leading theatre and film artists trained and worked at Focus, including Gabriel Byrne, Joan Bergin, Olwen Fouéré, Brendan Coyle, Rebecca Schull, Johnny Murphy, Sean Campion, Tom Hickey, and Mary Elizabeth and Declan Burke-Kennedy. The book comes complete with a chronological list of Productions. It is aimed at students of theatre, actors, directors, academics, as well as the casual reader.Trade Review«What I recall from the opening night of Focus productions is a powerful sense, not only of a period and place, but of a set of lives, relationships, conflicts and dramas having been created on stage. The fact that what happened on stage was based on technique lifted the achievement of The Focus Theatre and the contributions of Deirdre O’Connell beyond any individual or occasional brilliance. A new approach to theatre was being launched. A theory and practice based on the work of Konstantin Stanislavski was being made available to Irish theatre.» (Michael D. Higgins, 2001).Table of ContentsCONTENTS: Brian McAvera/Steven Dedalus Burch: An Introduction in Search of an Audience - Mary Moynihan: Loving the Art in Yourself: a short history of the Focus Theatre - Joe Devlin: The Journey to Stanislavski and Beyond - Steven Dedalus Burch: Lineage: Acting and the Theatre - Mary Moynihan: An Interview with Margaret Toomey - Elizabeth Moynihan: Focus at Fifty - Mary Elizabeth Burke-Kennedy: The Tern: a Memoir - Jimmy Murphy: The Hen-Night Epiphany - Brian McAvera: A (partial) Return to the Irish Fold - Steven Dedalus Burch: Writing as Politics, Politics as Writing: an interview with Brian McAvera - Steven Dedalus Burch: Focus is the Voice of its People - Tim McDonnell/Mary Elizabeth Burke-Kennedy/Ena May/Elizabeth Moynihan: Auditions - Mary Elizabeth Burke-Kennedy: Focus vs. Dublin Theatre establishment - Mary Moynihan/Tim McDonnell/Mary Elizabeth Burke-Kennedy/Sabina Coyne Higgins: Stanislavski Training - Mary Elizabeth Burke-Kennedy/Cathal Quinn: Directing - Sabina Coyne Higgins: Business - Tim McDonnell/ Mary Elizabeth Burke-Kennedy/Sabina Coyne Higgins/Cathal Quinn: Productions - Mary Moynihan/Sabina Coyne Higgins/Tim McDonnell/ Mary Elizabeth Burke-Kennedy/Ena May/Geraldine Cusack/Elizabeth Moynihan: Memories of Deirdre - Elizabeth Moynihan/Joe Devlin: Transition from Deirdre to Joe - Elizabeth Moynihan/Mary Elizabeth Burke-Kennedy: The Joe Devlin Years - Kevin O’Brien: Focus Theatre and Deirdre O’Connell - Ronan O’Leary: Deirdre on Film: Reflections In A Golden Eye - Joe Devlin: The Last Night Speech at the Focus.

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Book SynopsisThis biography delves into Fitzmaurice's creative identity by reconstructing the regional roots of his themes, characters and dialect.Table of ContentsChronology - List of Illustrations - Author’s Preface - Foreword - Life in Bedford - The Move from Bedford - The Short Stories - An Introduction to Theatre - Life in Dublin: The Early Years - The Country Dressmaker - The Pie Dish - Two Dramatic Fantasies - George Fitzmaurice’s Drama: An Interpretation - 1913: Rejection of The Dandy Dolls - The Return from France - The 1920s - The Post-War Plays - The 1930s - The Fitzmaurice Family in Kilcara Beg - The 1940s - The Dublin Plays - The 1950s - Death and the Following Years - Bibliography - Endnotes - Index.

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Book SynopsisThis book is a critical frame for a body ofdevised work that toured extensively nationallyand internationally, The Ravel Trilogy. The threeperformances, Bolero (2014), Concerto (2016) andSolo (2018), set out to explore the dramaturgy ofmusic and the musicality of drama. The playtexts are framed alongside reflective essays. 49 b&w illus.

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Book SynopsisThis book focuses on the most successful feature films of John Carney, namely Once (2006), Begin Again (2013) and Sing Street (2016). Drawing on narrative, formalist and genre theories of film, the book presents an in-depth examination of how the formal and stylistic choices made by Carney allow each film to narrate a story in a coherent way. It shows how aural and visual contrivances are hidden behind a façade of realism, and how the films engage with universal, national and personal concerns and also how they relate to each other and to Irish and American film in general. It also explores the textual articulation of genre in each and the discrepancies between such articulation, the genre expectations set up by the promotional discourse coming from the publicity materials and events accompanying each release, and the genre labelling of each film in contemporary reviews by professional critics from the United States, Canada, Great Britain, and Ireland.Table of ContentsContents: Introduction – Once (2006): The Musical That Pretended It Was Not a Musical – Begin Again (2013): The Remake That Pretended It Was Not a Remake – Sing Street (2016): The Coming-of-Ager That Pretended It Was Just a Musical – Conclusion.

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Book SynopsisThis book highlights the important creative work of Belarusian theatre and filmmakers seeking to raise awareness of the Pro-democracy movement and human rights abuses in Belarus and to build communities of care and mourning following the fraudulent 2020 presidential elections in Belarus. Examining the work of the Belarus Free Theatre, Andrei Kureichik, and the Kupalautsy Theatre, it demonstrates how documentary theatre, adaptation, and digital theatre have enabled displaced, dissident artists to form international communities to support Belarusian dissidents in these fraught times.

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Book SynopsisDirectors and Designers explores the practice of scenography—the creation of perspective in the design and painting of stage scenery—and offers new insight into the working relationships of the people responsible for these theatrical transformations. With contributions from leading practitioners and theorists, editor Christine White describes the way in which the roles of director and designer have developed over time. Featuring chapters on theater and site-specific performance, theatrical communication and aesthetics, and the cognitive reception of design by the audience, this volume provides a valuable resource on current approaches to scenography for professionals and students.Table of ContentsPART I: SETTING THE SCENE Chapter 1: Back and Forth to Russia: Scenography as an Academic Study from Moscow 1994–St Petersburg 2004 – Christine White PART II: PERFORMING PARTNERS Chapter 2: Hand in Glove: The Designer as Director as Designer – Charles Erven Chapter 3: Political Performing Partners: Director Lee Strasberg, Scene Designer Mordecai Gorelik, Playwright John Howard Lawson and the Group Theatre – Anne Fletcher Chapter 4: The Director, the Designer and the Ghost/Creative Team in Site-Specific Performance Practice – Kathleen Irwin Chapter 5: Director Petr Lébl and Designer William Nowák: To a Man – Vera Velemanová Chapter 6: The Organics of the Rehearsal Room: Contemporary Directing Practice and the Director–Designer Relationship – Alison Oddey Chapter 7: Collaborative Models: Mielziner, Williams and Kazan – Julia Listengarten Chapter 8: Problematics of Theatrical Negotiations: Directing, Scenography and State Ideology – Julia Listengarten Chapter 9: Methodological Practices for Directing and Designing – Christine White Chapter 10: The Digital Platform as a Communication Tool – Adele Keeley PART III: METAPHORS, METATHEATRE & METHODOLOGIES Chapter 11: The Seductive Scene or Reclaiming Spectacle – Christine White Chapter 12: Metatheatre: A Discourse on Contemporary Staging – Ewa Waçhocka Chapter 13: A Metaphorical Mise-en-Scène: Elia Kazan and Max Gorelik at The Group Theatre – Scott Dahl Chapter 14: Ideational Conflict and Resolution in the Design Process: Positive Outcomes from Negative Relationships – Harry Feiner Chapter 15: Design as Action: Jean Cocteau and the Ballets Russes – Gregory Sporton PART IV: POSTSCRIPT TO THE DIRECTOR Chapter 16: From Hamlet with Love: A Letter to the Other – Lilja Blumenfeld

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Book SynopsisA unique guide to every aspect of putting on your own solo show: choosing the subject, raising the finance, booking the venue - and performing it! More and more actors – faced with ever longer periods of unemployment – are turning to the solo show as a way of keeping active, keeping visible, and keeping the wolf from the door! This book is essential reading for anyone contemplating such a move, and comprehensively covers every aspect of putting on your own one-person show. Being a veteran of the solo-show circuit, as a writer, performer and director, Gareth Armstrong is the ideal guide. He takes you step by step through each stage of the process: • Choosing the right material – or devising your own • Raising the finance • Finding the venues • Hiring a bookings manager and other personnel • Arranging publicity • Winning an audience There is a special section on that mecca for solo shows, the Edinburgh Fringe, and an extensive appendix covering funding bodies, venues, festivals and more. Throughout the book, Armstrong illustrates his points with case studies of actual solo shows by performers such as Miriam Margolyes, Linda Marlowe and Guy Masterson. 'So You Want To Do A Solo Show? is a thorough, meticulous, hands-on, "how-to-do" manual, covering everything from the germination of an idea right through to the costing of the flyers. It is, I think, the most valuable read for any performer who has ever thought "If only I could have some control over the way my career is going"' Maureen Lipman, from her ForewordTrade Review'This book does exactly what it says on the front cover... Armstrong specialises in clear explanations and common sense... it may prevent many nervous breakdowns' * British Theatre Guide *'Eminently readable and very useful... a fantastic resource' * Teaching Drama *'A timely and essential companion' * The Stage *

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Book SynopsisThis collection of essays showcases the rich diversity of current writing about Irish theatre. The volume includes perspectives from experts in scenography, physical theatre, dramaturgy and stand-up comedy, as well as academic contributions drawing from anthropology, psychology, sociology, gender studies and performance studies. Exploring plays, events, exhibitions, performances, and rehearsal and realization processes, the essays provide a stimulating analysis of the languages and procedures of theatre in Ireland. The book demonstrates that performance studies and practices are continuing to expand, suggesting that Ireland’s text-centric theatre has begun to cast its net further afield and pointing to the rich possibilities within Irish theatre, scholarship and practice, now and for the future.Table of ContentsContents: Thomas Kilroy: Foreword – Rhona Trench: Introduction - Staging Thought: Essays on Irish Theatre, Scholarship and Practice – Frank Conway: The Sound of One Hand Clapping – Rhona Trench: A Blend of Irish and European Theatre Process and Practice: Blue Raincoat Theatre Company’s Production of W.B. Yeats’s The Cat and the Moon (1926) – Carmen Szabo: Place and Non-Place: Discussing Physicality and Story in Barabbas Theatre Company’s Circus (2007) – Agnes Pallai: Cultural Differences in Staging Brian Friel’s Translations in Romania – Enrica Cerquoni: Ways of Seeing and the Womb-Theatre: Theatrical Space and Scenic Presentation in Marina Carr’s Ariel – Virginie Privas-Bréauté: The Actor’s Body as a Heterotopic Language in Bill Morrison’s The Marriage – Caoileann Thompson: Irish Theatre Studies in the Performance Age: The Case of Stewart Parker – Eamonn Jordan: ‘It Would Never Happen On The Waltons’: Enda Walsh’s The Walworth Farce – Eric Weitz: Sleight of Frame: Exploitations of Comic Feeling by Two Irish Playwrights – Suzanne Colleary: ‘God’s Comic’: Narratives of Performed Identity of Irish Stand-Up Comedian Tommy Tiernan – Fiona Fearon: Decoding the Audience: Enda Walsh’s Chatroom (2008) – Mary Caulfield: Fashion Advice: Constance Markievicz’s ‘Unmarked’, ‘Mismarked’ and ‘Remarkable’ Women – Michael Jaros: Broken Narratives, Performing Ruins: Yeats, Beckett and the Dramatic Landscape of Catastrophe – Christopher Collins: J.M. Synge, W.B. Yeats and The Changeling of the Western World – Shonagh Hill: Female Self-Authorship and Reperformance of the ‘Good Death’ in Marina Carr’s Woman and Scarecrow – Aoife McGrath: ‘The Less You Bump, The Faster You Go’?: Staged Scenes of Dissensus in CoisCéim’s Dodgems – Steve Wilmer: Theatre and Nation: Performing Statelessness in Ireland and Abroad – Holly Maples: Performing Cultural Trauma: The 1980 ‘A Sense of Ireland’ Festival.

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Book SynopsisThe swimming pool frequently appears in film not merely as a setting but as a dynamic site where social, political, cultural and aesthetic forces converge. What is it about this space that has so fascinated filmmakers and what kinds of cinematic investigations does it encourage? This collection features essays by an eclectic, international range of film researchers. Amongst the works analysed are classics such as The Cameraman (1928), The Philadelphia Story (1940) and La Piscine (1969); cult hits such as The Swimmer (1968) and Deep End (1970); and more recent representations of the pool in Water Lilies (2007), Sea Point Days (2009) and Ausente (2011). The pool is considered as a realm where artifice meets nature, where public meets private, where sexualities morph and blend; and as a space that reconfigures the relationship between architecture and narrative, in which themes of pollution, spectacle and reflexivity find unique expression. Approaching the swimming pool from a wide range of methodological perspectives, the essays in this collection stake a claim for the enduring significance of this exciting cinematic space.Table of ContentsContents: Christopher Brown/Pam Hirsch: Introduction: The Cinema of the Swimming Pool – Chris O’Rourke: The Municipal Plunge: Silent Cinema and the Social Life of Swimming Pools – Sheri Chinen Biesen: Cinematic Comedy and the Swimming Pool: Gender, Class, Coming of Age and Sexual Identity from The Philadelphia Story (1940) to Legally Blonde (2001) – Alex Naylor: ‘The Anatomy of Atavism’: American Urban Modernity, Gothic Trauma and Haunted Spaces in Cat People (1942) – Edward Saunders: From Stadium to Street: Generations and Gentrification in Berlin Pool Scenes – Axel Andersson: The Artifice of Modernity: Alienation by the Pool Side in the Cinema of Michelangelo Antonioni – Christopher Brown: The Pools of The Swimmer (1968): Exurbia, Topography, Decay – François Penz: Atmosphère d’Eau Sauvage: Reflections on La Piscine (1969) – Pam Hirsch: A Dangerous Age: Deep End (1970) – Rose Hepworth: Staging Embarrassment in The Last Picture Show (1971) and Morvern Callar (2002) – Monika Keska: Filming the Splash: David Hockney’s Swimming Pools on Film – Clara Garavelli: The Swimming Pool as a Site of Subversion during the Spanish Transition: The Case of Pepito piscina (1978) – Matilda Mroz: The Aesthetics of Overflow: Andrei Tarkovsky’s Nostalghia (1983) in Duration – Micah Trippe: Urban Guerilla Playfare, or Skating through Empty Cinematic Pools in Dogtown and Z Boys (2001) – Sophie Mayer: Gutta cavat lapidem: The Sonorous Politics of Lucrecia Martel’s Swimming Pools – Emma Wilson: ‘The sea nymphs tested this miracle’: Water Lilies (2007) and the Origin of Coral – Piotr Cieplak: Swimming in Post-apartheid Cape Town: Sea Point Days (2009) – Fernando Gabriel Pagnoni Berns: Cartographies of Desire: Swimming Pools and the Queer Gaze.

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Book SynopsisIn 1927, the first production of Pygmalion was staged in Brazil. At the time, over 65 per cent of the adult Brazilian population was illiterate, which makes it all the more surprising that directors and producers dared to stage such a controversial playwright – a writer who had often been rejected by the more sophisticated theatregoer in England. This book analyses the reception of almost a century of Brazilian productions of Pygmalion, My Fair Lady, Arms and the Man, Candida and Mrs Warren’s Profession, setting that analysis in the context of the political, economic and cultural climate at the time of each production. What emerges is a faithful portrait of a country where theatre and theatre criticism are precariously established, and the theatregoer with no knowledge of English cannot be certain that the translation or adaptation they are watching bears anything more than a passing resemblance to the original. Nonetheless, Brazil has also witnessed a number of fine productions, presented by highly skilled actors and directors and reviewed by well-informed and articulate critics. As well as supplying fascinating detail on the wide range of Shaw productions staged in Brazil over the last ninety years, this volume also generates valuable insights into the complexities of twentieth-century Brazilian society.Table of ContentsContents: Pygmalion – My Fair Lady – Arms and the Man – Candida – Mrs Warren’s Profession.

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Book SynopsisDas Theater der Moderne gründet sich auf ästhetische Energien. Seit den 1880er Jahren aber sind es elektrische Energien, aus fossilen Brennstoffen in Kraftwerken erzeugt, die im Theater zu zirkulieren beginnen. Installiert wird eine mysteriöse Entität, die noch als Lebenskraft gehandelt wird und schon für Fortschritt durch Technik steht. Mit der Elektrifizierung des Theaters wird Elektroindustrie respektabel und Bühnenkunst modernistisch. Entsorgt werden die Kulissen, die im Scheinwerferlicht nur noch verstaubt erscheinen, und aus der Bildermaschine wird Raumkunst. Doch wichtiger sind die institutionellen Transformationen, die sich in bislang unbeachteten Koalitionen, Kontinuitäten und Konkurrenzen von technischen und ästhetischen Dingen abspielen. Ingenieurswissen, Kontrolltechniken und Versorgungssysteme ändern, wie Theater und Gesellschaft verschaltet sind. Der Interaktionsraum (zwischen-)menschlicher Leiblichkeit des 20. Jahrhunderts entpuppt sich als eine technische Konstellation. Table of ContentsEinleitung.- 1. Inkandeszenz: Elektrische Einrichtungen und ihre hygienische Legitimation.- 2. Oxydation: Materielle Kultur und industrialisiertes Theater.- 3. Regulatoren: Kontrolltechniken und elektroästhetische Heilserwartungen.- 4. Fabrikation: Atmosphären und ihre technischen Grundlagen.- 5. Attraktionen: Elektrizitätsausstellungen und ihre Inszenierung.- 6. Kommunikation: Elektrische Medien und telegraphisches Welttheater.- 7. Industriepoesie: Getanzter Fortschritt und Zivilisation als Kaleidoskop.- 8. Leuchtkörper: Figurationen der Technik und begehrliche Projektionen.- 10. Kraftfelder: Wissenschaftstheater und die Räume der Elektrotechnik.- 11. Fazit: Ästhetik der Elektrizität.- Literaturverzeichnis.- Abbildungsverzeichnis.

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Book SynopsisDie neueren Zeiten kennen den Chor kaum mehr als Bestandteil der Festkultur, deswegen ist seine Umsetzung im Theater ein großes Problem. Für Regisseure und Schauspieler wie auch für die Zuschauer war der Chor der fremdartigste Teil. Allerdings haben seit der deutschen Klassik Theatermacher dem Chor intensive Aufmerksamkeit geschenkt. Der Chor ist dabei nicht nur ein dramaturgisches Mittel, um eine Distanz zwischen Bühne und Zuschauer zu wahren, sondern auch ein wichtiges Mittel zur Herstellung einer neuen Theater- und Zuschauerkunst. Der Rekurs auf das antike Vorbild zielt somit nicht auf die Wiederbelebung dieses Vorbilds um seiner selbst willen, sondern auf die Eröffnung neuer Möglichkeiten für das moderne Theater im Ringen um ein neues Theaterkonzept. Unter diesem Gesichtspunkt analysiert die vorliegende Studie die höchst differenzierten Chorkonzepte der Moderne.

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Book SynopsisDramaturgie hat eine lange Tradition, auch im Bereich von Film und Fernsehen. In diesem Buch wird ein Überblick über dramaturgische Grundlagen und die Besonderheiten der Filmdramaturgie gegeben. Darüber hinaus wird auf Aspekte der Gestaltung von Games verwiesen. Kenntnisse der Filmdramaturgie ermöglichen es, einem Film, einer TV-Serie oder auch einem narrativen Game zu seiner bestmöglichen Entfaltung zu verhelfen, ohne diesem standardisierte Grenzen einer Formatvorlage aufzuerlegen. Ebenso kann eine Kenntnis der Filmdramaturgie die Analyse von audio-visuellen Werken unterstützen, um die künstlerische Prozesse erkennen, verstehen und gestalten zu können, die dessen Erfolg beeinflussen. Es werden Traditionen und Modelle der Filmdramaturgie an bekannten Beispielen sowie aus der Praxiserfahrung heraus und für diese anwendbar diskutiert.

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Book SynopsisWhat’s the role played by the invisible in our lives? At what level can it be perceived when explored in theatre-making? Having as its focus the acting processes carried out by Peter Brook and his actors, this book examines many aspects of their practical work – from actor training seen as "poiesis" to the production of the "present moment" – and in doing so, it tries to recognize the nuances and subtle qualities generated by the invisible produced by them. However, the core of this investigation is that of trying to capture the invisible not as a vague sensation but in its dynamic and powerful manifestation.Table of ContentsInvisible – Acting – Theatre – Experience – Liminarity – Peter Brook

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Book SynopsisThe author examines how new music scores with extended playing techniques call for new practice structures. YouTube access to basic instructional videos and the streaming of sound files allows musicians today to learn easily and independently. Yet, the trailblazers in new music tackled new scores without these aids; they used imagination, experimentation and tenacity. Conscious use of both learning modalities can augment ideas of practice and performance preparation; expanding new music’s reach while preserving its fire. Practice is differentiated between the quick learning for an upcoming performance and the transformative learning that new music offers. Periodization theory from sport science provides a pedagogical framework for building both mental and physical stamina leading to peak performance.Table of ContentsContents: Using extended techniques to diagnose and reframe technical issues and to promote flow – A work ethic against mediocrity – Mental preparation – Physical preparation – Building stamina through extended techniques – Periodization of Heinz Holliger’s (t)air(e) – A periodized daily studies program.

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Book SynopsisEste libro recoge una serie de entrevistas y encuentros con mujeres cineastas del siglo XXI cuyas voces están redibujando la cinematografía nacional, a menudo, desde los márgenes de la industria. La introducción perfila el contexto de esta emergencia y las principales líneas discursivas, subrayando el surgimiento de redes más o menos formales que permiten pensarse de manera colectiva. Las entrevistas, realizadas por especialistas en cine español y acompañadas de retratos ex profeso, exploran sus trayectorias laborales y vitales, sus aportaciones artísticas y las particularidades del quehacer fílmico en clave de género. Las experiencias de creadoras diversas cuya obra se adscribe a la ficción, el documental y la animación ofrecen una mirada poliédrica y descentrada al cine contemporáneo.

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Book SynopsisPepe Carvalho, el singular detective creado por Manuel Vâazquez Montalbâan, ha sido el personaje literario mâas adaptado por los medios audiovisuales espaänoles desde la reinstauraciâon de la democracia. Durante el periodo 1976-2005 ha sido objeto de tres pelâiculas, una serie de televisiâon y once telefilmes. Fuertemente connotado ideolâogicamente por su autor, su vida literaria, pero tambiâen la audiovisual, se entrecruza con los cambios de la sociedad espaänola. Este libro propone, a travâes del exhaustivo estudio de las diferentes adaptaciones de Carvalho, un anâalisis de câomo el cine y la televisiâon han recogido e intervenido en dichos cambios, basâandose en tres ejes: el polâitico, el cultural y el espacial.

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Book SynopsisDesde finales de los años cuarenta, fue configurándose un cine clásico compartido entre España y Latinoamérica repleto de coproducciones, intercambios de profesionales e intensos diálogos entre culturas nacionales. Nacieron así muchas películas musicales que explotaron la popularidad transnacional de diversas estrellas y formas musicales. Este libro estudia las dimensiones queer y transnacionales de cuatro destacadas estrellas, Luis Mariano, Miguel de Molina, Pedrito Rico y Alfredo Alaria, que desarrollaron sus carreras en España, pero también en otros países, prestando especial atención a sus complicadas relaciones con la dictadura franquista, con cuyo restrictivo y homófobo marco discursivo negociaron la visibilidad de lo queer, abriendo brechas para la expresión no heteronormativa.

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Book SynopsisUm das Jahr 2000 ist vielfach von einer medial bedingten Entwirklichung' des Realen die Rede, als deren Auslöser der digitale Medienumbruch gilt. Regine Leitenstern untersucht, wie sich die Filme zweier der profiliertesten Vertreter des europäischen Autorenkinos innerhalb dieses Diskurses positionieren: François Ozon und Pedro Almodóvar. Anders als die Mehrzahl angelsächsischer Produktionen, die sich diesem Thema widmen, nehmen die Werke Ozons und Almodóvars nicht auf neue digitale, sondern auf deutlich ältere Medien Bezug. Mittels intermedialer Referenzen auf Literatur, Theater und den Film selbst verhandeln sie ein bestimmtes Verhältnis von Realität, Inszenierung und Fiktion, das Aufschluss darüber gibt, wie sie sich innerhalb der Diskussion um ein Verschwinden' von Wirklichkeit verorten lassen.

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Book SynopsisJavanese shadow puppetry is a sophisticated dramatic form, often felt to be at the heart of Javanese culture, drawing on classic texts but with important contemporary resonance in fields like religion and politics. How to make sense of the shadow-play as a form of world-making? In Tall Tree, Nest of the Wind, Bernard Arps explores this question by considering an all-night performance of Dewa Ruci, a key play in the repertoire. Thrilling and profound, Dewa Ruci describes the mighty Bratasena’s quest for the ultimate mystical insight.The book presents the Dewa Ruci as rendered by the distinguished master puppeteer Ki Anom Soeroto in Amsterdam in 1987. The book’s unusual design presents the performance texts together with descriptions of the sounds and images that would remain obscure in conventional formats of presentation. Copious annotations probe beneath the surface and provide an understanding of the performance as a highly sophisticated and multi-layered creation. These annotations explain the meanings of puppet action, music, and shifts in language; how the puppeteer wove together into the drama the circumstances of the performance in Amsterdam, Islamic and other religious ideas, and references to contemporary Indonesian politics. Also revealed is the performance’s historical multilayering and the picture it paints of the Javanese past. Tall Tree, Nest of the Wind not only presents an unrivalled insight into the artistic depth of wayang kulit, it exemplifies a new field of study, the philology of performance.Trade Review"This voluminous and meticulously crafted book is different from the currently 'normal' books in the Indonesian Studies that are often revised versions of PhD theses. Rather, it represents the result of almost thirty years of work [...] Annotations and appendices make up the remaining roughly 200 pages. It is these annotations, together with the Introduction, that make the book so valuable, as they contain in-depth explanations and references to the rich body of scholarly knowledge of Javanese philology. [...] In other words, Tall Tree, Nest of the Wind might represent an example of a sub-field of Indonesian studies that is increasingly rare. — Zeitschrift der Deutschen Morgenländischen Gesellschaft (ZDMG)

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Book SynopsisA MOMENT ON THE CLOCK OF THE WORLD is an invitation to consider how we make the world, together. It collects the voices of people who respond to this invitation with their living lives and prolific work: artists, social justice practitioners, cultural critics and public intellectuals — Cornel West, Taylor Mac, Alisa Solomon, Robin D.G. Kelley and Laura Flanders among them — whose own inquiries intersected with that of the award-winning Foundry Theatre across its 25-year history. Notions of collaboration, art, community, space, prefigurative politics, metrics, and Time animate a conversation about the ways that artists and social justice workers build a more equitable world, and the historic challenges of their doing so together. A MOMENT ON THE CLOCK OF THE WORLD follows The Foundry’s long-standing tradition for creating provocative relationships between form and content. Its layout divides each page into two discrete horizontal sections; the top two-thirds contain each contributor’s chapter, while the bottom of the pages throughout the book hold a history of The Foundry’s inquiry by the company’s founder. There is no prescribed way to read this book. Rather, it is designed to invite the reader to discover and gather shared themes and ideas in any number of ways. The title of the book recalls renowned social activist and philosopher Grace Lee Boggs’s legendary — and for some, incendiary — call for a new kind of activism: “Now is the time on the clock of the world to grow our souls.” This book gathers together hard-won insights of its “moment.” It’s a moment on the continuum of ever in the (r)evolutionary human project of making the world. Trade Review"These stunning essays, interviews, incantations, manifestations are by the best radical thinkers in the U.S. A. This collection is a manifesto filled with bold ideas, magic and poetry, a living record of the best of what is still called the ‘un-American tradition’ in theater. This is political and creative courage at its best and the voices inside this work are not only subversive but reach to the very root of why we make theater, why we keep coming back. Best of all, this book wrenches apart neo-liberal notions of what ‘resistance’ truly is, and redefines and recontructs them from the root up. And the root is the only place where the radical still lives. And there also lives The Foundry theater." —Naomi Wallace "The Foundry Theatre is the great exemplar of artistic excellence, political courage, and visionary hope of American theatre in the late 20th and early 21st centuries." —Cornel West, (from the Foreword) "The Foundry Theatre has quietly been responsible for some of the most artistically ambitious work seen in New York in recent years." —The New York Times "The Foundry has a long history of pushing plays beyond the boundaries of traditional theatre in terms of form, content, and location." —Time Out "The Foundry Theatre has excellent vision. [They] have championed remarkable theatremakers who challenge what we consider a play." —Village Voice "The Foundry has long had the passion for mixing artistic rigor with social activism." —The Brooklyn Rail "Since 1994, The Foundry Theatre has been a mainstay in the downtown theatre scene." —The New York Times

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Book Synopsis‘I don’t understand how we got here. How we got to the point of actual physical fucking violence’ It seemed so straightforward: her and him, sex, whenever they wanted. But when the casual becomes routine and what was convenient turns all-consuming, she’s left trying to figure out, trying to remember when the ‘straightforward’ became so vicious. Michelle Barnette’s brutal debut play explores the toxicity of casual dating and the grey area between love and sex, consent and compliance, yes and no.

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Book SynopsisRoger Blin's career in the Arts was woven inextricably into the fabric of the Twentieth-Century French Avant-Garde. First appearing in the films of Abel Gance, Marcel Carné and Jean Cocteau, his acting career led him to a close friendship and association with Antonin Artaud, for whom he performed the function of assistant director. He championed Samuel Beckett's En attendant Godot, otherwise rejected unanimously by the French theatrical establishment, was Jean Genet's director of choice and was long associated with artists and practitioners as diverse as Arthur Adamov, Jean-Louis Barrault and Jacques Prévert. Marxist in outlook, Blin also sought to apply rigorous humanist principles to his art and delighted in the opportunities he enjoyed to disrupt and upturn the attitudes and complacencies of certain of his audiences. This book surveys all aspects of Blin's artistic output to consider and clarify his motivations, his ambitions and his aesthetic preferences. In doing so, the author hopes to offer perspectives on the methodologies that Blin employed and define the influence his work and his legacy has exerted on the French and World stage.

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Book SynopsisThis title is part of UC Press's Voices Revived program, which commemorates University of California Pressâs mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1970.

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