Theatre studies Books
Taylor & Francis Ltd Essays on the Performance of Baroque Music Opera
Book SynopsisIn this collection of essays Mary Cyr explores some of the written and unwritten performance conventions that applied to French and English music of the 17th and early 18th centuries. Using composers' own notations, marks added by 18th-century performers, historical treatises, and pictorial evidence, she investigates both vocal and instrumental genres, including opera, cantatas, instrumental chamber music, and solo music for the viol and violin. Some of the performance conventions remain controversial, such as the use of gesture by the French opera chorus, and others are still little-known, such as the use of the double bass for rhythmic and harmonic support in early 18th-century French opera. As many of these essays demonstrate, French Baroque music allowed performers a wider latitude of nuance and expression than is often assumed today. The essays in this volume will be of particular interest to scholars and performers who are interested in adopting a historically-informed approach to performing music by Henry Purcell, Ãâlisabeth-Claude Jacquet de La Guerre, Jean-Philippe Rameau, and their contemporaries. Several studies also deal with attributions, sources, and the discovery of a cantata by Rameau.Trade Review’The articles on ornamentation in English lyra viol music are a must for viol players interested in this repertoire... This book covers 30 years of work, but is so well researched and close to the sources that the older essays are not out of date... an extremely informative volume, of much use to performers and scholars alike.’ The Viola da Gamba Society Journal ’The articles are thoroughly researched and substantial; several of them have content which can teach us to perform baroque music to which they refer with greater historical awareness. And they break valuable new ground.’ The ConsortTable of ContentsContents: Part 1 Vocal Music in France: Élisabeth-Claude Jacquet de La Guerre: a biographical essay; The sacred and secular cantatas of Élisabeth-Claude Jacquet de La Guerre: an introduction; Representing Jacquet de La Guerre on disc: scoring and basse continue practices and a new painting of the composer; A new Rameau cantata; Performing Rameau's cantatas; Towards a chronology of Rameau's cantatas; Declamation and expressive singing in recitative; 18th-century French and Italian singing: Rameau's writing for the voice; On performing 18th-century haute-contre roles; Basses and basse continue in the orchestra of the Paris Opéra, 1700-1764; The dramatic role of the chorus in French opera: evidence for the use of gesture, 1670-1770; The Paris Opéra chorus during the time of Rameau; 'Inclina Domine': a Martin motet wrongly attributed to Rameau; Preface to François Martin, Petits Motets for One and Two Solo Voices with Instruments; Bach's music in France: a new source. Part 2 The Viol and Violin in England: A 17th-century source of ornamentation for voice and viol: British Museum ms. Egerton 2971; Carl Friedrich Abel's solos: a musical offering to Gainsborough?; Books on old violins and 19th-century playing from the bequest of T.W. Mills; Tempo graduations in Purcell's sonatas; Violin playing in late 17th-century England: Baltzar, Matteis, and Purcell; Ornamentation in English lyra viol music: part 1: slurs, juts, and thumpes and other 'graces' for the bow; Ornamentation in English lyra viol music: part 2: shakes, relishes, falls, and other 'graces' for the left hand; Index.
£137.75
Schiffer Publishing, Ltd. Broadway Poster Art
Book Synopsis
£41.24
Scarecrow Press The Complete Lyrics of PG Wodehouse
Book SynopsisAlthough he wrote hundreds of songs and was a key figure in the birth of the American stage musical, P. G. Wodehouse''s (1881-1975) long and influential career as a lyricist has been almost completely forgotten and unheralded - until now. Highly regarded by literati for his rich, sardonic Wooster and Jeeves books (among his more than ninety novels and volumes of short stories), Wodehouse broke new ground by writing songs that were cohesively integrated into the narrative action of musicals rather than presented as a string of unrelated tunes, which was the then-standard format. Particularly in the shows he wrote with Guy Bolton and Jerome Kern, Wodehouse transformed the musical from a poor man''s Gilbert and Sullivan-style operetta into a more idiomatic and respectable form based on contemporary life. This book sets the lyrics from his nearly forty theatrical productions within the context of each individual show, providing incisive and informative commentary for each. Lavishly illustrated with photos and memorabilia, Barry Day establishes why, throughout the 1920s and 1930s, Wodehouse was considered a top-tier theatrical figure on both sides of the Atlantic.Trade ReviewBefore Larry Hart, only P. G. Wodehouse has made any assault on the intelligence of the song-listening public. . . . Larry always said he was 'inspired' by Wodehouse. -- Richard RodgersOne day, in fifty, a hundred years' time, the words of Porter, Hart, Wodehouse, Gershwin, Coward, maybe a few of my own, will be published, recited, analyzed, codified. -- Johnny MercerWodehouse is the father of the modern theatre lyric, and it is a true delight to read as well as sing his marvelous creations. Ira Gershwin idolized him, and it is easy to understand why. -- Michael FeinsteinThe Complete Lyrics of P. G. Wodehouse is a wonderful way to get acquainted with one of the forefathers of musical theater. * Talkinbroadway.Com *Ira Gershwin would have loved this book. Not only was P. G. Wodehouse one of his literary heroes, but to Ira he was also a master lyricist. . . . All who cherish the best of musical theatre should be grateful to Barry Day for gathering together and sharing with us this treasure trove of wit and sensibility. -- Robert Kimball, Musical theatre historian and artistic advisor to the estates of Cole Porter and Ira Gershwin * Musical Theatre Historian *
£99.75
Bloomsbury Publishing (UK) Teaching Drama 1118
a huge range and FREE tracked UK delivery on ALL orders.
£38.99
Bloomsbury Publishing (UK) Caryl Churchills Top Girls Modern Theatre Guides
Book SynopsisProvides a critical introduction to Caryl Churchill's play "Top Girls", giving students an overview of the background and context for the play; detailed analysis of the its structure, style and characters; a practical analysis of key production issues and choices; and, an overview of the performance history focusing on key productions.Trade Review"A comprehensive and insightful approach...Tycer's commentary and analysis; reception and production histories, and practical ideas for understanding the play combine to persuade and to explicate Top Girls as 'still without significant equal in the feminist or mainstream canons'" - Professor Elaine Aston, Lancaster University, UKBriefly reviewed in the Year's work in English Studies journal, vol 89, No. 1 ‘The book provides intelligent readings of key scenes from the play and useful cultural and political background, as well as the changing critical views that this landmark play has elicited during a period of over twenty years'Table of ContentsSeries Preface; 1. Background; 2. Top Girls: analysis and commentary; 3. Production analysis; 4. Performance History; 5. Workshopping Top Girls; Conclusion; Timeline; Further Reading; References; Index.
£22.29
Africa World Press Monarchs Missionaries And African Intellectuals
Book Synopsis
£25.46
Limelight Editions Theatermania Presents Seats New York 160 Seating
Book SynopsisSEATS: NEW YORK: 180 SEATING PLANS TO NEW YORK METRO AREA THEATRES THIRD EDITION
£12.34
Theatre Communications Group Inc.,U.S. American Set Design
Book SynopsisIncludes: John Lee Beatty, John Conklin, Karl Eigsti, Ralph Funicello, Marjorie Bradley Kellogg, Eugene Lee, Ming Cho Lee, Santo Loquasto, David Mitchell, Douglas Schmidt and Robert Wagner.
£22.50
Theatre Communications Group Inc.,U.S. The Directors Voice
Book SynopsisForemost stage directors describe their working process: JoAnne Akalaitis, Arvin Brown, René Buch, Martha Clarke, Gordon Davidson, Robert Falls, Zelda Fichandler, Richard Foreman, Adrian Hall, John Hirsch, Mark Lamos, Marshall W. Mason, Des McAnuff, Gregory Mosher, Harold S. Prince, Lloyd Richards, Peter Sellars, Andrei Serban, Douglas Turner Ward, Robert Woodruff, and Garland Wright.
£20.39
Hal Leonard Corporation Avare L 001 Actors Moliere And George Dandin The
Book SynopsisACTORS MOLIERE V1 MISER & GEORGE DANDIN
£8.50
New Amsterdam Books Elizabethan Jacobean Drama
Book SynopsisThe purpose of this absorbing collection is to illuminate the world of the theatre by setting it squarely in its historical context. To that end, Professor Evans draws on the whole spectrum of Elizabethan-Jacobean writing, from official documents to diaries and letters. Part I, The Theatre and the World, deals, through contemporary writings, with the drama itself, the audiences and their responses, theatrical companies, acting and actors, and buildings and technical matters. Part II, The Worlds and the Theatre, illustrates how the problems of everyday life, complicated as they were by moral, religious, social, political, and economic issues, provided an ever-fruitful source of materials to the dramatists who practiced their craft during this extraordinarily creative period.Trade ReviewA useful teaching tool. * CHOICE *
£14.24
Aurora Metro Publications The Dutiful Daughter
Book SynopsisWritten by the award-winning author of plays for young people, this volume contains play in English and in dual Mandarin translation.Trade Review'A rare and mature piece of children's theatre, in both thought and form... it satisfies on every level.' The Guardian
£9.67
Taylor & Francis Ltd The Prop Building Guidebook
Book SynopsisNow in its third edition, The Prop Building Guidebook: For Theatre, Film, and TV walks readers through techniques used in historical and contemporary prop making and demonstrates how to apply them to a variety of materials.Experienced prop maker Eric Hart covers the tools and techniques used by professional prop makers throughout the entertainment industry. He outlines a construction process that gives readers the foundational knowledge to choose the best materials and methods for each prop and the background information to know the advantages of these choices. This new edition includes updated information and techniques throughout, including: Over a hundred new images and diagrams Updated terminology, products, and brands used internationally Expanded sections on 3D printing, vacuum forming, foam patterning, and more A new chapter on prop design New information on international safety standards, cleaning, and sanitation<Trade ReviewPraise for The Prop Building Guidebook "I really enjoyed the first Prop Building Guidebook. Eric Hart is a real pro in the prop business. If I lived on the East Coast, it would be great to do a project with him. I have been a professional prop maker in Hollywood for 43 years and still learned a lot from the first book! Looking forward to Book II." Paul Pearson, President of Custom Movie Props and prop builder on Starship Troopers, 14 seasons of Star Trek, and Daredevil "The Prop Building Guidebook is indispensable, whether you’re a working props professional or an amateur enthusiast. From basic skills to complex builds, and from the thinking behind a prop and the research required, to figuring out how a prop needs to work—it’s all here. Eric Hart has mastered his wide range of skills in many productions, and is generous and eloquent in sharing them." Ross MacDonald, prop artisan on Boardwalk Empire, The Hateful Eight, and National Treasure: Book of Secrets "If you do crafts, models, cosplay, or anything that involves imagination, engineering, and a unique eye in design and execution, get this book. If you are a serious student in the discipline of Props Design, get this book! The book is inspiringly comprehensive and a must for professionals and academics alike. Eric has given you the keys to the Kingdom and then shows you how to masterfully replicate them." Jay Duckworth, founder of the Prop Summit and props master on Hamilton, Shakespeare in the Park, the Public Theater Table of Contents1. What is a Prop? 2. Safety and Health 3. Shop Spaces and Tools 4. Supplies and Materials 5. Choosing Materials 6. Props Design and Execution 7. Structure and Frames 8. Carpentry 9. Metal 10. Plastics 11. Flat Patterning 12. Fabric 13. Sculpting 14. Molding and Casting 15. Shells and Composites 16. Texture and Surface Prep 17. Painting and Coating 18. Graphics 19. Formal Training 20. Your Portfolio
£128.25
Taylor & Francis Ltd Special Makeup Effects for Stage and Screen
Book SynopsisWith this new edition of Special Makeup Effects for Stage and Screen, author Todd Debreceni presents the latest techniques and special effects in what has become an industry bible. In addition to genre-specific considerations, Debreceni covers the latest gear you will need and details how to maintain your kit, how to take care of the actor's skin, how to airbrush for HD, and much more. With in-depth, step-by-step tutorials, learn how to sculpt and mold your own makeup prosthetics, focusing on human anatomy to create the most realistic effects. This new and expanded edition features updated information on lifecasting, prosthetics made using 3D printing, advanced airbrushing techniques, and new artist profiles, and includes updated images and illustrations throughout. A companion website contains artist profiles that showcase some of the worldâs top makeup effects artists, including Ve Neill, Matthew W. Mungle, and many others. Also included are detailed tutorials led Trade Review"The most up to date and comprehensive compendium on the art and science of makeup effects." - Brad Greenwood, Makeup Effects Artist, Senior Lecturer, Prosthetic Effects MA Program, Falmouth University"Whenever I am asked, ‘where do I start?’ I always say the Special Makeup Effects for Stage and Screen books. Every one of them has something new to learn and benefit from. Todd is constantly updating to keep artists on the pulse of new technology and techniques. A great addition to any artist’s library."- Eryn Krueger Mekash, Oscar-nominated and multiple Emmy Award-winning makeup effects artist and producer"Once again, Todd has put together a book that is essential for anyone going into Special Effects. Everything you could possibly want to know has been put into this incredible book, a book that should be on everyone’s shelf as reference source in this industry."- Sara Seidman Vance, Multiple Emmy-nominated Makeup Artist, Creator and Instructor of Lighting for Make-Up Artists 101©"With Special Makeup Effects for Stage and Screen, Todd has provided us with the most comprehensive and up-to-date written resource that is a must for the modern day makeup artist. Whether they gravitate towards special effects or not, this is the ‘finger on the pulse’ they should always have on hand. Todd has become makeup's contemporary Richard Corson."- Kerrin Jackson, 4-time Emmy-nominated Makeup Artist, Founder of the Makeup Refinery "I love how Todd is unafraid to embrace the latest techniques of makeup effects, incorporating technologies like 3D scanning and printing into this wonderful edition of Special Makeup Effects for Stage and Screen: Making and Applying Prosthetics."- Rod Maxwell, Makeup Innovation Lead, Black Panther: Wakanda Forever"This is my go-to book, my bible of sorts for most things makeup. For someone in healthcare simulation, it’s invaluable for medical makeup and Moulage!"- David Shablak, Simulation Operations Coordinator, Orbis Education and Simulation Tek, Nationally Registered Paramedic (NRP), Certified Healthcare Simulation Operations Specialist-Advanced (CHSOS-A)"Todd Debreceni is an award winning Makeup Effects Artist and a very smart man. Not only is he following the Dick Smith School of open wisdom, thereby paying it forward, but he’s also embraced the fact that our craft is constantly evolving and that only by sharing that knowledge do we all get to benefit. Wisdom from the best."(from the Afterword)- Bill Corso. Academy Award, and Emmy Award-winning Makeup Artist"Did Todd have to do a 4th edition of this book? No. The previous editions are perfectly good. Is it good that he did and that we get so much new and up-to-date information? Hell YES!"(from the Foreword)- Neill Gorton, BAFTA Award-winning Makeup ArtistBooks about makeup artistry for motion pictures and television written by industry insiders are rare. Todd’s are a treasure. They belong in every serious artist’s library.- Michael Key, Emmy Award-winning makeup artist and Publisher of Makeup Artist Magazine, and Executive Producer of IMATSAs an educator and professional makeup artist for over 30 years, I say without reservation, Todd's books are a godsend. The information is cohesive, complete, and presented in a way that is easily absorbed. The information and techniques are there for the newbie and the seasoned professional. Thank you, Mr. Debreceni; your hard work has made us all better at what we do.-Thomas E. Surprenant, Emmy Award-winning makeup artistThe absolute treasure trove of knowledge contained within Todd’s multiple editions of Special Makeup Effects for Stage and Screen is invaluable for both novice and professional alike. This latest edition ups the ante, proving it a necessity to anyone interested in the special makeup arts.-Joel Harlow, Academy Award, and Emmy Award-winning makeup artistTable of Contents1. Anatomy and Design 2. Making the Lifecast 3. Sculpting the Makeup 4. Breakdown of the Sculpture and Mold Making 5. Casting the Prosthetics 6. Painting and Applying the Prosthetics 7. Punching and Laying Hair 8. Out-Of-Kit and Other Makeup Effects 9. 3D Scanning and Printing for Prosthetics and Animatronics 10. Animatronics 11. The Industry
£135.00
Taylor & Francis Ltd A Monologue is an Outrageous Situation How to
Book SynopsisA Monologue is an Outrageous Situation! How to Survive the 60-Second Audition explains how to successfully tackle the cattle call acting audition with a sixty-second monologue. Through Q&As, tips, directorâs notes, and a glossary full of outrageous actions meant to inspire the actor into truly connecting with the piece, this book shows actors where and how to find a monologue, edit it, and give the best audition possible.Table of ContentsPart One: A Monologue is…? An Audition is an outrageous situation The Sixty second Dilemma What is a monologue? A monologue is an Outrageous situation What to Look for when choosing a Monologue What to Avoid in a Monologue Part Two: Working on a Monologue Read the Play Ask the Stanislavski Question Given Circumstances Take 3 Tips from the script Editing a Monologue—include Table Piecing a monologue together—include Table Memorize—ASAP Blocking How to Move (Because you must) Monologue Pitfalls Outrageous Exercises and Improvs Part Three: Time to Audition Steps of Your Audition How Should I introduce my Monologue? Where Should I place My Focus? Focus 1.0, 2.0 Should I take time to ‘get into it’ before I start? Your Actual Run Time Your Audition Must Show… Your Sixty-second Audition Must Prove… How much can the Auditors See in 60 seconds? What Do the Auditors Want to See in a Call Back? When Does the Audition Really Begin? When Does the Audition End? Part Four: "Just a Few Notes." Realism is Not Real Positive Negative Playing Emotion Playing Explosions Playing Characters that are Rich That are Poor That are heroic That are evil That are courageous That are cowardly Crying and Yelling is Not Dramatic Don’t TRY to be Funny Dress and Hygiene for Men Dress and Hygiene for Women Final Thought on Clothes Tattoo is Taboo Exit Epilogue Appendix MONOLOGUE SUGGESTIONS WHERE TO FIND MONOLOGUES UNIFIED AUDITIONS HEAD SHOT PRODUCTION
£24.99
Taylor & Francis Ltd Contemporary Plays by Women of Color
Book SynopsisIn the two decades since the first edition of Contemporary Plays by Women of Color was published, its significance to the theatrical landscape in the United States has grown exponentially. Work by female writers and writers of color is more widely produced, published, and studied than ever before. Drawing from an exciting range of theaters, large and small, from across the country, Roberta Uno brings together an up-to-date selection of plays from renowned and emerging playwrights tackling a variety of topics. From the playful to the painful, this revised and updated edition presents a rich array of voices, aesthetics, and stories for a transforming America.Table of ContentsIntroductionRoberta Uno Cardboard PianoHansol Jung ClothesChitra Banerjee Divakaruni Daughter of a Cuban RevolutionaryMarissa Chibas EclipsedDanai Gurira Elliot, A Soldier’s FugueQuiara Alegría Hudes Etchings in the SandMeena Natarajan ∙ Ananya Chatterjea Food and FadwaLameece Issaq ∙ Jacob Kader Gunshot MedleyDionna Michelle Daniel He Lei no Kākā‘āko: Woven MemoriesTammy Hailiʻōpua Baker Lines in the DustNikkole Salter Mala HierbaTanya Saracho N*gg*Lynn Nottage Our Lady of KibehoKatori Hall Our Voices Will Be HeardVera Starbard Scenes from 68* YearsHannah Khalil Stand-Off at HW#37Vickie Ramirez Sun SistersVasanti Saxena The Adventures at Camp KaKeeKwaSha and the Magic Musky Casino! Marcie R. Rendon The Wild InsideCusi Cram The Wong Street JournalKristina Wong What Would Crazy Horse Do?Larissa FastHorse Zafira the Olive Oil Warrior Kathryn Haddad
£48.99
Taylor & Francis Ltd Character Costume Figure Drawing StepbyStep
Book SynopsisCharacter Costume Figure Drawing is the essential guide that will improve your drawing skills and costume renderings. Step-by-step visuals illustrate the how-to’s of developing sketches from stick figures to full-blown characters.Table of ContentsCHAPTER 1 DRAWING THE FIGURE CHAPTER 2 CREATING THE FACECHAPTER 3 FIGURE AND FACIAL VARIATIONS CHAPTER 4 HANDS, FEET, AND ACCESSORIES CHAPTER 5 CHARACTER COSTUME DESIGN CREATION CHAPTER 6 RENDERING TECHNIQUES CHAPTER 7 CHARACTER COSTUME FIGURES IN STYLE CHAPTER 8 DIGITAL MIXED MEDIA COSTUME RENDERINGCHAPTER 9 COSTUME RENDERING GALLERY
£54.00
Taylor & Francis Ltd Stage Makeup
Book SynopsisWidely referred to as the bible of stage makeup, the timely revision of this classic text addresses principles and techniques in the use of makeup for the contemporary performer.This extensive exploration of the application and use of stage makeup and makeup for a variety of performance venues covers all aspects in detail and contains over 1000 photographs, drawings, and diagrams demonstrating step-by-step procedures. Thoroughly updated and revised, this classic text remains accurate and comprehensive, providing information from which all readers whether students new to the field or seasoned, professional makeup artists will benefit.New to this edition: Updated full-color photography throughout Expanded information on makeup design and application 48 new step-by-step instructions in color Expanded chapter on modeling with highlights and shadows New chapter on cross-gender mTrade Review"Creating a book that is a highly detailed nuts and bolts manual and an inspirational guide is a true balancing act. The monumental logistics of working with collaborator experts and multiple models, of documenting complicated processes, while honoring the work of the original author are to be commended. This edition includes Richard Corson’s preface; new readers can hear in his own words how he wanted performers, designers, and directors and makeup artists to use his book. The contemporary practice of makeup design and application has been left in capable hands, ensuring that the legacy of Corson’s classic work reaches forward to future generations through James Glavan and Beverly Gore Norcross." - Margaret Mitchell, Theatre Design & Technology Table of Contents1. Facial Anatomy 2. Color Theory 3. The Studio Classroom 4. Relating the Makeup to Character 5. Designing the Makeup 6. Applying Makeup 7. Corrective Makeup 8. Modeling with Highlights and Shadows 9. Natural Makeup for Film & TV 10. Special Effects Makeup 11. Prosthetic Makeup 12. Beards and Mustaches 13. Wigs 14. Cross-Gender Makeup 15. Nonrealistic Makeup
£171.00
Taylor & Francis Ltd Modern Theatres 19502020
Book SynopsisModern Theatres 19502020 is an investigation of theatres, concert halls and opera houses in Asia, Europe, the Middle East and North and South America.The book explores in detail 30 of the most significant theatres, concert halls, opera houses and dance spaces that opened between 1950 and 2010. Each theatre is reviewed and assessed by experts in theatre buildings, such as architects, acousticians, consultants and theatre practitioners, and illustrated with full-colour photographs and comparative plans and sections. A further 20 theatres that opened from 2009 to 2020 are concisely reviewed and illustrated.An excellent resource for students of theatre planning, theatre architecture and architectural design, Modern Theatres 1950 2020 discusses the role of performing arts buildings in cities, explores their public and performances spaces and examines the acoustics and technologies needed in a great building. This beautifulTable of ContentsChapter 1.00: Aspects of Modern Theatres 1.01. Edwin O. Sachs – A British Theatrical Enigma David Wilmore 1.02. Cities, global and regenerating David Staples 1.03. Theatres and publicness Bostjan Vuga 1.04. Prevailing Themes in 20th Century Theatre Architecture Joshua Dachs 1.05. Towards a new theatre architecture: developments in Britain after 1950 Alistair Fair 1.06. Front of House moves to the forefront Robert Shook 1.07. Concert Halls, Music, and Audiences Chris Blair 1.08. The Modern Opera House Nicholas Payne 1.09. Playhouses and spaces for drama Tim Foster 1.10. Stage Engineering Systems Mark Ager 1.11. Stage Lighting Mark White 1.12. Sound, and Opera’s Dirty Little Secret Chris Full 1.13. New Technologies and Performance Raj Patel 1.14. Acoustics and the Modern Theatre Sebastien Jouan Chapter 2.00: Thirty Significant Theatres 1950 to 2010 Chapter 3.00: Fifties 3.01. Royal Festival Hall, 1951, London, UK Miles Glendinning and Sebastien Jouan 3.02. Festival Theatre, 1957, Stratford, Ontario, Canada Gary McCluskie 3.03. Kalita Humphreys Theater, 1959, Dallas, Texas David Staples 3.04. Musiktheater im Revier, 1959, Gelsenkirchen, Germany Elain Harwood Chapter 4.00: Sixties 4.01. Arena Stage, Washington, DC, USA Joshua Dachs 4.02. Bunka Kaikan, 1961, Tokyo, Japan Shozo Motosugi 4.03. Philharmonie, 1963, Berlin, Germany Karin Winkelsesser Chapter 5.00: Seventies 5.01. Finlandia Hall, 1971, Helsinki, Finland David Staples 5.02. Sydney Opera House, 1973, Sydney, Australia David Staples 5.03. Teatro Regio, 1971, Torino, Italy David Staples and Simone Solinas 5.04. Royal National Theatre, 1976, London, UK Patrick Dillon 5.05. Royal Exchange Theatre, 1976, Manchester, England Andy Hayles Chapter 6.00: Eighties 6.01. Schaubühne at Lehniner Platz, 1981, Berlin, Germany Reinhold Daberto 6.02. Arts Centre Melbourne, 1982, Melbourne, Australia Tim Brinkman 6.03. Joyce Theater, 1982, New York, NY, USA Elizabeth Bradley 6.04. Derngate, 1983, Northampton, England Roger Hopwood 6.05. Lucent Danstheater, 1987, The Hague, Netherlands Eric Blom and Lian The 6.06. Opéra Bastille, 1989, Paris, France Michel da Costa Gonçalves Chapter 7.00: Nineties 7.01. Sadler’s Wells Theatre, 1998, London, UK Richard York Chapter 8.00: New Millennium 8.01. The Lowry, 2000, Salford, United Kingdom Alistair Fair 8.02. Esplanade – Theatres on the Bay, 2002, Singapore Gaurav Kripalani 8.03. Walt Disney Concert Hall, 2003, Los Angeles, California, USA Carl Giegold 8.04. KÀ Theater, 2004, MGM Grand Hotel, Las Vegas, AZ, USA David Barbour 8.05. Matsumoto Performing Arts Centre, 2004, Matsumoto, Japan Shozo Motosugi 8.06. Casa da Música, 2005, Porto, Portugal Maria Rita Liberal Arnaut 8.07. Auditório Ibirapuera ‘Oscar Niemeyer’, 2005, São Paulo, Brazil Claudia Toni 8.08. National Center for the Performing Arts, 2007, Beijing, China Jörg Kümmel 8.09. Operahuset, 2008, Oslo, Norway David Turnbull 8.10. National Opera House, 2008, Wexford, Ireland David Staples 8.11. DR Koncerthuset, 2009, Copenhagen, Denmark Allan Xenius Grige 8.12. Guangzhou Opera, 2010, Guangzhou, China David Staples Chapter 9.00: Snapshots of twenty theatres – 2011 to 2020 - David Staples 9.01. Dee and Charles Wyly Theatre, 2009, Dallas, Texas, USA Karin Winkelsesser 9.02. Onassis Cultural Centre, 2010, Athens, Greece Karin Winkelsesser 9.03. New World Center, 2011, Miami, FL, USA Karin Winkelsesser 9.04. Royal Opera House, 2011, Muscat, Oman Karin Winkelsesser 9.05. Harpa, 2011, Reykjavik, Iceland David Staples 9.06. Royal Shakespeare Theatre, 2011, Stratford-upon-Avon Alistair Fair 9.07. Heydar Aliyev Center, 2012, Baku, Azerbaijan David Staples 9.08. `A`ali`ikūhonua Creative Arts Center, 2012, Seabury Hall, Maui, USA David Staples 9.09. Musiktheater am Volksgarten, 2013, Linz, Austria Karin Winkelsesser 9.10. Everyman Theatre, 2014, Liverpool, UK Alistair Fair 9.11. Han Show Theatre, 2014, Wuhan, China Karin Winkelsesser 9.12. Harbin Opera House, 2015, Harbin, China David Staples 9.13. Dubai Opera, 2016, Dubai, UAE Karin Winkelsesser 9.14. Stavros Niarchos Foundation Cultural Center, 2017, Athens, Greece Karin Winkelsesser 9.15. Boulez Saal, 2017, Berlin, Germany Karin Winkelsesser 9.16. Elbphilharmonie, 2017, Hamburg, Germany Karin Winkelsesser 9.17. Bridge Theatre, 2017, London, UK David Staples 9.18. National Kaohsiung Center for the Arts, 2018, Taiwan Karin Winkelsesser 9.19. The Shed, The Bloomberg Building, 2019, New York David Staples 9.20. Xiqu Centre, 2019, Hong Kong David Staples Chapter 10.00: Conclusions 10.01. Postscript – "The Ghost Light" Chapter 11.00: Modern Theatres contributors
£135.00
Taylor & Francis Ltd Theatrical Makeup
Book SynopsisTheatrical Makeup clearly and concisely explains the basics of theatrical makeup techniques to allow stage actors to put their best face forward! Readers will gain understanding of the physiology of the human face and, using cream based makeup, as well as commercial cosmetics, learn how to contour it to suit the character with the use of highlight and shadow. Hundreds of full color images and step-by-step instructions illustrate how to visually manipulate bone structure and apparent age, apply simple facial hair and wounds, and create glamorous and natural stage makeup. Also covered are the tools readers will need to apply their own makeup, along with critical health and hygiene tips. This book is suitable for beginner Theatrical Makeup courses and for stage actors of all levels.Table of ContentsAcknowledgementsIntroduction Tools and materials Safety and Hygiene Foundation Contouring Natural beauty and health Manipulating the bone structure Glamour Manipulating cartilage, muscle and fat Aging Skin textures and abnormalities Applying Facial Hair and Prosthetics Cross-gender Historical Period and Theatricalized Makeup Makeup Worksheets
£36.99
Taylor & Francis Ltd Youth Theatre
Book SynopsisYouth Theatre: Drama for Life defines the youth theatre process, by outlining its constituent parts and explaining how these activities work in order to support young people's development. As well as describing what is done in youth theatre, it also explores why it's done and how to ensure the best possible outcomes. The book is in four parts: Part 1 explores the nature and purpose of youth theatre, drawing on Michael Richardson's extensive personal experience as a practitioner and manager. Part 2 explains, in detail, the youth theatre process: warming up, playing games, voice work, developing skills, devising and the presentation of devised work. Part 3 discusses how to create an appropriate environment within which the youth theatre process can be most effectively applied. Part 4 covers the most common applications of the youth thTable of ContentsIntroduction: Why Youth Theatre? Part 1: Youth Theatre: its nature and purpose 1. What is youth theatre? 2. The youth theatre process 3. The youth theatre practitioner Part 2: The youth theatre process: its constituent parts 4. Warming up 5. Games 6. Voice work 7. Skills work 8. Short sketch devising 9. Long piece devising 10. Presentation of devised material Part 3: Youth theatre in practice 11. Structuring a workshop 12. Planning and delivering a workshop 13. Evaluating your practice 14. Challenging challenging behaviour 15. Child protection 16. Health and safety 17. Youth leadership Part 4: Applied youth theatre 18. Youth theatre practice in education settings 19. Youth theatre productions and performance Appendix: Useful games for youth theatre Conclusion: Why youth theatre?
£35.99
Taylor & Francis Ltd British Dance Black Routes
Book SynopsisBritish Dance, Black Routesis an outstanding collection of writings which re-reads the achievements of Black British dance artists, and places them within a broad historical, cultural and artistic context.Until now discussion of choreography by Black dance practitioners has been dominated by the work of African-American artists, facilitated by the civil rights movement. But the work produced by Black British artists has in part been within the context of Britain's colonial legacy.Ramsay Burt and Christy Adair bring together an array of leading scholars and practitioners to review the singularity and distinctiveness of the work of British-based dancers who are Black and its relation to the specificity of Black British experiences.From sub-Saharan West African and Caribbean dance forms to jazz and hip-hop, British Dance, Black Routes looks afresh at over five decades of artistic production to provide an unparalleled resource for Trade ReviewA timely text and a much needed one too! [...] An edited collection that does "celebrate achievements of British-based dancers who are Black" P.3) and calls for more of these histories to be shared.Dr Sarahleigh CastelynTable of Contents1. Introduction. Christy Adair and Ramsay Burt 2. Berto Pasuka’s Les Ballets Nègres. Thea Barnes 3. Researching British (Underground) Jazz Dancing 1979-1990. Jane Carr 4. Just after the Pulse, Rhythm Takes All: The Inside Habitat of Improvisation. Sheron Wray 5. African Dance in England: Spirituality and Choreography. Bob Ramdhanie 6. Feel De Riddim, Feel De Vibes: spiritual meaning within Jamaican Dancehall. H Patten 7. The formation of Black dance/African Peoples’ dance sector in Britain. ‘Funmi Adewole 8. Negotiating the Centre. Christy Adair and Ramsay Burt 9. Afterword. Anita Gonzales
£40.84
Bloomsbury Publishing PLC Screening the Royal Shakespeare Company
Book SynopsisNo theatre company has been involved in such a broad range of adaptations for television and cinema as the Royal Shakespeare Company. Starting with Richard III filmed in the Shakespeare Memorial Theatre before World War One, the RSC's accomplishments continue today with highly successful live cinema broadcasts. The Wars of the Roses (BBC, 1965), Peter Brook's film of King Lear (1971), Channel 4's epic version of Nicholas Nickleby (1982) and Hamlet with David Tennant (BBC, 2009) are among their most iconic adaptations. Many other RSC productions live on as extracts in documentaries, as archival recordings, in trailers and in other fragmentary forms.Screening the Royal Shakespeare Company explores this remarkable history of collaborations between stage and screen and considers key questions about adaptation that concern all those involved in theatre, film and television. John Wyver is a broadcasting historian and the producer of RSC LiTrade ReviewOne of the most significant achievements of this book is Wyver's scrupulously thorough investigation ... [A] meticulously researched, amply documented and wonderfully wide-ranging study. * Times Literary Supplement *A treasure trove of information … This well-written book will be a basis for further research and a standard for the interaction between RSC and the screen. It is one of those books that you read and think: yes, about time. * Journal of Adaptation in Film & Performance *This is a book full of facts and informed judgements, and that makes Screening the Royal Shakespeare Company: A Critical History by far one of the most useful scholarly books I have read in some time. Now I want to catch up with John Wyver’s past work. * The Shakespeare Newsletter *Remarkable ... A narrative that dramatically (the pun is deliberate) transforms our knowledge and understanding of the filming of theatre and of the particularly complex and varied negotiations between theatre productions on the one hand and the film and television media on the other...It will take us all a long time to catch up with the riches of what Wyver has accomplished here but we will find the journey exhilarating and profoundly rewarding. * Theatre Notebook *Provides an insider’s look at how the Royal Shakespeare Company (RSC) has navigated the often-turbulent world of broadcasting productions of Shakespeare. He provides a historical account of the recording and broadcasting of productions by the RSC that covers ten decades … Though one can find myriad resources on the adaptation of Shakespeare to film, Wyver focuses specifically on how the RSC adapts live Shakespearean productions for television and film; he keeps in mind both the integrity of the stage and an audience’s expectation of more than a static, single camera recording. Thus the volume is an important contribution to adaptation studies. Summing Up: Recommended * CHOICE *The RSC’s relationship with screen media is a topic that has long needed its history written, and Wyver is the ideal writer for the task. Lucidly marshalling a wealth of research, including exciting new discoveries, this book comprehensively chronicles the company’s complex interactions with broadcasters and filmmakers from the 1950s to the present day. It will be essential reading for anyone interested in Shakespeare on stage and on screen. -- Susanne Greenhalgh, University of Roehampton, UKA careful, richly detailed and painstaking work of history... a huge achievement of patient archival research and practical industry knowledge, which will become a standard reference work for those of us toiling in this area -- Peter Kirwan, University of Nottingham, UKTable of ContentsList of Illustrations Acknowledgements Note on the Text Introduction Chapter 1: Beginners, 1910-59 Chapter 2: Television Times, 1962-68 Chapter 3: Making Movies, 1964-73 Chapter 4: Intimate Spaces, 1972-82 Chapter 5: Toil and Troubles, 1982-2012 Chapter 6: Now-ness, 2000-18 Notes Filmography Bibliography Index
£71.25
Bloomsbury Publishing PLC Theory for Theatre Studies Movement
Book SynopsisHow do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance coTrade ReviewThis book convincingly demonstrates why a focus on the kinaesthetics of theatre—and theatrical embodiment more generally—is as important as the study of dramatic writing, acting, and scenography. The author writes with considerable erudition about the topic, but in a way that is almost always immediately accessible. -- Peter Dickinson, Simon Fraser University, CanadaTable of ContentsSeries Preface Acknowledgements Movement: Introduction Movement of vital beings: Aristotle Movement as bodily technique: Mauss Rhythmic movement: Lefebvre Case Study: Pina Bausch This book SECTION ONE Movement as History Movement of the chorus: Ancient Greek theatre Movement of ‘the flower’: Noh aesthetics Case Study #1: Satoshi Miyagi’s Antigone (2017) Gestural movement: Roman rhetoric Case Study #2: I Am My Own Wife (2003) Movement as style: The Natyasastra Case Study #3: Zero Degrees (2005) Processional movement Hostility to movement: The anti-theatrical prejudice Renaissance movement - from the vernacular to the cosmos Case Study #4: The Tempest (1611, 2016) Movement of the automaton Case Study #5: War Horse (2007) Conclusion SECTION TWO Movement Systems and Embodied Action Holistic Systems: Craig, Delsarte and Dalcroze Case Study #1: Operation Orfeo (1993) Movement vitality: Phenomenology Movement plasticity: Stanislavski and Ibsen Case Study #2: Hedda Gabler (2005) Movement mechanics: Meyerhold Case Study #3, part a: The Constant Prince (1915) Movement dynamics: Laban Movement arrangement: Brecht Case Study #4: Mother Courage and Her Children (1949, 2006) Movement somatics: Grotowski Case Study #3, part b: The Constant Prince (1965) Movement assemblage: Butoh Movement Sociology: Crowds Conclusion SECTION THREE Movement in Contemporary Theatre Speed: Attempts on Her Life (1997, 2007) Slowness: The Artist is Present (2010) Animation: Blackie Blackie Brown (2018) Force: World Factory (2014), Made in Bangladesh (2015) and World Factory (2016) Conclusion Notes References Further Reading Index
£20.43
Bloomsbury Publishing PLC Theatre Blogging
Book SynopsisIn this epic history-cum-anthology, Megan Vaughan tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today's digital newsletters and social media threads. Contextualising the key debates of fifteen years of theatre history, and featuring the writings of over 40 theatre bloggers, Theatre Blogging brings past and present practitioners into conversation with one another.Starting with Encore Theatre Magazine and Chris Goode in London, George Hunka and Laura Axelrod in New York, Jill Dolan at Princeton University, and Alison Croggon in Melbourne, the work of these influential early adopters is considered alongside those who followed them.Vaughan explores issues that have affected both arts journalism and the theatre industry, profiling the activist bloggers arguing for broader representation and better working conditions, highlighting the innovative dramaturgical practices that have been developed and piloted by bloggers, and offTrade ReviewFascinating ... This is an important and persuasive book which has certainly made me stop and think about my own brand, writing style and goals for future pieces. I heartily recommend it to critics and theatre bloggers at any stage in their careers, with the excerpts being reproduced being worth the purchase of the book alone. * Lou Reviews Blog *[A] timely survey of online criticism … a stimulating snapshot before the bits and bytes melt into techno-oblivion. * Critical Stages *I can’t imagine there will ever be a more reliable history of the period ... [Megan Vaughan's] prose is delightfully light-footed. * George Hunka Blog *The theatre blogosphere is a big and sometimes scary place. From its beginnings in 2003 in the diary entries of theatremakers and journalists, to the proliferation of online magazines and communities, to the formal experiments conducted by a new generation of web-literate, critically reflective thinkers, the community is a prolific and assertive and complexly multi-referential beast that can be difficult to navigate. Happily, Megan Vaughan – erstwhile Blogger of Renown, and a doctoral researcher into the subject – is the perfect guide. * Come To The Pedlar blog *Table of ContentsList of Illustrations Preface Acknowledgements Part 1: history and practice 1. Introduction 2. Theatre blogging since 2003 – a history 3. Theatre blogging in practice – a WhatsApp dialogue 4. Theatre blogging under threat Part 2: selected posts 5. A note on the texts 6. Theatremaking and authorship 7. Anger and dissent 8. Reviews and reviewing 9. Representation and visibility 10.On My Name Is Rachel Corrie 11.On Three Kingdoms Biographies References Index
£27.99
Bloomsbury Publishing PLC Falling Through Dance and Life
Book SynopsisThis is a book about falling as a means of reconfiguring our relationship with living and dying. Dancer, choreographer, educator and therapist Emilyn Claid draws inspiration from her personal and professional experiences to explore alternative approaches to being present in the world. Contemporary movement based performers ground their practices in understanding the interplay of gravity and the body. Somatic intentional falling provides them a creative resource for developing both self and environmental support. The physical, metaphorical and psychological impact of these practices informs the theories and perspectives presented in this book. As falling can be dangerous and painful, encouraging people to do so willingly might be considered a provocative premise. Western culture generally resists falling because it provokes fear and represents failure. Out of this tension a paradox emerges: falling, we are both powerless subjects and agents of change, a dynamic distinction that enliveTrade ReviewThis book is significant because it creates the space for more diverse considerations of falling—a space to reflect on previous experiences while opening readers’ eyes to possibilities yet to catch their attention. * Dance Chronicle *Falls in the time of concurrent disasters are metaphors, material and the means whereby we recalibrate what it means to be alive. Emilyn Claid’s immensely readable writing offers readers a vertiginous ride and an encounter with limits. Inviting moving off the page, her call to incorporate the experiential, the reflective and the psycho-somatic through revitalising our attention to how to fall freely, badly, carefully and madly invigorates dance and performance scholarship through sensuous and dynamic critical engagement. Emilyn’s compelling kinesthetic story is woven through her history of dance’s relationships with gravity, making this an illuminating and deeply moving biography of the fall. * Carol Brown, University of Melbourne, Australia *This writing pulls us into a multitude of rewarding and revealing falls. Slowly, carefully, and somatically as we sink into Emilyn’s unravelling of dance’s conflicting histories of resisting and relinquishing to gravity, and vertiginously as we tumble between decades of memories that elaborate the politics and pleasures of collapse. * Martin Hargreaves, London Contemporary Dance School, UK *Part historical account, part philosophical inquiry, part cultural critique, Falling through Dance and Life investigates falls both physical and metaphorical, intentional and accidental, humorous and tragic, to illustrate the significance of encounters with gravity along the lines of gender, race, sexuality, class, nationhood, and economics. Covering ground ranging from modern dance to circus to personal and national trauma, Claid provides an engaging account of the possibilities and enduring perils of falling. * Janet O'Shea, UCLA, USA *This honest and thought-provoking book portrays Emilyn’s lived experiences as a dancer, choreographer, academic and psychotherapist interweaving vivid descriptions of dance with moving personal experiences. The practical exercises which illumine her approach to falling are interspersed with themes including ageing and dying, diversity and inclusion and support and shame. We are encouraged to explore our embodied relationships and experiences of falling physically, psychologically and metaphorically as a resource for building resilience, living with uncertainty and as a source of vitality and presence. * Lynda Oborne, Psychotherapist UKCP *Table of Contents1. Introduction Structure and Content Falling-through Dance A Practice of Falling Conceptual Falls The Contextual Fabric Back Stories 2. Falling Apart 3. Falling Out 4. Falling Away 5. Falling About References
£85.50
Bloomsbury Publishing (UK) Modern and Contemporary World Drama
Book SynopsisBringing together 70 major critical articles across four volumes, Modern and Contemporary World Drama: Critical and Primary Sources collects scholarly articles, reviews and critical interventions that are indispensable to anyone wishing to gain an understanding of world drama from the past 150 years.Contesting a Eurocentric reading or history of modern drama, the articles underscore the importance of migration and transnational movements of dramatic forms, and place emphasis on the transmission and circulation of dramatic theories around the world. Modern drama is revealed as a worldwide phenomenon in which a diverse array of artists and writers participated and in which modernism is seen to have affected all parts of the world in ways that are much more complex and multi-directional than what has been assumed in Eurocentric models.The four volumes are arranged both thematically and chronologically to give readers a sense of how world modern and contemporary drama began and how
£641.25
Bloomsbury Publishing PLC Another Days Begun
Book SynopsisA work of startling originality when it debuted in 1938, Thornton Wilder''s Our Town evolved to be seen by some as a vintage slice of early 20th Century Americana, rather than being fully appreciated for its complex and eternal themes and its deceptively simple form. This unique and timely book shines a light on the play''s continued impact in the 21st century and makes a case for the healing powers of Wilder''s text to a world confronting multiple crises. Through extensive interviews with more than 100 artists about their own experience of the play and its impact on them professionally and personally and including background on the play's early years and its pervasiveness in American culture Another Day's Begun shows why this particular work remains so important, essential, and beloved.Every production of Our Town has a story to tell beyond Wilder's own. One year after the tragedy of 9/11, Paul Newman, in his final stage appearance, played the Stage Manager in <Trade ReviewAn important book consisting of oral histories of 12 productions of the play that have opened since 2012 and prefaced by a richly detailed 34-page overview of the original Broadway production of the play’s subsequent history up to the turn of this century. * The Wall Street Journal *The early chapters are full of fascinating 'Our Town' factoids, but the heart of 'Another Day’s Begun' is the more than a dozen chapters outlining major productions of ‘Our Town,' which Sherman presents as oral histories. * Hartford Courant *With the country splintered, its institutions shaken, a book documenting a classic American play affirming shared life experiences and bedrock values seems especially timely. * The Washington Post *Thornton Wilder’s classic play Our Town is so familiar — and so often performed in a sanitized, sentimental style in high schools around the country — that it’s easy to forget how bold this work originally proved. Author Howard Sherman tells the tale anew with Another Day’s Begun: He brings the story up to date with examinations of the many bold and exciting productions that have appeared in the past 20 years. * Broadway Direct *If you love the play, you’ll love the book. If you have believe it or not, never really even seen a production of Our Town, you’ll love the book, because this book, as much as the play, is the story about people, and how we fit each other into our lives and what we mean to each other. One of the things you’re struck by as you read about production after production, is that every production becomes its own small town, and you are inevitably touched by the lives that are uplifted. It’s a great book. * Scott Simon, host of NPR’s Weekend Edition Saturday *An engaging and deeply researched book for theater lovers and for anyone who has ever spent time with this Thornton Wilder masterpiece. The oral histories enliven the book with candid, often contrarian, views by the theatrical participants. The variety of stagings and performers in this century demonstrates Sherman’s premise that Our Town is not a play of nostalgia and sentimentality but rather one that reminds us to savor every glorious moment of our ordinary lives. That’s a tough but important message during this endless pandemic. * Third Coast Review *[Our Town] has gained a reputation for fusty sentimentality, a misperception that Howard Sherman’s new oral history, “Another Day’s Begun: Thornton Wilder’s ‘Our Town’ in the 21st Century”… debunks through discussion of a dozen productions. * The New York Times *[A] new history of Thornton Wilder’s “Our Town.” * The Boston Globe *A compendium of newly created oral histories about some key productions from the past two decades…The result is not just an intimate look at the theatermaking process, but an enlightening examination of a play that isn't what it appears to be. * TheaterMania *Another Day’s Begun possesses a theatricality of its own, with an “intermission” at its mid-point, and a peppering of production stills throughout. But it is with its collection of interviews, or “Oral Histories”, that Sherman’s book comes into its own, offering a novel lens through which to view the play, both in performance and as a cultural phenomenon… To those who want to get to grips with the play, Another Day’s Begun can be highly recommended. * The Times Literary Supplement *A captivating history of Our Town… In this time of dark stages and unemployed thespians, Sherman’s reflections will enchant all theater buffs. * Library Journal *Our Town reminds us of what unites, rather than divides, humanity. Howard Sherman has provided a valuable current portrait of the play’s ever timely and timeless testimony to our better selves. * Tappan Wilder *I love this book! Howard Sherman delivers a fresh, witty, engaging, exhaustively researched, up to the minute backstage tour into one of America's very greatest and perhaps most underestimated plays. An excellent must-have book to own and cherish. * Stephen Adly Guirgis *What an immense pleasure to read Another Day Begun: Thornton Wilder’s Our Town in the 21st Century. Howard Sherman has crafted a comprehensive overview of Our Town that traces the play’s journey from inception to reception, its acceptance and then the interrogations that surround such success. Sherman places Thornton Wilder firmly where he belongs, in the pantheon of the most significant American playwrights. And he makes a compelling case for how the play speaks directly to the complexities our current century * Anne Bogart *To explore the pages of this book is to rediscover the joy and wonder of theatre itself. Our Town is arguably the greatest American play, and Howard Sherman helps us understand how it retains that power for new generations, new visions of America, and communities around the globe. The stories he tells, like Wilder's play itself, make their gentle and mysterious way into our hearts, until we too are transformed by a bigger and more generous vision of our world. * David Henry Hwang *If Thornton Wilder ever wondered: “What difference will it make if I write this play?”, Howard Sherman’s Another Day’s Begun answers him. Sherman’s book is a remarkable case study of Our Town in multiple contexts. We are given testimony from all involved in how one play makes an enormous difference in appreciating our time on earth and realizing our connection to each other. A must-read for all who love theatre, and an eloquent gift for all of us who wonder what difference it makes to write during our allotment of days * Paula Vogel *Howard Sherman has crafted an entertaining and enlightening appreciation of what is arguably the greatest American play … Another Day’s Begun is not only a colorful companion to Our Town, but a worthy addition to the study of American theater. * Donald Margulies *The core of Another Day’s Begun lies in a series of intelligent discussions between those involved in every kind of production from schools to Broadway and the UK stage… [The book] builds a wealth of information and interest as readers discover the ways in which it has touched so many diverse lives. * British Theatre Guide *In his fascinating new book, Another Day’s Begun: Thornton Wilder’s Our Town in the 21st Century, author Howard Sherman analyzes the play’s meaning and explores its continuing impact on audiences across the globe. * The Red Hook Star Review *[A]n astonishing, nimble demonstration of how research can be deployed in the field through a multiplicity of dramaturgical filters and prisms. * Thorton Wilder Journal *Table of Contents1. Introduction: The Name of this Book is Another Day’s Begun 2. Building Grover’s Corners 3. Expanding Grover’s Corners 4. The David Cromer productions 5. Westport Country Playhouse and Broadway 6. Manchester Royal Exchange Theatre 7. Montgomery County Emergency Services 8. Theatre Baton Rouge and Louisiana State University 9. Lookingglass Theatre 10. Intermission: The Church of Grover’s Corners 11. Theatrical Outfit 12. Miami New Drama 13. Oregon Shakespeare Festival 14. Deaf West and Pasadena Playhouse 15. Open Air Theatre, Regent’s Park 16. Sing Sing Correctional Facility 17. Epilogue: 11 O’Clock in Grover’s Corners i. Notes and Sources ii. Thanks and acknowledgments
£22.99
Bloomsbury Publishing PLC Cabaret
Book SynopsisWhere did cabaret come from? What has it got to do with pre-war Berlin, decadent society and Nazis? How does it turn into media cabaret and the sisterhood of sleaze? Is cabaret a primary vehicle for exploring the range of sexual practices and alternative sexual identities?In this new book William Grange brings into one place for the first time the range of practices now associated with the form of cabaret. Beginning with its origins in speciality German theatres and the development both of the sheet music industry and disc recordings, Grange tracks the form through into its golden age in the 1920s and beyond. The book's three sections deal first with the emergence of Berlin as the German Chicago', where cabaret flourished in the midst of post-war political turmoil. The abolition of censorship allowed nude dancing and sexually explicit songs and routines. It also saw the introduction of kick-line dancing and black performers. In the book's second and third sections Grange takes tTable of ContentsList of Illustrations Series Preface Introduction CHAPTER I : Beginnings in France Montmartre The Bohemians Rodolphe Salis Aristide Bruant Yvette Guilbert CHAPTER II: The Craze Spreads to Germany Kabarett Munich Frank Wedekind Kathi Kobus Vienna CHAPTER III: Offshoots: Prague, Kracow, Budapest, Moscow, Zurich Prague Kracow BudapestMoscow Zurich New York CHAPTER IV: The Golden Age of Cabaret Escape The Outbreak of War The New Republic The Naked Body of Cabaret Wildness and Megalomania The Follies of Foliés and Revues Retorts and Tribunals CHAPTER V: The Nazi Terror Catastrophe The National Socialist Reign of Terror Cabaret in Exile Klaus and Erika Mann CHAPTER VI: Cabaret in a Media-Driven Age Aftermath The Economic Miracle Cabaret on the Airwaves East Germany Fat and Overfed The Revolt of the ’68ers Downhill Televised Cabaret Notes Bibliography Index
£20.43
Bloomsbury Publishing PLC Classical Greek Tragedy
Book SynopsisClassical Greek Tragedy offers a comprehensive survey of the development of classical Greek tragedy combined with close readings of exemplary texts. Reconstructing how audiences in fifth-century BCE Athens created meaning from the performance of tragedy at the dramatic festivals sponsored by the city-state and its wealthiest citizens, it considers the context of Athenian political and legal structures, gender ideology, religious beliefs, and other social forces that contributed to spectators' reception of the drama. In doing so it focuses on the relationship between performers and watchers, not only Athenian male citizens, but also women and audiences throughout the ancient Mediterranean world.This book traces the historical development of these dynamics through three representative tragedies that span a 50 year period: Aeschylus' Seven Against Thebes, Sophocles' Oedipus Tyrannus, and Euripides' Helen. Topics include the role of the chorus; the tragic hero; Trade ReviewIn this highly accessible introduction to Greek tragedy, Judith Fletcher has combined close analysis of three plays with an impressive overview of the genre as a whole, from its formal features to the sociocultural context of its productions in the fifth century BCE. Throughout she ensures that her readers see tragedy as a multimedia performance, with a range of possible receptions by its audiences. Classical Greek Tragedy will be an invaluable resource for anyone wishing to learn more about this ancient artform. * Naomi Weiss, Harvard University, USA *Students and non-specialists seeking a quick and seamless introduction to Athenian tragedy should look no further than this handy little book … Clear and engaging. * The Classical Review *Table of ContentsList of Illustrations Series Preface Chapter One: Early Tragedy Chapter Two: The Mature Period Chapter Three: Late Tragedy Notes References Index
£19.50
Bloomsbury Publishing PLC Nomadic Theatre Mobilizing Theory and Practice on
Book SynopsisDr Liesbeth Groot Nibbelink is a Lecturer and Researcher in Theatre and Performance Studies at Utrecht University, Netherlands.Trade ReviewThis book makes a valuable early addition to Methuen’s new series: Thinking Through Theatre. * Contemporary Theatre Review *Table of ContentsList of Figures Acknowledgements 1 Introduction: Deterritorializing the Stage Primary Coordinates On the Move Theatre, Technology, Mobility A Note on Participation Theatre, Performance, Movement Deterritorialization Pause Deleuze’s Nomads Nomadic Theatre: A Concept, a Toolbox Theory as Tool: How to Do Things with Deleuze? Spatial Dramaturgy Points Are Relays on a Trajectory: Chapter Overview Playgrounding 2 Encounter: Meeting Multiplicity in Dries Verhoeven’s No Man’s Land Of Horses and Wasps The Rhythms of a Smooth Stage Mind the Gap Performance Installations Staging the Spectator Walking with Abderraghman Triads and Constellations A Problem of Referentiality This Is Not My Voice: A Problem of Referentiality, Part 2 Fractured Reciprocity Building Performance Expanding Spectatorship 3 Displacement: The Situated Pathways of Rimini Protokoll Urban Moves The City as Stage Theatre Goes Global The Production of Space Performing Locality Navigating Representation Outsourced Performance Parallax 4 Cartographies: Trail Tracking and Map-Making as Staging Strategy You Are Here Cartography: Fifth Principle of the Rhizome The Theatre of Cartography Performing Cartography Charting the Virtual Navigational Spaces Personal Velocity Material Maps Thinking Subjectivity Through Space: Politics of Location Witnessed Presence The Cartography of Theatre 5 Diagrams: Staging Proximity in Ontroerend Goed’s The Smile Off Your Face A Nomad Does Not Necessarily Move A Wheelchair’s Thresholds Pleats of Proximity Event/Situation Into the Laboratory Thinking Through the Diagram The Grid of Capital Distributions of the Sensible A Spectator in the Dark The Dramaturgy of Proximity A Theatre of Folds 6 Architextures: The Rhizomatic Gameboards of Signa’s The Ruby Town Oracle Drifting /Dwelling Borderzones Narrative Architecture and Environmental Storytelling Architectural Performances Evocative Spaces Procedural Passageways Playing at the Limits The Entirety of the Map Tissue, Traces, Tracks 7 Distributed Performance: Epilogue Pop-up Stores Trajectories of the Stage Folds of Spectating Lived Space and Diffractive Reading Staging Connections Procedural Dramaturgy /When Attitude Becomes Form Thinking Through Practice Thresholds of the Imagination Notes Bibliography Index
£24.99
Bloomsbury Publishing (UK) Romantic Comedy
Book SynopsisTrevor R. Griffiths is a visiting honorary professor in Humanities at the University of Exeter, UK, and formerly Professor of Theatre Studies at London Metropolitan University, UK. He is ViceChair of the Society for Theatre Research and coordinating editor of the refereed journal Theatre Notebook.Trade ReviewWorth reading particularly for the intelligent way in which it defines its subject then follows it through history from ancient times to the present day. * British Theatre Guide *Griffiths’ book offers a succinct and lively introduction to English Romantic Comedy. Analysing and contextualizing a range of key texts and their performance history from the Renaissance to the 21st century, this accessible book pays special attention to how dramatists have explored, adapted and challenged the conventions of Romantic Comedy, as they have used the genre to reflect not only on love but also on issues such as marriage, family, class, gender and sexuality. It is a welcome new resource for students of Romantic Comedy. * Siobhan Keenan, De Montfort University, UK *Romantic Comedy reveals the complexity and nuance of a genre that we think we know and easily understand. Exploring examples drawn from 2,500 years of theatre history, the work both outlines the history of Romantic Comedy and shows how more recent plays challenge the conventions of the genre. The book is particularly strong in its attention to the plays as acts of performance as well as scripts. Griffiths considers how contemporary productions can shed new light on classic romantic comedies and how 21st-century dramatists rework mainstays of the Romantic Comedy repertoire, thereby offering new insights into gender, race, and class. * Fiona Ritchie, McGill University, Canada *Table of ContentsList of Illustrations Series Preface Acknowledgements Conventions Introduction: 'The Course of True Love' 1. Shakespeare and Romantic Comedy 2. Romantic Comedy: 1660-1895 3. Romantic Comedies of (Bad) Manners: 1895 to the present Epilogue References Index
£28.99
Bloomsbury Publishing PLC Disseminating Shakespeare in the Nordic Countries
Book SynopsisCharting the early dissemination of Shakespeare in the Nordic countries in the 19th century, this opens up an area of global Shakespeare studies that has received little attention to date. With case studies exploring the earliest translations of Hamlet into Danish; the first translation of Macbeth and the differing translations of Hamlet into Swedish; adaptations into Finnish; Kierkegaard's re-working of King Lear, and the reception of the African-American actor Ira Aldridge's performances in Stockholm as Othello and Shylock, it will appeal to all those interested in the reception of Shakespeare and its relationship to the political and social conditions.The volume intervenes in the current discussion of global Shakespeare and more recent concepts like rhizome', which challenge the notion of an Anglocentric model of centre' versus periphery'. It offers a new assessment of these notions, revealing how the dissemination of Shakespeare is determined by a seriesTable of ContentsAcknowledgements List of Illustrations Notes on Contributors Introduction Nely Keinänen and Per Sivefors 1: The First Danish Production of Hamlet (1813): A Theatrical Representation of a National Crisis Annelis Kuhlmann (Aarhus University, Denmark) 2: Geijer’s Macbeth – Page, Stage and the Seeds of Time Kiki Lindell (Lund University, Sweden) and Kent Hägglund (Stockholm University, Sweden) 3: Cold Maids and Dead Men: Gender in Translation and Transition in Hamlet Cecilia Lindskog Whiteley (Uppsala University, Sweden) 4: The Poetics of Adaptation and Politics of Domestication: Macbeth and J. F. Lagervall’s Ruunulinna Jyrki Nummi, Eeva-Liisa Bastman and Erika Laamanen (all University of Helsinki, Finland) 5: Søren Kierkegaard’s Adaptation Of King Lear James Newlin (Case Western Reserve University, USA) 6: ‘A blot on Swedish hospitality’: Ira Aldridge’s Visit to Stockholm in 1857 Per Sivefors (Linnaeus University, Sweden) 7: Shakespeare’s Legacy and Aleksis Kivi: Rethinking Kivi’s Drama Karkurit [The Fugitives] Riitta Pohjola-Skarp (University of Tampere, Finland) 8: Anne Charlotte Leffler’s Shakespeare: The Perils of Stardom and Everyday Life Lynn R. Wilkinson (University of Texas, USA) 9: Knut Hamsun’s Criticism of Shakespeare Martin Humpál (Charles University, Prague, Czech Republic) Afterword: Towards a Regional Methodology of Culture Alexa Alice Joubin (George Washington University, USA) Appendix: Nordic Shakespeare until 1900: A Timeline Index
£85.50
Bloomsbury Publishing PLC The Arden Research Handbook of Shakespeare and
Book SynopsisThe Arden Research Handbook of Shakespeare and Contemporary Performance is a wide-ranging, authoritative guide to research on Shakespeare and performance studies by an international team of leading scholars. It contains chapters on the key methods and questions surrounding the performance event, the audience, and the archive the primary sources on which performance studies draws. It identifies the recurring trends and fruitful lines of inquiry that are generating the most urgent work in the field, but also contextualises these within the histories and methods on which researchers build. A central section of research-focused essays offers case studies of present areas of enquiry, from new approaches to space, bodies and language to work on the technologies of remediation and original practices, from consideration of fandoms and the cultural capital invested in Shakespeare and his contemporaries to political and ethical interventions in performance practice. A distinctive Trade ReviewA major new volume in Shakespeare studies … this research handbook is truly triumphant: Kirwan and Prince have produced an indispensable volume for researchers at all levels. * Shakespeare Survey *Brilliantly executed, consistently illuminating and abundantly engaging, this is an indispensable, one-stop discussion of Shakespeare and contemporary performance. Whether it is film, digital video or theatre, performance is explored in its multiple manifestations, and via content characterised by global reach and density. Attentive to mediation and reception, and featuring interviews with creatives and practitioners, The Arden Research Handbook of Shakespeare and Contemporary Performance is a rich and revealing achievement. * Mark Thornton Burnett, Professor of Renaissance Studies, Queen's University Belfast, UK *In focusing on performance as a process that begins well before the proverbial curtain rises and continues long after it falls, this vibrant, politically engaged, and globally oriented collection offers readers an account of Shakespeare in contemporary performance that is at once authoritative and interrogative, comprehensive and open-ended. By foregrounding the different kinds of labour involved in the creation, reception, and history of performance, it creates a space where we can hear a more diverse range of voices talk about what Shakespearean performance means – and why it matters today – than has often been the case. * Erin Sullivan, Senior Lecturer at the Shakespeare Institute, University of Birmingham, UK *This collection makes for an invigorating read as it injects critical energy into established debates and stretches the edges of the field just that little bit further. Contributors offer committed and thoughtful explorations of anti-racist pedagogies, ethics and cultural competence in the rehearsal room, and the structural changes organisations have to undergo in order to for them to be actively inclusive. Through thoughtful scholarship, interviews with a diverse selection of practitioners, and a range of research resources including an annotated bibliography and tour-de-force mapping of the entire field, this Handbook models what progressive Shakespeare performance studies may achieve in the coming decade. -- Pascale Aebischer, University of Exeter, UKTable of ContentsList of Illustrations Notes on Contributors Series Preface Acknowledgements Introduction Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada) Part 1: Research Methods and Problems 1.1 The Archive: Show Reporting Shakespeare Rob Conkie (La Trobe University in Melbourne, Australia) 1.2 The Audience: Receiving and Remaking Experience Margaret Jane Kidnie (University of Western Ontario, Canada) 1.3 The Event: Festival Shakespeare Paul Prescott (University of Warwick, UK) Part 2: Current Research and Issues 2.1 Original Practices: Old Ways and New Directions Sarah Dustagheer (University of Kent, UK) 2.2 Space: Locus and Platea in Modern Shakespearean Performance Stephen Purcell (University of Warwick, UK) 2.3 Economics: Shakespeare Performing Cities Susan Bennett (University of Calgary, Canada) 2.4 Networks: Researching Global Shakespeare Sonia Massai (King's College London, UK) 2.5 Global Mediations: Performing Shakespeare in the Age of Global and Digital Cultures Alexa Alice Joubin (George Washington University, USA) 2.6 Canon: Framing Not-Shakespeare Performance Eoin Price (Swansea University, UK) 2.7 Pedagogy: Decolonizing Shakespeare on Stage Andrew James Hartley (UNC Charlotte, USA), Kaja Dunn (UNC Charlotte, USA) and Christopher Berry (Black Theatre Network & Black Arts Institute) 2.8 Ethics: Practising Diversity at the Stratford Festival of Canada: Shakespeare, Performance and Ethics in the Twenty-First Century Erin Julian (University of Roehampton London/King's College London, UK) and Kim Solga (Western University, Canada) 2.9 Bodies: Gender, Race, Ability and the Shakespearean Stage Roberta Barker (Dalhousie University, Canada) 2.10 Technology: The Desire Called Cinema: Materiality, Biopolitics, and Post-Anthropocentric Feminism in Julie Taymor’s The Tempest Courtney Lehmann (University of the Pacific, USA) Part 3: New Directions in Shakespeare and Performance Curated by C. K. Ash (Independent researcher) and Nora J. Williams (University of Essex, UK) 3.1 Anne G. Morgan 3.2 Jatinder Verma 3.3 Judith Greenwood 3.4 Dan Bray and Colleen MacIsaac 3.5 Migdalia Cruz 3.6 Lisa Wolpe 3.7 Julia Nish-Lapidus and James Wallis 3.8 Ravi Jain 3.9 Emma Whipday 3.10 Wole Oguntokun 3.11 Vishal Bhardwaj 3.12 Adam Cunis 3.13 James Loehlin 3.14 Denice Hicks 3.15 @Shakespeare 3.16 Jung-ung Yang Part 4: Resources for Researchers 4.1 A Fifty-Year History of Performance Criticism James C. Bulman (Allegheny College, USA) 4.2 A-Z of Key Terms Bríd Phillips (University of Western Australia, Australia), with Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada) 4.3 Annotated Bibliography Karin Brown (University of Birmingham, UK), Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada) 4.4 Resources Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada) Index
£39.99
Bloomsbury Publishing (UK) Women and Indian Shakespeares
Book SynopsisThea Buckley is a Research Assistant at Queen's University Belfast, UK. Mark Thornton Burnett is Professor of Renaissance Studies at Queen's University Belfast, UK. Sangeeta Datta is a writer, director, independent filmmaker and cultural commentator, India/UK. She is Director of Baithak, a non-profits arts company, and Stormglass Productions. Rosa García-Periago is a Senior Lecturer at the University of Murcia, Spain.Table of ContentsList of Figures Notes on Contributors Acknowledgements A Note on References Introduction: Thea Buckley, Mark Thornton Burnett, Sangeeta Datta and Rosa García-Periago Chapter One: Poonam Trivedi (University of Delhi), ‘The “woman’s part”: Recovering the Contribution of Women to the Circulation of Shakespeare in India’ Chapter Two: Paromita Chakravarti (Jadavpur University), ‘Framing Femininities: Desdemona and Indian Modernities’ Chapter Three: Priyanka Basu (King's College, London, UK) and Arani Ilankuberan (British Library), ‘Indian Shakespeares in the British Library Collections: Translation, Indigeneity and Representation’ Chapter Four: Thea Buckley (Queen’s University Belfast), ‘Women Translating Shakespeare in South India: Hemanta Katha, or The Winter’s Tale’ Chapter Five: Mark Thornton Burnett (Queen’s University Belfast) and Jyotsna Singh (Michigan State University), ‘“I dare do all that may become a man”: Martial Desires and Women as Warriors in Veeram, a Film Adaptation of Macbeth’ Chapter Six: Taarini Mookherjee (Columbia University), ‘“You should be women”: Bengali Femininity and the Supernatural in Adaptations of Macbeth’ Chapter Seven: Nishi Pulugurtha (Brahmananda Keshab Chandra College), ‘Romeo and Juliet Meets Rural India: Sairat and the Representation of Women’ Chapter Eight: Jennifer T. Birkett (Notre Dame University), ‘Dy(e)ing Hands: The Hennaed Female Agent in Vishal Bhardwaj’s Tragedies’ Chapter Nine: Rosa García-Periago (University of Murcia), ‘Embattled Bodies: Women, Land and Contemporary Politics in Arshinagar, a Film Adaptation of Romeo and Juliet’ Chapter Ten: Mark Thornton Burnett (Queen’s University Belfast), ‘Where the Wild Things are: Shifting Identities in Noblemen, a Film Adaptation of The Merchant of Venice’ Chapter Eleven: N. P. Ashley (St Stephen’s College, Delhi), ‘Women Punctuating Shakespeare: Campus Theatrical Experiment, the Shakespeare Society and the Insider/Outsider Dialectic’ Chapter Twelve: Bornila Chatterjee (filmmaker), Sangeeta Datta (filmmaker), Annette Leday (Annette Leday/Keli Company), Sreedevi Nair (NSS College for Women), Preti Taneja (University of Newcastle), ‘Adapting Shakespeare: Directors and Practitioners in Conversation’ Appendix: Priyanka Basu (King's College, London) and Arani Ilankuberan (British Library), ‘A Selection of Shakespeare Translations/Adaptations from the British Library North Indian Languages Collection’ Index
£80.75
Bloomsbury Publishing PLC Selected Musical Plays by Noel Coward A Critical
Book SynopsisAlthough Noël Coward's work as playwright, songwriter and actor has long been celebrated, his contributions to the British musical have largely been forgotten. Selected Musical Plays by Noël Coward: A Critical Anthology rectifies this omission from the musical theatre landscape, demonstrating how Coward's adaptability, creativity, and myriad of styles is imitated in the incredible musicals he authored. From flop shows at Drury Lane with Mary Martin through to his Broadway hits with Elaine Stritch, this anthology chronicles the variety of styles written by Coward, from revue to musical comedy to operetta. The works in this volume provide a contemporary critical introduction that illustrates the breadth and depth of his work, and highlighting the diverse identities of the collaborators and performers with whom he worked. Though the style of these works varies, they are linked together by his creative thread, and his ability to craft barbed and witty observations of his social worTable of Contents1. Introduction 2. This Year of Grace (1928), also known as Cochran’s 1928 Revue 3. Bitter Sweet (1929) 4. Words and Music (1932) 5. Pacific 1860 (1946) 6. Ace of Clubs (1949) 7. Sail Away (1961) 8. The Girl Who Came to Supper (1963)
£31.34
Bloomsbury Publishing (UK) Dance in Musical Theatre
Book SynopsisTable of ContentsTable of Contents Image List List of Contributors Acknowledgements Introduction: Dustyn Martincich and Phoebe Rumsey Section I: Choreography and Function Chapter 1: Reading Dance: The Body in Motion Onstage Phoebe Rumsey Chapter 2: Dancing Genre: Influences on Dance in Musical Theatre Nathan James Chapter 3: Musical Theatre Dance Training: Approaches in the United States and China Mijiang He and Dustyn Martincich Chapter 4: Ensembles in Motion: Formations, Spectacle, and Unison Adrienne Gibbons Oehlers Chapter 5: Dancing Narrative: Storytelling through the Ensemble Body Amanda Olmstead Chapter 6: Storytelling through Dance: The Rise of the Dream Ballet Bud Coleman Chapter 7: Making Space, Keeping Time: Musical Theatre Dance and Temporality in the United States Joanna Dee Das Section II: Approaches to Choreography and the Body Chapter 8: Take Off with Us: Expressing Gender and Sexuality in Golden Age Broadway Choreography Kevin Winkler Chapter 9: Asian Faces, American Bodies: Reading Asian/American Movement on the Broadway Stage Kim Varhola Chapter 10: Tap and the Broadway Musical: Subversion and Subjectivity through Historical Consciousness Benae Beamon Chapter 11: Ballet, Race, and the Great White Way Ramon Flowers Chapter 12: Conversations, Creators & Storytellers in Contact: An Interview with Tomé Cousin Phoebe Rumsey Chapter 13: Postmodern Dance’s Legacies on the Contemporary Musical Theatre Stage Ariel Nereson Chapter 14: Movement Direction in Musical Theatre: Physical Actions and Gestural Storytelling Michael D. Jablonski and Dustyn Martincich Chapter 15: Everybody Cancan: Contemporary Musical Theatre Dance Dustyn Martincich and Alexandra Joye Warren
£71.25
Bloomsbury Publishing PLC The Sacred Life of Modernist Literature
Book SynopsisProbing the relationship between modernist literary experimentation and several key strands of occult practice which emerged in Europe from roughly 1894 to 1944, this book sets the work of leading modernist writers alongside lesser known female writers and writers in languages other than English to more fully portray the aesthetic and philosophical connections between modernism and the occult. Although the early decades of the twentieth centurythe era of cocktails, motorcars, bobbed hair, and warare often described as a period of newness and innovation, many writers of the time found inspiration and visionary brilliance by turning to the mysterious occult past. This book's principle intervention is to reimagine the contours and boundaries of literary modernism by welcoming into the conversation a number of significant female writers and writers in languages other than English who are often still relegated to the fringes of modernist studies. Well-remembered poets and novelists such asTrade ReviewAllan Kilner-Johnson demonstrates with emphatic assurance how myriad spiritual seekers, too often overlooked in existing surveys of aesthetic modernism – for example, Rudolf Steiner, Dion Fortune, Mary Butts and Florence Farr – were crafting new writing modes by excavating imaginatively the ancient recondite past. * Andrew Radford, Senior Lecturer in Contemporary Literature, University of Glasgow, UK *Table of ContentsIntroduction 1: Divine Reading 2: The Return to Ritual 3: The Modernist Shadow 4: The Making of an Overman 5: The Other East Bibliography
£85.50
Bloomsbury Publishing PLC Contemporary British Musicals Out of the Darkness
Book SynopsisThe shortest runs can have the longest legacies: for too long, scholarship surrounding British musical theatre has coalesced around the biggest names, ignoring important works that have not had the critical engagement they deserve. Through academic interrogation and industry insight, this unique collection of essays recognizes these works, shining a light on their creative achievements and legacies. With each chapter focusing on a different significant musical, a selection of shows spanning 2010s are analysed and the development and evolution of the genre is explored. Touching on key, hit shows such as SIX, Matilda, Everybody''s Talking About Jamie, The Grinning Man and Bend it Like Beckham, each chapter discusses different theatrical elements, from dramaturgy and musicology to reception, and also includes an interview with a practitioner related to each musical, providing in-depth understanding and invaluable practical and industry knowledge. ITable of ContentsForeword – Kate Marlais Foreword – Tim Sutton List of Contributors List of Images Introduction Chapter 1 - Bros Abroad: Masculinities in Transition and Homosocial Bonding in Dougal Irvine’s Departure Lounge - Broderick Chow Dougal Irvine Interview Chapter 2 - ‘The Smell of Rebellion’ and ‘The Stench of Revolt’: The Carnivalesque Dramaturgy of Matilda the Musical from Page to Stage - Stephanie Lim Ellen Kane Interview Chapter 3 - ‘Glitching’ of gender and temporality in Lift – Jozey Grae Perfect Pitch Interview - Andy Barnes, Wendy Barnes Chapter 4 - Bend it Like Beckham: The Musical: Embodying British Identities - Kelsey Blair Preeya Kalidas Interview Chapter 5 - Flowers for Mrs Harris: Covid-19, Women’s Work, and the Musical’s ‘some kind of bliss’- Sarah K. Whitfield Rachel Wagstaff & Richard Taylor Interview Chapter 6 - ‘You’re him and he is you’: Identification with the Disabled ‘Freak’ in The Grinning Man - Ellen Armstrong Toby Olié Interview Chapter 7 - “Something Precious You Don’t Simply Give Away”: Intersections of Love and Queer Expression in Everybody’s Talking About Jamie - Hannah Marie Robbins Rob Hastie Interview Chapter 8 - ‘One of a kind, no category’: Coding Race, Gender, and Excess in SIX - Aviva Neff Josh Bird Interview Chapter 9 - My Left Right Foot: The Musical – Judith Drake Noisemaker Interview Chapter 10 - ‘As if Gathered in a Verbatim Fashion’: The (Mis)Use of Documentary Markers in Chris Bush and Matt Winkworth’s The Assassination of Katie Hopkins - Cyrielle Garson Lucy Osborne Interview Conclusion
£24.99
Bloomsbury Publishing PLC 25 Plays from The Fire This Time Festival
Book SynopsisWhile the past decade proved to be some of the most tumultuous times in modern US history, the Black community has been resilient, opening up dialogues and sustaining advocacy. Nowhere has this been more apparent than at the Obie Award-winning The Fire This Time Festival in New York City. Since being founded in 2009, this theater festival has become the destination for emerging and early career playwrights from the African diaspora. Inequality in education and healthcare, skewed and negative images of Black people in mainstream media, racism in policing, widespread gentrification and its effects on multi-generational Black neighbourhoods, and the growth of Black love; these conversations have been happening in the US, and The Fire This Time Festival has borne witness.25 Plays from The Fire This Time Festival: A Decade of Recognition, Resistance, Resilience, Rebirth, and Black Theater reflects this fantastic legacy, containing 25 ten-minute plays originally producedTable of Contents- About the Festival and List of all playwrights from the past 11 Season - Foreword “The Privilege of Identity and Why I Founded The Fire This Time Festival Play Sections 1.Section 1: Vanna White, Brook Shields, and Beyonce: Beauty Standards and Self Acceptance in Black America Featuring Katori Hall’s Beyonce Effect, Derek Lee McPhatter’s Citizen Jane, Antoinette Nwandu’s Vanna White Has Got To Die, and Roger Q. Mason’s Hard Palate 2. Section 2: The Cost of Education: Confronting the Effects of Racial Disparity in America’s Education System Featuring Dominique Morisseau’s Third Grade; Fransica Da Silviera’s scholarship babies; and Tracey Conyer Lee’s Poor Posturing 3. Section 3: The Shots Heard Round The World: Policing Black Bodies in White America Featuring C.A. Johnson's The Fucking World and Everything in It; William Watkins' BLACK WHITE & BLUE; Jordan E. Cooper's Ain't No Mo; and Natyna Bean's Assumed Positions 4. Section 4: Birth: Contemplating the next generation in a complicated system Featuring Dennis A. Allen II’s Untainted Wombs, and Deneen Reynolds-Knott’s Antepartum 5. Section 5: Maintaining Roots: Addressing Gentrification in Historically Black Neighborhoods Featuring Bernard Tarver's Just Another Saturday in the Park and Cyrus Aaron's Panopticon 6. Section 6: The Black Family: How We Thrive in the Face of Oppression Featuring Camille Darby’s Exodus; Marcus Gardley’s The Sporting Life of Icarus Jones; Charly Evon Simpson’s The House; Kendra Augustin’s Sisterhood in the Time of the Apocalypse; and Samantha Godfrey’s C.O.G.s. 7. Section 7: Black Love: Why We Hope Featuring Jonathan Payne’s The Weatherin’; Tyler English-Beckwith’s Maya and Rivers; Fredrica Bailey’s Love and Happiness; Angelica Cheri’s Slow Gin Fits; and Josh Wilder’s Gravity, The Fire This Time Creative Team
£23.74
Bloomsbury Publishing PLC The Vagrant Trilogy Three Plays by Mona Mansour
Book SynopsisThe [Vagrant Trilogy] extends far beyond the timeline of devastating events, and instead shows us something greater: humanity. - Broadway World The Vagrant Trilogy is a set of three plays by award-winning Arab American playwright Mona Mansour which explores the Palestinian condition prior to, during, and after the infamous Six-Day War. It sketches the devastating effect this conflict had on members of the Palestinian diaspora scattered in Europe and in Lebanese refugee camps. With productions in Washington DC, New York, and Abu Dhabi, this trilogy has moved audiences across both America and the Arabic-speaking world. The Hour of Feeling, The Vagrant, and Urge for Going offer a deep exploration of the Palestinian struggle for home and identity, a powerful glimpse into a reality that many face and few understand. The volume includes a foreword by director Mark Wing-Davey; an introduction by Arab American theatre scholars Hala Baki and MichTable of Contents1. Acknowledgements 2. Dedication 3. List of Photographs 4. Foreword by director Mark-Wing Davey 5. Introduction by editors Hala Baki & Michael Malek Najjar 7. A Note on the Texts 8. The Plays Part 1: The Hour of Feeling Part 2: The Vagrant Part 3: Urge for Going 9. Afterword by Mona Mansour 10. Critical Essay by Dr Diya Abdo 10. Notes and Bibliography
£18.99
Bloomsbury Publishing PLC Modernists and the Theatre
Book SynopsisJames Moran is Professor of Modern English Literature and Drama at the University of Nottingham, UK.Table of ContentsAcknowledgements Introduction 1. W.B. Yeats: Theatre and Shakespearean Elitism 2. Ezra Pound: Theatre and Anti-Semitism 3. D.H. Lawrence: Theatre and the Working Class 4. James Joyce: Theatre and Sexual/Gender Non-Conformity 5. T.S. Eliot: Theatre and Popularity 6. Virginia Woolf: Theatre and Gender Equality Conclusion Notes Bibliography Index
£24.99
Bloomsbury Publishing PLC Sarah Kanes Theatre of Psychic Life
Book SynopsisSarah Kane was one of the landmark playwrights of 1990s Britain, her influence being felt across UK and European theatre. This is the first book to focus exclusively on Kane's unique approach to mind and mental health. It offers an important re-evaluation of her oeuvre, revealing the relationship between theatre and mind which lies at the heart of her theatrical project. Drawing on performance theory, psychoanalysis and neuroscience, this book argues that Kane's innovations generate a dramaturgy of psychic life', which re-shapes the encounter between stage and audience. It uses previously unseen archival material and contemporary productions to uncover the mechanics of this innovative theatre practice. Through a radically open-ended approach to dramaturgy, Kane's works offer urgent insights into mental suffering that take us beyond traditional discourses of empathy and mental health and into a profound rethinking of theatre as a mode of thought. As such, her theatre can help usTrade ReviewSarah Kane’s Theatre of Psychic Life is an incisive and eloquent account of the necessity of Kane, the necessity of theatre, and the necessity of interdependence. Sidi’s book offers a persuasive argument for the fecundity of desolation. * anna harpin, Head of Theatre and Performance Studies, University of Warwick, UK *Though Sarah Kane’s work is steeped in despair, this fascinating and compassionate book offers hope in its vision of her theatre as a place where our darkest and most intensely personal experiences are transformed into an investigation into the political and psychological landscape of our society. * Professor of Contemporary Theatre, Royal Holloway University of London, UK *Table of ContentsIntroduction: Revisiting Kane - Why Kane? - The question of biography: mental health and politics - Context: Mental Health in the 1990s: Phaedra’s Love and ‘community care plays’ Chapter 1: Plays and playing: The Dramaturgy of Psychic Life - A Starting Point: Experientialism and the mind - Dramaturgy - Theatre and thought - Psychic life and psychoanalysis - Crave with Paine’s Plough (1998): Exploring Experientialism Chapter 2: The stage as traumatic space - Kane’s Feminist Legacies: Feminist theatre and sexual trauma - Theatre as a theoretical response? PTSD and mimetic traumas - Blasted : The psychic life of sexual trauma - Blasted at the Crucible: A trauma reading Chapter 3: Rhythm, Interruption, Psychosis - Phaedra’s Love to Cleansed: A dramaturgical turning point - Dramaturgical tools: Prediction and interruption in Cleansed and Crave - A cognitive reading: Psychosis and prediction errors - Influence on Kane from Strindberg and Artaud - Cleansed at the National Theatre: Playing it against the text Chapter 4: The Mind as Theatrical Site - Crave and 4.48 Psychosis as ‘mental health’ plays - The mind-as-site - Neoliberal healthcare and psychosis: dramaturgical responses to political changes - 4.48 Psychosis at the Lyric Hammersmith: splitting the mind into space Chapter 5: RSVP ASAP - Kane and desire: What does theatre want? - Suicidality: returning to Kane’s sources - Staging desire: An apostrophic reading with Barbara Johnson - 4.48 Psychosis by the Belarus Free Theatre: Queer love and suicidality Conclusion: Looking ahead: Kane and the future of ‘mental health’ Bibliography Index
£80.75
Bloomsbury Publishing PLC White People in Shakespeare
Book SynopsisWhat part did Shakespeare play in the construction of a white people' and how has his work been enlisted to define and bolster a white cultural and racial identity?Since the court of Queen Elizabeth I, through the early modern English theatre to the storming of the United States Capitol on 6 January 2021, white people have used Shakespeare to define their cultural and racial identity and authority. White People in Shakespeare unravels this complex cultural history to examine just how crucial Shakespeare's work was to the early modern development of whiteness as an embodied identity, as well as the institutional dissemination of a white Shakespeare in contemporary theatres, politics, classrooms and other key sites of culture. Featuring contributors from a wide range of disciplines, the collection moves across Shakespeare's plays and poetry and between the early modern and our own time to interrogate these relationships. Split into two parts, Shakespeare's White People' and White Trade ReviewExpressing ideas that have developed over several decades of brave and tenacious scholarship, this collection opens a new chapter in the study of Shakespeare and the study of race. It sets out a clear demand for future scholarship, artistic practice, and activism: to produce a Shakespeare that is about “more than whiteness.” With searching intellectual power and heart, White People In Shakespeare demonstrates why the critique of "whiteness" is a precondition for understanding Shakespeare in the 21st Century. * Dr. Michael Witmore, Director of the Folger Shakespeare Library, USA *This big and provocative gathering of established and new voices gives us much of what Shakespeare had to say, in character and verse, about whiteness, as there were just beginning to be "white people." Its contributors likewise show the troubling reach of Shakespeare's genius in reproducing hegemonic whiteness across generations. * David Roediger, Foundation Professor of American Studies, University of Kansas, USA *Table of ContentsList of Illustrations Acknowledgements List of Contributors Introduction: ‘Assembling an Aristocracy of Skin’ Arthur L. Little, Jr. (University of California, USA) Part I: Shakespeare’s White People Chapter 1 ‘Two loves I have of comfort and despair:’ The Circle of Whiteness in the Sonnets Imtiaz Habib (Old Dominion University, USA) Chapter 2 Staging the Blazon: Black and White and Red All Over Evelyn Gajowski (University of Nevada, USA) Chapter 3 Red Blood on White Saints: Affective Piety, Racial Violence, and Measure for Measure Dennis Austin Britton (University of New Hampshire, USA) Chapter 4 Antonio’s White Penis: Category Trading in The Merchant of Venice Ian Smith (Lafayette College, USA) Chapter 5 ‘Envy Pale of Hew’: Whiteness and Division in ‘Fair Verona’ Kyle Grady (University of California, USA) Chapter 6 “Shake thou to look on’t”: Shakespearean White Hands David Sterling Brown (Binghamton University, SUNY, USA) Chapter 7 ‘Pales in the Flood’: Blood, Soil, and Whiteness in Shakespeare’s Henriad Andrew Clark Wagner (University of California, USA) Chapter 8 Disrupting White Genealogies in Cymbeline Joyce MacDonald (University of Kentucky, USA) Chapter 9 White Freedom, White Property, and White Tears: Classical Racial Paradigms and the Construction of Whiteness in Julius Caesar Katherine Gillen (Texas A&M University, USA) Chapter 10 Hamlet and the Education of the White Self Eric De Barros (American University of Sharjah, UAE) Chapter 11 ‘The Blank of What He Was’: Dryden, Newton, and the Discipline of Shakespeare’s White People Justin P. Shaw (Clark University, USA) Part II: White People’s Shakespeare Chapter 12 Can You Be White and Hear This?: The Racial Art of Listening in American Moor and Desdemona Kim Hall (Barnard College, USA) Chapter 13 White Lies: In Conversation Peter Sellars (UCLA, USA) and Ayanna Thompson (Arizona State University, USA) Chapter 14 A Theatre Practice against the Unbearable Whiteness of Shakespeare: In Conversation Keith Hamilton Cobb (actor, USA), Anchuli Felicia King (playwright and screenwriter, AUS), and Robin Alfriend Kello (University of California, USA) Chapter 15 ‘The soul of a great white poet’: Shakespearean Educations and the Civil Rights Era Jason M. Demeter (Norfolk State University, USA) Chapter 16 ‘White Anger: Shakespeare’s my Meat’ Ruben Espinosa (Arizona State University, USA) Chapter 17 ‘I saw them in my visage’: Whiteness, Race Studies, and Early Modern Culture Margo Hendricks (University of California, USA) Chapter 18 The White Shakespearean and Daily Practice Jean E. Howard (Columbia University, USA) Chapter 19 No Exeunt: The Urgent Work of Critical Whiteness Peter Erickson (Northwestern University, USA) Index
£20.89
Bloomsbury Publishing PLC Three Plays by Squint How They Were Made
Book SynopsisAre you a theatre-maker looking for devising tools? A writer wanting to improve your dialogue? A director trying to create a story through improvisation? Three Plays by Squint & How They Were Made brings three of the company's plays together with the methods used to create them, in a practical, user-friendly toolkit. Three of Squint's plays - created by Lee Anderson, Adam Foster and Andrew Whyment - are published here for the first time. At the heart of each, a character is struggling to process their personal trauma under the intense glare of the public eye. Long Story Short (2014) dissects journalism in the digital age, Molly (2015) takes a reality television-style journey into the mind of a sociopath, and The Incredible True Story of the Johnstown Flood (2021) embarks on a transatlantic exploration of class, exploitation and appropriation.Developed over ten years through Squint's education programme, the exercises in this book distil the company's Trade ReviewSquint’s trio of fast-paced plays, combined with the activities used to create them, are an invaluable resource for directors, ensembles, devisers and playwrights alike * Emma Rice, Wise Children *You can’t help but feel nourished by Squint’s collective spirit and markedly more equipped to originate theatre * Holly Race Roughan, Artistic Director of Headlong *It’s fascinating to read this generous and detailed articulation of the tools and methods of Squint’s theatre making * Amit Lahav, Artistic Director of Gecko *An invaluable resource for theatre makers and educators * Anna Niland, Associate Director of the National Youth Theatre. *A punchy collection of swaggeringly smart plays coupled with a generous toolkit of inspirations for making new work * Dan Rebellato, Professor of Contemporary Theatre at Royal Holloway. *Table of ContentsSquint. Foreword. Introduction. Long Story Short. Molly. The Incredible True Story Of The Johnstown Flood. The Squint Toolkit Acknowledgements Bibliography
£23.74
Bloomsbury Publishing PLC The Methuen Drama Book of Queer Monologues
Book SynopsisScottee's work is often about outsiderness; race, sexuality, class, age and gender, creating spaces where the perceived underdog is celebrated. In 2010 Scottee won the title of Time Out Performer of the Year and in 2015 he was included on Independent's Rainbow List as one of Britain's most influential LGBTQI+ people.
£13.99
Bloomsbury Publishing PLC Early Modern Liveness
Book SynopsisWhat does it mean for early modern theatre to be live'? How have audiences over time experienced a sense of liveness'? This collection extends discussions of liveness to works from the 16th and 17th centuries, both in their initial incarnations and contemporary adaptations. Drawing on theatre and performance studies, as well as media theory, this volume uses the concept of liveness to consider how early modern theatre including non-Western and non-traditional performance employs embodiment, materiality, temporality and perception to impress on its audience a sensation of presence. The volume's contributors adopt varying approaches and cover a range of topics from material and textual studies, to early modern rehearsal methods, to digital and VR theatre, to the legacy of Shakespearean performance in global theatrical repertoires. This collection uses both early modern and contemporary performance practices to challenge our understanding of live performance. Productions and adaptions Table of ContentsList of Figures Notes on Contributors Acknowledgements Introduction Danielle Rosvally (University at Buffalo, USA) and Donovan Sherman (Seton Hall University, USA) Part One: Proximity 1. Liveness in Virtual Early Modern Theatre Rebecca Bushnell (University of Pennsylvania, USA) 2. Impressions of Liveness in Shakespeare, at a Distance Stephanie Shirilan (Syracuse University, USA) 3. Medium Specificity, Medium Convergence, and Aliveness in the Chromakey (2018) and Big Telly Zoom (2020) Macbeths Thomas Cartelli (Muhlenberg College, USA) Part Two: Performance 4. Liveness in VR and AR Shakespeare Adaptations Aneta Mancewicz (Royal Holloway, University of London, UK) 5. Alive in the (Early) Modern Repertory Elizabeth E. Tavares (University of Alabama, USA) 6. Contemporary Turkish Shakespeares: New Breath to Old Lives Murat Ögütcü (independent scholar, Turkey) 7. Death Draws Down our Curtain: Liveness Beyond Life in Early Modern Persianate Islam Kenneth Molloy (Brown University, USA) 8. Signs of Liveness: The Blazing Star in Renaissance Drama Gina M. Di Salvo (University of Tennessee, Knoxville, USA) 9. The Apparitional Audience: Prophesizing Live Collectives in Modern India and Early Modern England Jonathan Gil Harris (Ashoka University, India) Index
£76.00
Bloomsbury Publishing PLC Making Interdisciplinary Performance
Book SynopsisThis edited collection offers an examination of and guide to interdisciplinary collaboration through the working practices of performance makers, exploring its pleasures, problems and pitfalls.At a time when interdisciplinary practice is actively encouraged in the academy, through strategic priorities, policy and funding, this book asks what it means in practical terms to engage with artists and scholars outside of our home territories. Where does the interdisciplinary exist and what does it rely on? How do theatre makers approach and sustain these projects? What is the nature of the journey?This edited collection explores contemporary working practices at the interfaces between performance and other disciplines. Focusing on collaborations between theatre makers and these others', it investigates the processes and conditions involved in the interdisciplinary, and develops the notion of journeying' beyond conventional boundaries. The book includes chapters cove
£80.75
