Theatre studies Books
University of Hawai'i Press Kabuki Five Classic Plays
Book SynopsisWhile its actors made their entrance down the Flower Way over three hundred years ago, little of kabuki's repertory has been available to English readers. These five plays were translated from tapes made by James Brandon at actual performances. The superb translations are further enhanced by detailed commentary and stage directions.
£25.56
University of Hawai'i Press Masterpieces of Kabuki Eighteen Plays on Stage Kabuki Plays on Stage
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£21.56
University of Hawai'i Press The Bunraku Puppet Theater of Japan Honor
Book SynopsisThe plays presented here were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, however, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three of the plays in this volume achieved this level of importance.
£48.75
University of Hawai'i Press Inventing the Performing Arts Modernity and
Book SynopsisIndonesia, with its mix of ethnic cultures, cosmopolitan ethos, and strong national ideology, offers a useful lens for examining the intertwining of tradition and modernity in globalized Asia. In Inventing the Performing Arts, Matthew Isaac Cohen explores the profound change in diverse arts practices from the nineteenth century until 1949.
£48.75
University of Hawaii Press Peony Lantern Tales
Book Synopsis
£59.03
University of Missouri Press Blue Song
Book SynopsisReveala how St Louis was absolutely indispensable to Tennessee Williams’ formation and development both as a person and artist. Unlike the prevailing scholarly narrative that suggests that Williams discovered himself in the deep South and New Orleans, Blue Song reveals that Williams remained emotionally tethered to St Louis.
£999.99
MP-NMX Uni of New Mexico Wild West Shows and the Images of American
Book Synopsis
£999.99
Vanderbilt University Press The Violate Man
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£31.46
Vanderbilt University Press The Violate Man
a huge range and FREE tracked UK delivery on ALL orders.
£89.96
James Currey African Theatre 3 Women
Book SynopsisIncludes the playscript of Glass House by Fatima Dike with a brief introduction by Marcia Blumberg.Women have struggled to be heard in the world of modern African theatre. Traditionally they had secure roles as dancers, singers and storytellers, but as theatre became professionalised and commercialised, control increasingly laywith the literate elites. This volume is testimony to the scope of their work as playwrights, musicians and actors from the Algerian diaspora to the new South Africa. Guest edited by JANE PLASTOW North America: Indiana U Press; South Africa: Wits U PressTrade ReviewAfrican Theatre: Women is a refreshingly original collection of essays. Offering detailed information on a wide range of theatrical traditions as well as in-depth studies of individual playwrights, the book covers material from the entire continent ... As with the other titles in the African Theatre series, African Theatre: Women introduces readers to a fascinating variety of theatre projects and practices from the entire continent ... If a single message emerges from the volume, it is that the category of 'African women' is polyphonic rather than monolithic, infused with a multitude of traditions and ambitions. -- Stephanie Newell * AFRICAN RESEARCH & DOCUMENTATION *Table of ContentsEditorial Jane Plastow - 'I will not cry': women's theatre in the Algerian diaspora by Laura Chakravarty Box - Challenging the master: resisting 'male' virtues of the ancient Egyptian goddess Isis in the theatre of Tawfik al-Hakim & Nawal al-Sa'dawi by Dina Amin - Of Suwa houses & singing contests: early urban performers in Asmara, Eritrea by Christine Matzke - Contextualising women's theatre in Kenya: Mboya's Otongolia & Mwachofie's Mama ee by Mike Kuria - Portraits of women in contemporary Ugandan theatre by Mercy Mirembe Ntangaare - Drama in her life: interview with Adeline Ama Buabeng by Esi Sutherland-Addy with Adeline Ama Buabeng - Visibility, eloquence & silence: women & theatre for development in Ghana by Esi Dogbe - Contemporary Nigerian theatre: the plays of Stella Oyedepo by Chris Dunton - Who can silence her drums?: an analysis of the plays of Tess Onwueme by Omofolabo Ajayi - Noticeboard compiled by James Gibbs - Playscript: Glass House by Fatima Dike with brief introduction by Marcia Blumberg - Book Reviews
£999.99
Liverpool University Press Sophocles Antigone Aris Phillips Classical Texts
Book SynopsisSophocles’ Antigone is among the greatest of all works of Greek literature, and is often the play read first by those beginning to study Greek tragedy. This edition offers the text with facing translation and commentary, and an introduction including an account of the myth, a survey of the main interpretative issues, and a bibliography.Table of ContentsPreface AbbreviationsIntroduction 1. Sophocles and the Antigone 2. The myth 3. Creon and Antigone 4. This editionNotes to the IntroductionBibliographyAntigone – Text and TranslationSources of ReadingsNotes
£29.95
Liverpool University Press Euripides The Children of Heracles
Book SynopsisThis play is a powerful and challenging tragedy of exile and supplication. Driven from Argos, the children of Heracles flee as fugitives until they are granted asylum in Athens. The amorality of the powerful and the vulnerability of refugees make this a drama of continuing relevance. Greek text with facing translation, introduction and commentary.Trade Review“William Allan is rapidly establishing himself as a rising star in Euripidean studies.”Ian C. Storey, Mouseion, 2004Table of ContentsPrefaceGeneral Editor’s ForewordAbbreviations and Bibliography for The Children of HeraclesGeneral Bibliography for EuripidesIntroduction 1. Myth 2. Integrity and Structure of the Play 3. Suppliant Tragedy 4. Tragedy and History 5. Setting and Staging 6. The Heraclidae in Art 7. The Date of the Play 8. The Transmission of the TextTEXT AND TRANSLATIONCOMMENTARY
£29.95
Seagull Books London Ltd Performing Utopia Enactments Seagull Titles CHUP
Book SynopsisIn her landmark study Utopia in Performance: Finding Hope at the Theatre, Jill Dolan departed from historical writings on utopia, which suggest that social reorganization and the redistribution of wealth are utopian efforts, to argue instead that utopia occurs in fragmentary utopian moments, often found embedded within performance. While Dolan focused on the utopian performative within a theatrical context, this volume, edited by Rachel Bowditch and Pegge Vissicaro, expands her theories to encompass performance in public life from diasporic hip-hop battles, Chilean military parades, commemorative processions, Blackfoot powwows, and post-Katrina Mardi Gras to the Philadelphia Mummers Parade, Festas Juninas in Brazil, the Renaissance Fairs in Arizona, and neoburlesque competitions. How do these performances rehearse and enact visions of a utopic world? What can the lens of utopia and dystopia illuminate about the potential of performing bodies to transform communities, identities, values
£26.50
Seagull Books London Ltd The Trials of Spinoza
Book SynopsisBaruch Spinoza (163277) is considered one of the great rationalist thinkers of the seventeenth century. His magnum opus, Ethics, in which he criticized the dualism of Descartes, solidified his reputation and greatly influenced the Enlightenment thinkerswho would build from his work. Born in Amsterdam into a family of Sephardic Jews who had to take refuge there after they were expelled from Portugal, the precocious young scholar imbibed skepticism at an early age. By the time he was twenty-four, he had challenged what he called the fairy tales of the Old Testament and was excommunicated by the Synagogue. In this biographical play, Tariq Ali contextualizes Spinoza's philosophy by linking it to the turbulent politics of the period, in which Spinoza was deeply involved.Ali originally wrote The Trials of Spinoza as part of a series on philosophy for British Channel Four television, and this publication also includes a DVD of that original television production. This work will be welcomed
£12.99
Seagull Books London Ltd Kaddish
Book Synopsis
£16.71
Liverpool University Press Performing Greek Drama in Oxford and on Tour with
Book SynopsisPerforming Greek Drama in Oxford is an absorbing celebration of the performance and reception of Greek drama in Oxford.Trade Review... a carefully researched, often entertaining account of the reception of Greek drama. Bryn Mawr Classical Review, 09.37Table of Contents Contents List of Illustrations Abbreviations 1 Introduction: performing antiquity in Oxford, 1500s-2000s 2 The academic drama in the humanist curriculum and culture of Oxford 2.1 William Gager's defence of acting 2.2 Catalogue of plays in the 16th and 17th centuries 3. 'The Young Men in Women's Clothes': from the classical burlesques of the 1860s to the 1880 Agamemnon 3.1 Classical burlesques in Oxford and the great London scandal 3.2 The 1880 Agamemnon and Jowett's sanction of drama 4. Productions in ancient Greek by OUDS, 1887-1914 4.1 Alcestis in 1887: melodrama in the New Theatre! 4.2 Aristophanes revitalized: music and 'stage business' in the 1892 Frogs 4.3 The importance of Hubert Parry's music in OUDS' Aristophanic tradition, 1897-1914 5. Women, war and Gilbert Murray 5.1 Robert Bridges' Demeter at Somerville College, 1904 5.2 Penelope Wheeler, Greek plays at the Front, and the Boars Hill Players 5.3 Sybil Thorndike and post-WWI productions of Murray's translations 6. OUDS, college and Playhouse productions, 1920s-1960s 7. The Balliol Players, 1923-1927: social idealism and performances for Thomas Hardy 8. Balliol Players, 1928-1939: 'a first-class excuse for legitimate vagabondage' 8.1 The end of one era, and the beginning of another 8.2 The film of the 1934 Ajax 8.3 Towards the Second World War 9. The Aristophanic Balliol Players, 1947-1977 Bibliography Appendix 1. Production chronology Appendix 2. Prosopograph Appendix 3. Note on archival material in Balliol College, APGRD, and the Bodleian Index
£999.99
Northwood University Press Green Bird A Commedia Dellarte Play in Three Acts
Book Synopsis
£45.90
Cornell University Press Chicago Shakespeare Theater
Book SynopsisThe Chicago Shakespeare Theater is widely known for vibrant productions that reflect the Bard''s genius for intricate storytelling, musicality of language, and depth of feeling for the human condition. Affectionately known to natives of the Windy City as Chicago Shakes, this vanguard of Chicago''s rich theatrical tradition celebrates its silver anniversary with this bracing collection of original essays by world-renowned scholars, directors, actors, and critics.Chicago Shakespeare Theater unveils the artistic visions and decisions that helped shape this venerable institution and examines the theater''s international reputation for staging such remarkable and provocative performances. The volume brings together works by such heralded drama critics as Terry Teachout, Jonathan Abarbanel, and Michael Billington; theater industry giants like Michael Bogdanov, Edward Hall, and Simon Callow; interviews with the Chicago Shakespeare Theater''s own Artistic Director Barbara Gaines and
£25.19
Cornell University Press Chicago Shakespeare Theater
Book SynopsisThe Chicago Shakespeare Theater is widely known for vibrant productions that reflect the Bard's genius for intricate storytelling, musicality of language, and depth of feeling for the human condition. Affectionately known to natives of the Windy City as "Chicago Shakes," this vanguard of Chicago's rich theatrical tradition celebrates its silver...
£16.14
University of Iowa Press Interpreting the Theatrical Past
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£23.70
University of Michigan Press Chinese Theater in Days of Kublai Khan Michigan
Book SynopsisDiscusses social and historical context, stages, stagecraft, and literary art of Yuan drama and presents complete translations of three plays - a bandit adventure, a melodrama, and a murder mystery.
£19.90
Toccata Press Pfitzners Palestrina The Musical Legend and its
Book SynopsisInvestigation of unjustly neglected opera.Hans Pfitzner's `musical legend' Palestrina is considered in the German-speaking countries to be one of the supreme masterpieces of music, and yet it is all but unknown elsewhere. The opera, first performed in 1917, tells the story of the composer Palestrina, his struggle to compose following the death of his wife and in the face of anti-musical decrees from the Church, and his eventual composition of the Missa Papae Marcelli, which, it is said, wasdictated to him by angles and reconciled the Church to contrapuntal music. The story, set against the historical background of the Council of Trent, is an allegory of the individual artist in society, as well as a statement of Pfitzner's own beliefs about the musical climate of his time. Toller discusses the music and the dramatic structure, and presents a comprehensive introduction to the background material in the many diverse fields encompassed by the opera. OWEN TOLLER is Head of Mathematics at Merchant Taylor's School; he is a member of the London Symphony Chorus and sings with a number of other groups. His interest in Pfitzner began when he sang in the first British performance of Palestrina, a semi-professional production by Abbey Opera in London in 1979.
£27.00
Boydell & Brewer Ltd The Brecht Yearbook Das BrechtJahrbuch 38
Book SynopsisBertolt Brecht continues to be regarded as one of the twentieth century's most controversial and influential writers. His life and work raise important questions about the nature and function of literature and theater, about perception and commitment, about feminist approaches to politics and literature, and about intellectual property rights. The Brecht Yearbook is a venue for discussion about aspects of theater and literature that were of particular interest to Brecht, especially the politics of literature and the politics of theater in a global context. This volume features a dossier on writer-actor-director Manfred Karge, unpublished documents from Brecht's life in Augsburg, new research articles on Brecht, and reviews of recent books. Article topics include Brecht and Adorno in Los Angeles, Brecht and Wagner at the Kroll Opera, Brecht and Abstraction, and transcultural aspects of epic theater.
£58.50
Boydell & Brewer Ltd The Brecht Yearbook Das BrechtJahrbuch 39
Book SynopsisBertolt Brecht continues to be regarded as one of the twentieth century's most controversial and influential writers. His life and work raise important questions about the nature and function of literature and theater, about perception and commitment, about feminist approaches to politics and literature, and about intellectual property rights. The Brecht Yearbook is a venue for discussion about aspects of theater and literature that were of particular interest to Brecht, especially the politics of literature and the politics of theater in a global context. This volume includes a special section of five articles focused on Bertolt Brecht and Georg Büchner, revolutionary playwright of an earlier era. Also featured are articles and keynote addresses from the International Brecht Society symposium held in Brazil in 2013, under the theme "The Creative Spectator." New research on Brecht and Puccini, Brechtand tragedy, and George Tabori's play Nathans Tod rounds out the volume, along with reviews of recent books and Jost Hermand's tribute to Werner Mittenzwei.
£58.50
Boydell & Brewer Ltd The Brecht Yearbook Das BrechtJahrbuch 41
Book SynopsisAlongside the usual wide-ranging lineup of research articles, volume 41 features an interview with Berliner Ensemble actor Annemone Haase and an extensive special section on teaching Brecht.Now published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Bertolt Brecht's life and work and of topics of particular interest to Brecht, especially the politics of literature and of theater in a global context. It includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory. Volume 41 features an interview with longtime Berliner Ensemble actor Annemone Haase by Margaret Setje-Eilers. A special section on teaching Brecht, guest-edited by Per Urlaub and Kristopher Imbrigotta, includes articles on creative appropriation in the foreign-language classroom (Caroline Weist), satire in Arturo Ui and The Great Dictator (Ari Linden), performative discussion (Cohen Ambrose), Brecht for theater majors (Daniel Smith), teaching performance studies with the Lehrstück model (Ian Maxwell), Verfremdung and ethics (Elena Pnevmonidou), Brecht on the college stage (Julie Klassen and Ruth Weiner), and methods of teaching Brechtian Stückschreiben (Gerd Koch). Other research articles focus on Harry Smith's Mahagonny (Marc Silberman), inhabiting empathy in the contemporary piece Temping (James Ball), Brecht's appropriation of Kurt Lewin's psychology (Ines Langemeyer), and Brecht's collaborations with women, both across his career (Helen Fehervary) and in exile in Skovsbostrand (Katherine Hollander). Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.Trade ReviewOffers some keen insights into Brechtian strategy as pedagogic and performative practice and argues strongly for its relevance as a crux of engaging actively with the de- and re-construction of what it means to take a role in the processes of learning and deploying critical intelligence in the classroom and beyond. * JOURNAL OF EUROPEAN STUDIES *Table of ContentsSPECIAL INTEREST SECTION: TEACHING BRECHT From Page to Stage and Classroom to Community: Teaching Brecht in the Twenty-First Century - Kristopher Imbrigotta From Page to Stage and Classroom to Community: Teaching Brecht in the Twenty-First Century - Per Urlaub Playing Brecht: Creative Appropriation in the Foreign Language Classroom - Caroline Weist Teaching to Interrupt: Satire in Brecht's Arturo Ui and Chaplin's The Great Dictator - Ari Linden Performative Discussion: Practicing Brechtian Praxis in the Classroom - Cohen Ambrose Brecht for Theater Majors: Teaching Epic Theater in a Play Analysis Course - Daniel Smith Teaching Performance Studies with Brecht's Lehrstu?ck Model: The Measures Taken - Ian Maxwell Verfremdung and Ethics in Brecht's Der Jasager / Der Neinsager - Elena Pnevmonidou Staging Brecht at Carleton: Students as Actors at a Liberal Arts College - Julie Klassen and Ruth Weiner Studieren und über Vertrautes staunen: Brechtsches Stückeschreiben durch Forschen und Bilden und Darstellen - Gerd Koch INTERVIEW 42 Jahre Berliner Ensemble: Gespräch mit Annemone Haase, 23. Juni 2016 in ihrer Wohnung in Berlin - Margaret Setje-Eilers NEW BRECHT RESEARCH Art Instead of Romance: Brecht's Collaborations with Women - Helen Fehervary Collaboration, Exile, and the Quotidian: Community on the Svendborg Sound, 1933-1939 - Katherine Hollander Brechts Adaptionen der Psychologie Kurt Lewins und ihre Weiterentwicklung fürs epische Theater - Ines Langemeyer Harry Smith and Mahagonny - Marc Silberman Inhabiting Empathy: Locating the Verfremdungseffekt in an Era of Immersion - James R, Ball III BOOK REVIEWS
£58.50
Boydell & Brewer Ltd The Brecht Yearbook Das BrechtJahrbuch 42
Book SynopsisThe leading publication on Brecht, his work, and topics of interest to him; this annual volume documents the International Brecht Society's 2016 symposium, "Recycling Brecht."Published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Brecht's life and work and of topics of particular interest to him, especially the politics of literature and of theater in a global context. It includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory. Volume42 features a selection of the papers given and protocols of the events held at the International Brecht Society's "Recycling Brecht" symposium at St. Hugh's College, Oxford, in June 2016. The theme of recycling is understood bothas a description of Brecht's own creative practice and as an activity applied to his works by others. The volume includes keynote papers by Hans-Thies Lehmann and Amal Allana on Brecht's reception of Antigone and on the reception and recycling of Brecht in India, respectively. Other papers are on a wide range of topics, from Brecht's own "recycling" of Shakespeare and others, through the reception of his own works in a range of contexts and by later writers, to contemporary works that may be understood as post-Brechtian. The final section, introduced by an extended interview with American playwright Tony Kushner, documents additional creative responses to the theme.Volume co-editors Tom Kuhn and David Barnett are, respectively, Professor of Twentieth-Century German Literature at the University of Oxford and Professor of Theatre at the University of York. Managing Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.Table of ContentsRECYCLING BRECHT: PAPERS FROM THE FIFTEENTH SYMPOSIUM OF THE INTERNATIONAL BRECHT SOCIETY Brecht Translating / Translating Brecht - Hans-Thies Lehmann Inherent Estrangement: Brecht's Reading of Shakespeare's Tragedies - Astrid Oesmann Recycling Brecht: The Contemporary Reception of Aufstieg und Fall der Stadt Mahagonny - Steve Giles Ludic Philosophy in Brecht's Drama and Prose - Alice Koubová The Castrated Schoolmaster: Brecht, The Tutor, and Lenz - Nikolaus Müller-Schöll "Altes wird aufgerollt": Paul Dessau's Posthumous Collaborations with Brecht - Martin Brady and Carola Nielinger-Vakil Walking the Dead: George Tabori's Reframing of Bertolt Brecht's "The Jewish Wife" - Martin Kagel Released into the Future: (Re) Claiming Brecht in India - Amal Allana East Meets East: Recycling Brecht in India - Prateek Recycling Brecht in Britain: David Greig's The Events as Post-Brechtian Lehrstück - Anja Hartl A Future for the Lehrstück? Andres Veiel and Gesina Schmidt's Der Kick and the Recycling of Form - Michael Wood The I-Doc and Brecht: 18 Days in Egypt - Nenad Jovanovic RECYCLING BRECHT: CREATIVE RESPONSES Constructing the Fabel: Tony Kushner in conversation with Tom Kuhn - Tom Kuhn Brechts Bestie: Umwege und Irrwege der Kunst, die Wirklichkeit zu erfassen oder Erzählen als Diskurs. Fragen zu einer offenen Dialektik des Ästhetischen - Hans Martin Ritter A Model Family in a Model Home or a Tale of Fictitious Capital - Zoe Beloff Violence & Learning: Scenario 2 - John Hartl and Henrik Bromander A Translator's Perspective on Die Geschäfte des Herrn Julius Caesar - Charles Osborne BOOK REVIEWS
£58.50
Boydell & Brewer Ltd The Brecht Yearbook Das BrechtJahrbuch 44
Book SynopsisAnnual volume, this time featuring special sections on Brecht's dramatic fragments and on comedy in post-Brechtian theater, along with a variety of other contributions.Published for the International Brecht Society, the Brecht Yearbook is the central scholarly forum for discussion of Brecht's life and work and of topics of particular interest to him, especially the politics of literatureand of theater in a global context. It embraces a wide variety of perspectives and approaches and, like Brecht himself, is committed to the use value of literature, theater, and theory. Volume 44 features the first publication of Günter Kunert's translation of Edgar Lee Masters's poem "The Hill" with handwritten annotations by Brecht. A special section, "Brecht's Dramatic Fragments," includes essays on the unresolved tension between individual and collectivist resistance in Fatzer, the fragmentary aesthetic of Fleischhacker, and the first English translation and performance of the David fragments. The next section, "Pure Joke: The Comedy of Theater since Brecht," features articles on the poetics of interruption in the epilogue to The Good Person of Szechwan, Heiner Müller's Hamletmachine as theater of affirmation, a reassessment of the harlequin and the chorus in post-Brechtian performance, and the performative gestures of quotation in contemporary reality-satire. The volume also includes essays on capitalist guilt and debt in The Debts of Mister Julius Caesar, Heiner Müller's "Keuneresque" interview strategies, the 1962 world premiere of The Threepenny Opera in Yiddish, and Brecht's reception of Mao Tse-tung in two of his poems. Contributors include Gerrit-Jan Berendse, André Fischer, Phoebe von Held, Nicholas E. Johnson, Christian Kirchmeier, Günter Kunert, Nikolaus Müller-Schöll, Stephan Pabst, Corina L. Petrescu, David Shepherd, Katrin Trüstedt, Uwe Wirth, Burkhardt Wolf, and Xue Song. Editor Markus Wessendorf is aProfessor in the Department of Theatre and Dance at the University of Hawai'i at Manoa in Honolulu.Table of ContentsBRECHT, GÜNTER KUNERT, AND EDGAR LEE MASTERS Brecht-Masters-Kunert - Gerrit-Jan Berendse Übersetzung von Edgar Lee Masters' "The Hill" aus der Spoon River Anthology mit Brechts handschriftlichen Korrekturen - Günter Kunert BRECHT'S DRAMATIC FRAGMENTS Fragments for a Dialectic of Resistance: Fatzer, Keuner, and the Revolution - André Fischer In the Stockyards of Finance: Brecht's Aesthetics of Fragmentation in Fleischhacker - Phoebe von Held The David Fragments in Performance - Nicholas E. Johnson and David Shepherd PURE JOKE: THE COMEDY OF THEATER SINCE BRECHT Introduction: Pure Joke - Christian Kirchmeier and Katrin Trüstedt ". . . All Questions Remain Open": On the Epilogue of The Good Person of Szechwan and Bertolt Brecht's Poetics of Interpretation - Christian Kirchmeier Affirmation and Alienation: The Comedy of Heiner Müller's Hamletmaschine - Katrin Trüstedt Early Modern Characters in the Late Modern Age: On the Return of the "Chorus of Comedy" in Contemporary Performance Practices after Brecht - Nikolaus Müller-Schöll Reiner Spaß? Komödie als Real-Satire - Uwe Wirth NEW BRECHT RESEARCH Die Schulden des Herrn Julius Caesar: Brechts Historie der Kreditökonomie - Burkhardt Wolf Post-Communist Irony: Bertolt Brecht's Mr. Keuner in Heiner Müller's Interviews - Stephan Pabst Di dray groschn opere: Bertolt Brecht on the Yiddish Stage - Corina L. Petrescu Brechts Rezeption Mao Tse-tungs in zwei Gedichten - Xue Song BOOK REVIEWS
£58.50
Boydell & Brewer Ltd The Brecht Yearbook Das BrechtJahrbuch 46
Book SynopsisAnnual volume with contributions on writers and artists whose work intersects with Brecht's from three thematic perspectives: Brecht in a global age, women and Brecht, and Brecht's learning plays.Published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Brecht's life and work and of topics of particular interest to him, especially the politics of literature and of theater in a global context. It, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory.This is the second volume dedicated to the proceedings of the 16th Symposium of the IBS, held at Leipzig University in 2019. The contributions discuss artists whose work intersects with Brecht's from three thematic perspectives: Brecht in a global age, women and Brecht, and Brecht's learning plays. The artists include Utpal Dutt, Elisabeth Hauptmann, Elfriede Jelinek, Peter Konwitschny, Siegfried Kracauer, Tom Kühnel, Jürgen Kuttner, Heiner Müller, Rimini Protokoll, Margarete Steffin, Teatro Due Mondi, Teatro Máquina, Tom Tykwer, and Hella Wuolijoki. The articles cover a broad range of genres and topics, such as crime and detective fiction; neo-noir television series; the learning play according to and after Brecht; theater pedagogy; the migration dilemma; and post-dramatic, refugee, and transcultural theater.Table of ContentsTHROUGH TIME AND SPACE-BRECHT IN A GLOBAL AGE Brecht as a Stranger in a Postdramatic Era: Fatzer at Deutsches Theater 2016 - Rikard Hoogland Brechts Geste als transkulturelles Erkenntnismittel im Theater - Koku G. Nonoa The Actor as Producer: Utpal Dutt's Theater-er Dialectics - Dwaipayan Chowdhury Flüchtling sein ist kein Verdienst. Wie fremd Brecht uns geworden ist - Milena Massalongo Krakauer, Brecht und Babylon Berlin: Die Weimarer Republik in der Kriminalliteratur und in Neo-Noir Fernsehserien - Vera Stegmann Teatro Máquina and Nossos Mortos (Our Dead): A Brechtian Theater Experience in Brazil - Alexandra Marinho de Oliveira and Fran Teixeira Die Regiearbeiten der Peter-Konwitschny-Monkasei (P.コンヴィチュニー門下生) in Japan - Seollyeon Konwitschny WOMEN@BRECHT-FIGURES OF LONGING AND STRANGENESSCollective Creativity and Intercultural Theater: Brecht's Women Colleagues - Paula Hanssen Daughter Courage and Her Mother: Affect, Gesture, Voice - Martina Kolb Frauen als Fremde in der frühen Dichtung Brechts - Martin Revermann WORKING WITH BRECHT'S LEARNING PLAYS AS A PEDAGOGICAL PROCESS Working with Non-Actors after Brecht: The "Learning Plays" of Teatro Due Mondi - Raffaella Di Tizio The Learning Play - Robert Cohen Lehrstückspiel nach Brecht: Hinweise für Spielleiter - Reiner Steinweg Lehrstück und Theater: Pädagogische und ästhetische Prozesse mit Bertolt Brechts und Heiner Müllers Fatzer - Florian Vaßen Messingkauf: Lektüren und Erprobungen - Olav Amende, Melanie Gruß und Michael Wehren BOOK REVIEWS Saskia Fischer. Ritualität und Virtualität im Drama nach 1945. Brecht, Frisch, Dürrenmatt, Sachs, Weiss, Hochhuth, Handke - Anke Jaspers Darko Suvin. Communism, Poetry: Communicating Vessels: Some Insubordinate Essays, 1999-2018 - Tom Kuhn Astrid Oesmann und Matthias Rothe (Hrsg.). Brecht und das Fragment - Maria Kuberg NOTES ON THE CONTRIBUTORS
£58.50
MP-OKL Uni of Oklahoma To The Max Max Weitzenhoffers Magical Trip from Oklahoma to New York and Londonand Back
£26.96
John Wiley and Sons Ltd Greek Tragedies as Plays for Performance
Book SynopsisThis is a unique introduction to Greek tragedy that explores the plays as dramatic artifacts intended for performance and pays special attention to construction, design, staging, and musical composition.Trade Review"A remarkable guide to recapturing the sights and sounds of Greek tragedy. David Raeburn draws on his long experience as teacher, translator and director to show in detail how a selection of famous plays can be studied – in English or the original Greek – as scripts for performance. He has plenty of thought-provoking discussion of the stage action to offer, and a special feature is his guidance on the rhythms of the original poetry, especially the choral lyrics, with audio recordings easily accessible online." - Pat Easterling, Cambridge University (Emeritus Regius) "An invaluable book written with love and detailed understanding. It is based on a lifetime’s unique experience of producing each of these classical plays as a teacher and scholar at the highest level, therefore without equal in its field. Again and again Raeburn sees what these plays need for their staging and interpretation, largely because he has faced the challenge of putting them on the stage, whereas most classical commentators have not. He goes clearly and concisely to the heart of them in a style which all who read,produce, or have to study them will appreciate. A landmark both for our theatres’ actors and directors and for those in schools and universities who want to be taken to the central issues of each play and the ways in which character, speech, movement, and setting interrelate." - Robin Lane Fox, Oxford UniversityTable of ContentsPreface ix About the Companion Website xi 1 Introduction 1 2 Aeschylus 15 3 Persae 21 4 The Oresteia 33 5 Sophocles 81 6 Antigone 87 7 Oedipus Tyrannus 105 8 Electra (Sophocles) 123 9 Euripides 137 10 Medea 143 11 Electra (Euripides) 157 12 Bacchae 173 Appendix A: Glossary of Greek Tragic Terms 189 Appendix B: Rhythm and Meter 191 Index 195
£78.26
John Wiley and Sons Ltd Greek Tragedies as Plays for Performance
Book SynopsisThis is a unique introduction to Greek tragedy that explores the plays as dramatic artifacts intended for performance and pays special attention to construction, design, staging, and musical composition.Table of ContentsPreface ix About the Companion Website xi 1 Introduction 1 2 Aeschylus 15 3 Persae 21 4 The Oresteia 33 5 Sophocles 81 6 Antigone 87 7 Oedipus Tyrannus 105 8 Electra (Sophocles) 123 9 Euripides 137 10 Medea 143 11 Electra (Euripides) 157 12 Bacchae 173 Appendix A: Glossary of Greek Tragic Terms 189 Appendix B: Rhythm and Meter 191 Index 195
£37.00
Palgrave Macmillan Victorian Comedy and Laughter
Book Synopsis1.Introduction:Victorian Comedy & Laughter: Conviviality, Jokes and Dissent.- 2. Chapter 2: Malcolm Andrews, Laughter & Conviviality'. - 3. Chapter 3: Jonathan Buckmaster, Brutal Buffoonery and Clown Atrocity: Dickens's Pantomime Violence'. - 4. Chapter 4: Peter Swaab, Edward Lear's Travels in Nonsense and Europe'.- 5. Chapter 5: Bob Nicholson, Capital Company: Writing and Telling Jokes in Victorian Britain'.- 6. Chapter 6: Louise Lee, George Eliot's Jokes'.- 7. Chapter 7: Ann Featherstone, The Game of Words: A Victorian Clown's Gag-book and Circus Performance'. - 8. Chapter 8: Louise Wingrove, Sassin' back: Victorian Serio-Comediennes and Their Audiences'.- 9. Chapter 9: Oliver Double, Deliberately Shaped for Fun by the High Gods: Little Tich, Size and Respectability in the Music Hall'. - 10. Chapter 10: Peter Jones, Laughing Out of Turn: Fin de Siècle Literary Realism and the Vernacular Humours of the Music Hall'.- 11. ChaptTrade Review“This volume is an enjoyable read and a comfortable entry point into the field of Victorian comedy and laughter, both for those familiar with the subject and for those new to it. I hope that readers of Victorian Studies will take up its invitation. … this book will furnish you with conviviality, jokes, and just the right amount of dissent.” (Laura Kasson Fiss, Victorian Studies, Vol. 65 (1), 2022)Table of Contents1.Introduction:Victorian Comedy & Laughter: Conviviality, Jokes and Dissent.- 2. Chapter 2: Malcolm Andrews, ‘Laughter & Conviviality’. - 3. Chapter 3: Jonathan Buckmaster, ‘Brutal Buffoonery and Clown Atrocity: Dickens’s Pantomime Violence’. - 4. Chapter 4: Peter Swaab, ‘Edward Lear’s Travels in Nonsense and Europe’.- 5. Chapter 5: Bob Nicholson, ‘“Capital Company”: Writing and Telling Jokes in Victorian Britain’.- 6. Chapter 6: Louise Lee, ‘George Eliot’s Jokes’.- 7. Chapter 7: Ann Featherstone, ‘The Game of Words: A Victorian Clown’s Gag-book and Circus Performance’. - 8. Chapter 8: Louise Wingrove, ‘“Sassin’ back”: Victorian Serio-Comediennes and Their Audiences’.- 9. Chapter 9: Oliver Double, ‘“Deliberately Shaped for Fun by the High Gods”: Little Tich, Size and Respectability in the Music Hall’. - 10. Chapter 10: Peter Jones, ‘Laughing Out of Turn: Fin de Siècle Literary Realism and the Vernacular Humours of the Music Hall’. - 11. Chapter 11: Jonathan Wild, ‘What was New about the “New Humour”?: Barry Pain’s “Divine Carelessness”’. - 12. Chapter 12: Matthew Kaiser, ‘Just Laughter: Neurodiversity in Oscar Wilde’s “Pen, Pencil and Poison”
£104.49
Palgrave Macmillan Modern Acting The Lost Chapter of American Film
Book SynopsisIt reveals that Stella Adler, long associated with the Method, is best understood as a Modern acting teacher and that Modern acting, not Method, might be seen as central to American performing arts if the Actors’ Lab in Hollywood (1941-1950) had survived the Cold War.Table of ContentsList of Illustrations.- Acknowledgements.- Introduction.- Part I: Making Modern Acting Visible.- Chapter 1: A Twenty-First-Century Perspective.- Chapter 2: Acting Strategies, Modern Drama, New Stagecraft.- Chapter 3: Modern Acting: A Conscious Approach.- Chapter 4: Modern Acting: Obscured by the Method’s “American” Style.- Part II: Acting and American Performing Arts.- Chapter 5: Developments in Modern Theatre and Modern Acting, 1875-1930.- Chapter 6: Shifting Fortunes in the Performing Arts Business.- Park III: The Creative Labor of Modern Acting.- Chapter 7: The American Academy of Dramatic Arts.- Chapter 8: The Pasadena Playhouse.- Chapter 9: Training in Modern Acting on the Studio Lots.- Chapter 10: The Actors’ Laboratory in Hollywood.- Part IV: Modern and Method Acting.- Chapter 11: Modern Acting: Stage and Screen.- Chapter 12: The Legacy of Modern Acting.- Appendix: Group Theatre, Alfred Lunt, and Katharine Cornell Productions.- Notes.-
£24.99
John Wiley and Sons Ltd Shakespeares Theater
Book SynopsisShakespeare''s Theater: A Sourcebook brings together in one volume the most significant Elizabethan and Jacobean texts on the morality of the theater. A collection of the most significant Elizabethan and Jacobean texts on the morality of the theater. Includes attacks on the stage by moralists, defences by actors and playwrights, letters by magistrates, mayors and aldermen of London, and extracts from legislation. Demonstrates just how heated debates about the theater became in the late sixteenth and early seventeenth centuries. A general introduction and short prefaces to each piece situate the writers and debates in the literary, social, political and religious history of the time. Brings together in one volume texts that would otherwise be hard to locate. Student-friendly - uses modern spelling and includes vocabulary glosses and annotation. Trade Review"Tanya Pollard's anthology usefully brings together in a single volume modernized, annotated selections from many writers who participated in the lively debate about the nature and morality of the theater in late 16th and early 17th century England. [...] Shakespeare's Theater: A Sourcebook is an excellent resource for students and a fine ancillary text for university-level courses on Shakespeare or English Renaissance drama." Katharine Eisaman Maus, James Branch Cabell Professor of English, University of Virginia "This wonderful collection of polemical documents shows early modern minds wrestling with the very concept of theatrical representation. A provocative and supremely valuable resource book." Laurie Maguire, Magdalen College, Oxford "Pollard has performed a most valuable service to Shakespearian studies and to our knowledge of the Elizabethan and Jacobean theatrical world by collecting them together in Shakespeare's Theatre: A Sourcebook. ... recommended for all libraries colecting materials in Shakespeare, the Elizabethan and Jacobean theatre, English literature, history and culture." Reference ReviewsTable of ContentsPlates. Acknowledgments. Introduction. Timeline. Selected Bibliography. Timeline of Theater History and Writings. On works cited. 1. John Northbrooke, A Treatise Against Dicing, Dancing, Plays, and Interludes, with Other Idle Pastimes (1577). 2. Stephen Gosson, The School of Abuse (1579). 3. Stephen Gosson, Apology for the School of Abuse (1579). 4. Thomas Lodge, A Defense of Poetry, Music, and Stage Plays (1579). 5. Anglo-phile Eutheo [Anthony Munday], A Second and Third Blast of Retreat from Plays and Theaters (1580). 6. Stephen Gosson, Plays Confuted in Five Actions (1582). 7. Philip Stubbes, Anatomy of Abuses (1583). 8. William Rankins, A Mirror of Monsters (1587). 9. George Puttenham, The Art of English Poesie (London, 1589). 10. Philip Sidney, Apology for Poetry (1595). 11. Thomas Beard, The Theater of God’s Judgments (1597). 12. John Rainolds, The Overthrow of Stage Plays (1599). 13. William Gager, Letter to Dr. John Rainolds (1592). 14. Henry Crosse, Virtue’s Commonwealth (1603). 15. Thomas Dekker, The Gull’s Horn Book (1609). 16. Thomas Heywood, An Apology for Actors (1612). 17. G. [John Greene], A Refutation of the Apology for Actors (1615). 18. Ben Jonson, Preface to Volpone (1616). 19. Nathan Field, Letter to Rev Mr. Sutton (1616). 20. William Prynne, Histriomastix: The Player’s Scourge (1633). 21. Ben Jonson, Timber, or Discoveries (1641). 22. Legal acts and correspondences pertaining to the theater. Index
£109.76
John Wiley and Sons Ltd Shakespeares Theater
Book SynopsisShakespeare''s Theater: A Sourcebook brings together in one volume the most significant Elizabethan and Jacobean texts on the morality of the theater. A collection of the most significant Elizabethan and Jacobean texts on the morality of the theater. Includes attacks on the stage by moralists, defences by actors and playwrights, letters by magistrates, mayors and aldermen of London, and extracts from legislation. Demonstrates just how heated debates about the theater became in the late sixteenth and early seventeenth centuries. A general introduction and short prefaces to each piece situate the writers and debates in the literary, social, political and religious history of the time. Brings together in one volume texts that would otherwise be hard to locate. Student-friendly - uses modern spelling and includes vocabulary glosses and annotation. Trade Review"Tanya Pollard's anthology usefully brings together in a single volume modernized, annotated selections from many writers who participated in the lively debate about the nature and morality of the theater in late 16th and early 17th century England. [...] Shakespeare's Theater: A Sourcebook is an excellent resource for students and a fine ancillary text for university-level courses on Shakespeare or English Renaissance drama." Katharine Eisaman Maus, James Branch Cabell Professor of English, University of Virginia "This wonderful collection of polemical documents shows early modern minds wrestling with the very concept of theatrical representation. A provocative and supremely valuable resource book." Laurie Maguire, Magdalen College, Oxford "Pollard has performed a most valuable service to Shakespearian studies and to our knowledge of the Elizabethan and Jacobean theatrical world by collecting them together in Shakespeare's Theatre: A Sourcebook. ... recommended for all libraries colecting materials in Shakespeare, the Elizabethan and Jacobean theatre, English literature, history and culture." Reference ReviewsTable of ContentsPlates viii Acknowledgments ix Introduction x Select Bibliography xxvi Timeline of Theater History and Writings xxviii On Works Cited xxxi 1 A Treatise Against Dicing, dancing, Plays and Interludes with Other Idle Pastimes (1577) 1 John Northbrooke 2 The School of Abuse (1579) 19 Stephen Gosson 3 An Apology of the School of Abuse (1579) 34 Stephen Gosson 4 A Reply to Stephen Gosson’s School Abuse, in Defence of Poetry, Music and Stage Plays (1579) 37 Thomas Lodge 5 A Second and Third Blast of Retreat from Plays and Theaters (1580) 62 Anthony Munday 6 Plays Confuted in Five Actions (1582) 84 Stephen Gosson 7 Anatomy of Abuses (1583) 115 Philip Stubbes 8 A Mirror of Monsters (1587) 124 William Rankins 9 The Art of English Poesy (1589) 135 George Puttenham 10 An Apology for Poetry (1595) 146 Philip Sidney 11 The Theatre of God’s Judgements (1597) 166 Thomas Beard 12 The Overthrow of Stage-Plays (1599) 170 John Rainolds 13 Letter to Dr. John Rainolds (1592) 179 William Gager 14 Virtue’s Commonwealth (1603) 188 Henry Crosse 15 Preface to Volpone (1607) 198 Ben Jonson 16 The Gull’s Horn Book (1609) 206 Thomas Dekker 17 An Apology for Actors (1612) 213 Thomas Heywood 18 A Refutation of the Apology for Actors (1615) 255 I. G. [John Greene] 19 Letter to Revd. Mr. Sutton (1616) 274 Nathan Field 20 Histriomastix: The Players’s Scourge (1633) 279 William Prynne 21 Discoveries (1641) 297 Ben Jonson 22 Legal Acts and Correspondence Pertaining to the Theater 301 Index 337
£41.75
John Wiley and Sons Ltd The Art of Theater
Book SynopsisThe Art of Theater argues that performance is, and has always been, an art form in its own right, distinct from the literary texts that it uses. It is an affirmation of how we actually encounter theater, and James R.Trade Review"Hamilton's clarity of style and focused argument make his study an engaging change from the predominance of continental thought in many texts on contemporary theatre and performance. ... The Art of Theater returns us to basic questions where they seem most certain: like any good work of philosophy, it shows how the apparently obvious came to be the case." (Theatre Research International, March 2009) "Hamilton's book has many merits. He has written a timely book that would repay close study by any philosopher interested in performance in general and theater in particular." (The Journal of Aesthetics and Art Criticism) “Hamilton presents a bold new thesis in his first book: theatrical performances are an independent form of art. Hamilton presents meticulous arguments both for the independence of performance as an art form and its status as art. This is a compelling book. Recommended.” (CHOICE)Table of ContentsPrologue. Part I: The Basics:. 1. The Emergence of the Art of Theater: Background and History. 1.1 The Backstory: 1850s to 1950s. 1.2 The Decisive Influences: Brecht, Artaud, Grotowski. 1.3 The Decisive Years: 1961 to 1985. 1.4 The Final Threads: Absorption of New Practices into the Profession and the Academy. 2. Theatrical Performance is an Independent Form of Art. 2.1 Theatrical Performance as Radically Independent of Literature. 2.2 Theatrical Performance as a Form of Art. 3. Methods and Constraints. 3.1 Idealized Cases that Help Focus on Features Needing Analysis. 3.2 Three General Facts about Theatrical Performances and the Constraints they Impose on any Successful Account of Theatrical Performances. 4. Theatrical Enactment: The Guiding Intuitions. 4.1 Enactment: Something Spectators and Performers do. 4.2 The Crucial Concept: “Attending to Another”. 4.3 What it is to “Occasion” Responses. 4.4 Audience Responses: Willing Suspension of Disbelief, Acquired Beliefs, or Acquired Abilities?. 4.5 Relativizing the Account by Narrowing its Scope to Narrative Performances. Part II: The Independence of Theatrical Performance:. 5. Basic Theatrical Understanding. 5.1 Minimal General Success Conditions for Basic Theatrical Understanding. 5.2 Physical and Affective Responses of Audiences as Non-Discursive Evidence of Understanding. 5.3 The Success Conditions for Basic Theatrical Understanding Met by Moment-to-Moment Apprehension of Performances. 5.4 “Immediate Objects,” “Developed Objects,” and “Cogency”. 5.5 Objects of Understanding having Complex Structures. 5.6 Generalizing Beyond Plays. 5.7 The Problem of “Cognitive Uniformity”. 6. The mechanics of basic theatrical understanding. 6.1 The “Feature-Salience” Model of Spectator Convergence on the Same Characteristics. 6.2 What it is to Respond to a Feature as Salient for Some Characteristics or a Set of Facts. 6.3 A Thin Common Knowledge Requirement. 6.4 A Plausibly Thickened Common Knowledge Requirement. 6.5 The Feature-Salience Model, “Reader-Response Theory,” and “Intentionalism”. 6.6 Generalizing the Salience Mechanism to Encompass Non-Narrative Performances. 6.7 Some Important Benefits of the Feature-Salience Model: Double-Focus, Slippage, “Character Power,” and the Materiality of the Means of Performance. 6.8 The Feature-Salience Model and Explaining How Basic Theatrical Understanding Occurs. 7. What Audiences See. 7.1 Identifying Characters, Events, and Other Objects in Narrative Performances. 7.2 Re-identification of Characters and Other Objects in Narrative Performances. 7.3 The Special Nature of Theatrical (Uses of) Space: Performances and Performance Space. 7.4 Cross-Performance Re-identification. 7.5 Identifying and Re-identifying Objects in Non-Narrative Performances. 7.6 Added Benefits of the Demonstrative and Recognition-Based Approach to Identification and Re-identification. 7.7 Theatrical Performance as a Fully Independent Practice. Part III: The Art of Theatrical Performance:. 8. Deeper Theatrical Understanding. 8.1 General Success Conditions for Deeper Theatrical Understanding. 8.2 More Precise Success Conditions: Two Kinds of Deeper Understanding. 8.3 Some Puzzles about the Relation Between Understanding What is Performed and Understanding How it is Performed. 8.4 Deeper Theatrical Understanding and Full Appreciation of a Theatrical Performance. 9. What Performers Do. 9.1 What Performers Do and What Audiences Can Know. 9.2 The Features of Performers and Choices That Performers Make. 9.3 Theatrical Conventions as Sequences of Features having Specific “Weight”. 9.4 What is Involved in Reference to Theatrical Styles. 9.5 More about Styles, as Produced and as Grasped. 9.6 Grasp of Theatrical Style and Deeper Theatrical Understanding. 10. Interpretive Grasp of Theatrical Performances. 10.1 Success Conditions for Interpreting What is Performed and Interpreting How it is Performed. 10.2 Eschewing Theories of “Work Meaning”. 10.3 Interpretation and Significance. 10.4 Interpreting Performers. 11. Full Appreciation of a Theatrical Performance. 11.1 The Case of the Culturally Lethargic Company. 11.2 Broader Implications of the CLC Problem. 11.3 The “Imputationalist” Solution. 11.4 Solving the CLC Problem Without Resorting to Imputationalism. 11.5 Full Appreciation of a Theatrical Performance and the Detection of Theatrical Failures. Epilogue. A. The Idea of a Tradition and Tradition-Defining Constraints. B. Constraints Derived from Origins in Written Texts. C. What Really Constrains Performances in the Text-Based Tradition. D. The Myth of “Of”. Glossary. Index
£34.15
John Wiley and Sons Ltd Theatre in Theory 19002000
Book SynopsisTheatre in Theory is the most complete anthology documenting 20th-century dramatic and performance theory to date, offering a rich variety of perspectives from the century's most prominent playwrights, directors, scholars, and philosophers. Includes major theoretical and critical manifestos, hypotheses, and theories from the field Wide-ranging and broadly constructed, this text has both interdisciplinary and global appeal Includes a thematic index, section introductions, and supporting commentary Helps students, teachers, and practitioners to think critically about the nature of theatre Trade Review"This book presents perspectives from the era's major playwrights, directors, scholars and philosophers." Times Higher Education Supplement “At once comprehensive and original, this collection assembles for the first time an impressive body of theory drawn from a wide range of disciplines and traditions. This will be an indispensable sourcebook for anyone who enjoys not only going to the theatre, but also thinking about it afterwards.” Martin Puchner, Columbia University “An eclectic anthology of writings on theatre, many made accessible here for the first time. The often bracing juxtaposition of viewpoints from practitioners, playwrights, scholars, and theoreticians reminds us how rich the collective discourse of theatre has been since the beginning of the twentieth century. Bridging the divides that have so often characterized this field, Theatre in Theory offers a resounding testament to theatre’s urgency in the modern world.” Stanton B. Garner, Jr., University of Tennessee Table of ContentsAcknowledgments. Introduction. Part I: 1900–1920:. Introduction to Part I. 1. August Strindberg (1849–1912). Preface to Miss Julie (1888). 2. Oscar Wilde (1854–1900). The Decay of Lying: An Observation (1889). 3. Henri Bergson (1859–1941). Laughter (Le Rire, 1900). 4. Valery Bryusov (1873–1924). Against Naturalism in the Theatre (from “Unnecessary Truth”) (1902). 5. Romain Rolland (1866–1944). The People’s Theatre (1903). 6. Maurice Maeterlinck (1862–1949). The Modern Drama (1904). 7. Aida Overton Walker (1880–1914). Colored Men and Women on the Stage (1905). 8. Vsevolod Vaslov Meyerhold (1874–1940). The Naturalistic Theatre and the Theatre of Mood (1908). 9. Edward Gordon Craig (1872–1966). The Actor and the Über-marionette (1908). 10. William Butler Yeats (1865–1939). The Tragic Theatre (1910). 11. George Bernard Shaw (1856–1950). Against the Well-Made Play (1911). 12. F. T. Marinetti (1876–1944). Futurism and the Theatre (1913). 13. Georg Lukács (1885–1971). The Sociology of Modern Drama (1914). 14. Emma Goldman (1869–1940). Foreword to The Social Significance of Modern Drama (1917). Part II: 1920–1940:. Introduction to Part II. 15. Luigi Pirandello (1867–1936). On Comedy (1920). 16. Stanislaw Witkiewicz (1885–1939). On a New Type of Play (1920). 17. Adolphe Appia (1862–1928). Organic Unity (1921). 18. Georg Kaiser (1878–1945). Man in the Tunnel, or: The Poet and the Play (1923). 19. Alain Locke (1886–1954). The Negro and the American Stage (1926). The Drama of Negro Life (1926). 20. W. E. B. Du Bois (1868–1963). “Krigwa Players Little Negro Theatre”: The Story of a Little Theatre Movement (1926). Criteria of Negro Art (1926). 21. Bertolt Brecht (1898–1956). The Modern Theatre is the Epic Theatre (1930). Theatre for Pleasure or Theatre for Instruction (ca. 1936). Alienation Effect in Chinese Acting (1936). 22. Eugene O’Neill (1888–1953). Memoranda on Masks (1932). Second Thoughts (1932). A Dramatist’s Notebook (1933). 23. Gertrude Stein (1874–1946). Plays (1934). 24. Zora Neale Hurston (1891–1960). Characteristics of Negro Expression (1934). 25. Federico García Lorca (1899–1936). The Prophecy of Lorca (1934). 26. Antonin Artaud (1896–1949). On the Balinese Theatre (1938). No More Masterpieces (1938). 27. Walter Benjamin (1892–1940). What is Epic Theatre? (1939). 28. Maxwell Anderson (1888–1959). The Essence of Tragedy (1939). 29. Karel Brušák (1913–2004). Signs in the Chinese Theatre (1939). Part III: 1940–1960:. Introduction to Part III. 30. Jindřich Honzl (1894–1953). Dynamics of the Sign in the Theatre (1940). 31. Thornton Wilder (1897–1975). Some Thoughts on Playwrighting (1941). 32. Arthur Miller (1915–2005). Tragedy and the Common Man (1949). 33. T. S. Eliot (1888–1965). Poetry and Drama (1950). 34. Tennessee Williams (1911–1983). The Timeless World of the Play (1951). 35. John Gassner (1903–1967). “Enlightenment” and Modern Drama (1954). 36. Friedrich Dürrenmatt (1921–1990). Problems of the Theatre (1955). 37. Sean O’Casey (1880–1964). Green Goddess of Realism (1956). 38. Eric Bentley (b. 1916). What is Theatre? A Point of View (1956). 39. Northrop Frye (1912–1991). Specific Forms of Drama (1957). 40. Eugène Ionesco (1909–1994). The Avant-Garde Theatre (1960). 41. Jean-Paul Sartre (1905–1980). Beyond Bourgeois Theatre (1960). Part IV: 1960–1980:. Introduction to Part IV. 42. Martin Esslin (1918–2002). The Theatre of the Absurd (1961). 43. George Steiner (b. 1929). The Death of Tragedy (1961). 44. Roland Barthes (1915–1980). The Task of Brechtian Criticism (1956). Theatre and Signification (1963). 45. Lionel Abel (1910–2001). Of Bert Brecht – Not Simple but Simplified (1963). 46. Francis Fergusson (1904–1986). The Notion of “Action” (1964). 47. Peter Szondi (1929–1971). The Drama (1965). 48. Kenneth Burke (1897–1993). Dramatic Form – And: Tracking Down Implications (1966). 49. Jacques Derrida (1930–2004). Theatre of Cruelty and the Closure of Representation (1966). 50. Jerzy Grotowski (1933–1999). Towards the Poor Theatre (1967). 51. Raymond Williams (1921–1988). Drama from Ibsen to Brecht (1968). 52. Peter Brook (b. 1925). The Immediate Theatre (1968). 53. Peter Weiss (1916–1982). Notes on the Contemporary Theatre (1971). 54. Joyce Carol Oates (b. 1938). The Edge of Impossibility: Tragic Forms in Literature (1972). 55. Luis Valdez (b. 1940). Notes on Chicano Theater (1973). 56. Augusto Boal (b. 1931). “Empathy or What? Emotion or Reason?” and “Experiments with the People’s Theatre in Peru” (1974). 57. Charles Ludlam (1943–1987). Ridiculous Theatre, Scourge of Human Folly (1975). 58. Michael Kirby (b. 1931). Manifesto of Structuralism (1975). 59. Wole Soyinka (b. 1934). Drama and the African World-View (1976). 60. Robert Wilson (b. 1941). “… I thought I was hallucinating hallucinating” (1977). 61. Patrice Pavis (b. 1947). Languages of the Stage (1978). 62. Heiner Müller (1929–1995). Reflections on Post-Modernism (1979). 63. Ntozake Shange (b. 1948). unrecovered losses/black theater traditions (1979). Part V: 1980–2000:. Introduction to Part V. 64. Tadeusz Kantor (1915–1990). Theatre Happening 1967 (1982). 65. Jeffrey Huntsman. Native American Theatre (1983). 66. Bert O. States (b. 1929). The World On Stage (1985). 67. Victor Turner (1920–1983). Images and Reflections: Ritual, Drama, Carnival, Film, and Spectacle in Cultural Performance (1987). 68. Eugenio Barba (b. 1936). Eurasian Theatre (1988). 69. Megumi Sata. Aristotle’s Poetics and Zeami’s Teachings on Style and the Flower (1989). 70. Jill Dolan. Desire Cloaked in a Trenchcoat (1989). 71. Judith Butler (b. 1956). From Parody to Politics (1990). 72. Reza Abdoh (1963–1995). Los Angeles (1992). 73. Richard Foreman (b. 1937). Foundations for a Theater (1992). 74. Suzan-Lori Parks (b. 1964). Elements of Style (1994). 75. Rebecca Schneider (b. 1959). The Explicit Body in Performance (1997). 76. Peggy Phelan (b. 1959). Mourning Sex: Performing Public Memories (1997). 77. Erika Fischer-Lichte. Written Drama/Oral Performance (1997). 78. Richard Schechner (b. 1934). What is Performance Studies Anyway? (1998). 79. Alina Troyano. I, Carmelita Tropicana (2000). 80. Herbert Blau. Limits of Performance: The Insane Root (2001). 81. Mitsuya Mori. The Structure of Theater: A Japanese View of Theatricality (2002). 82. Heisnam Kanhailal (b. 1941). Ritual Theatre (Theatre of Transition) (2004). Theatre in Theory: Working Units. Selected Bibliography. Index
£105.40
John Wiley and Sons Ltd Theatre in Theory 19002000
Book SynopsisTheatre in Theory is the most complete anthology documenting 20th-century dramatic and performance theory to date, offering a rich variety of perspectives from the century's most prominent playwrights, directors, scholars, and philosophers. Includes major theoretical and critical manifestos, hypotheses, and theories from the field Wide-ranging and broadly constructed, this text has both interdisciplinary and global appeal Includes a thematic index, section introductions, and supporting commentary Helps students, teachers, and practitioners to think critically about the nature of theatre Trade Review"This book presents perspectives from the era's major playwrights, directors, scholars and philosophers." Times Higher Education Supplement “At once comprehensive and original, this collection assembles for the first time an impressive body of theory drawn from a wide range of disciplines and traditions. This will be an indispensable sourcebook for anyone who enjoys not only going to the theatre, but also thinking about it afterwards.” Martin Puchner, Columbia University “An eclectic anthology of writings on theatre, many made accessible here for the first time. The often bracing juxtaposition of viewpoints from practitioners, playwrights, scholars, and theoreticians reminds us how rich the collective discourse of theatre has been since the beginning of the twentieth century. Bridging the divides that have so often characterized this field, Theatre in Theory offers a resounding testament to theatre’s urgency in the modern world.” Stanton B. Garner, Jr., University of Tennessee Table of ContentsAcknowledgments xi Introduction 1 Part I 1900–1920 35 Introduction to Part I 35 1 August Strindberg (1849–1912) 37 Preface to Miss Julie (1888) 38 2 Oscar Wilde (1854–1900) 46 The Decay of Lying: An Observation (1889) 47 3 Henri Bergson (1859–1941) 51 Laughter (Le Rire, 1900) 52 4 Valery Bryusov (1873–1924) 55 Against Naturalism in the Theatre (from ‘‘Unnecessary Truth’’) (1902) 56 5 Romain Rolland (1866–1944) 61 The People’s Theatre (1903) 61 6 Maurice Maeterlinck (1862–1949) 64 The Modern Drama (1904) 65 7 Aida Overton Walker (1880–1914) 71 Colored Men and Women on the Stage (1905) 71 8 Vsevolod Vaslov Meyerhold (1874–1940) 75 The Naturalistic Theatre and the Theatre of Mood (1908) 76 9 Edward Gordon Craig (1872–1966) 88 The Actor and the Über-marionette (1908) 88 10 William Butler Yeats (1865–1939) 99 The Tragic Theatre (1910) 100 11 George Bernard Shaw (1856–1950) 104 Against the Well-Made Play (1911) 105 12 F. T. Marinetti (1876–1944) 110 Futurism and the Theatre (1913) 111 13 Georg Lukács (1885–1971) 116 The Sociology of Modern Drama (1914) 117 14 Emma Goldman (1869–1940) 131 Foreword to The Social Significance of Modern Drama (1917) 131 Part II 1920–1940 135 Introduction to Part II 135 15 Luigi Pirandello (1867–1936) 139 On Comedy (1920) 139 16 Stanislaw Witkiewicz (1885–1939) 144 On a New Type of Play (1920) 145 17 Adolphe Appia (1862–1928) 149 Organic Unity (1921) 150 18 Georg Kaiser (1878–1945) 155 Man in the Tunnel, or: The Poet and the Play (1923) 156 19 Alain Locke (1886–1954) 158 The Negro and the American Stage (1926) 159 The Drama of Negro Life (1926) 161 20 W. E. B. Du Bois (1868–1963) 164 ‘‘Krigwa Players Little Negro Theatre’’: The Story of a Little Theatre Movement (1926) 165 Criteria of Negro Art (1926) 165 21 Bertolt Brecht (1898–1956) 169 The Modern Theatre is the Epic Theatre (1930) 171 Theatre for Pleasure or Theatre for Instruction (ca. 1936) 173 Alienation Effect in Chinese Acting (1936) 178 22 Eugene O’Neill (1888–1953) 185 Memoranda on Masks (1932) 185 Second Thoughts (1932) 187 A Dramatist’s Notebook (1933) 188 23 Gertrude Stein (1874–1946) 190 Plays (1934) 191 24 Zora Neale Hurston (1891–1960) 195 Characteristics of Negro Expression (1934) 196 25 Federico García Lorca (1899–1936) 203 The Prophecy of Lorca (1934) 203 26 Antonin Artaud (1896–1949) 206 On the Balinese Theatre (1938) 207 No More Masterpieces (1938) 216 27 Walter Benjamin (1892–1940) 222 What is Epic Theatre? (1939) 223 28 Maxwell Anderson (1888–1959) 228 The Essence of Tragedy (1939) 228 29 Karel Brušák (1913–2004) 234 Signs in the Chinese Theatre (1939) 235 Part III 1940–1960 245 Introduction to Part III 245 30 Jindřich Honzl (1894–1953) 249 Dynamics of the Sign in the Theatre (1940) 249 31 Thornton Wilder (1897–1975) 258 Some Thoughts on Playwrighting (1941) 258 32 Arthur Miller (1915–2005) 266 Tragedy and the Common Man (1949) 267 33 T. S. Eliot (1888–1965) 270 Poetry and Drama (1950) 270 34 Tennessee Williams (1911–1983) 274 The Timeless World of the Play (1951) 274 35 John Gassner (1903–1967) 278 ‘‘Enlightenment’’ and Modern Drama (1954) 278 36 Friedrich Dürrenmatt (1921–1990) 287 Problems of the Theatre (1955) 287 37 Sean O’Casey (1880–1964) 293 Green Goddess of Realism (1956) 293 38 Eric Bentley (b. 1916) 298 What is Theatre? A Point of View (1956) 298 39 Northrop Frye (1912–1991) 302 Specific Forms of Drama (1957) 302 40 Eugène Ionesco (1909–1994) 309 The Avant-Garde Theatre (1960) 309 41 Jean-Paul Sartre (1905–1980) 317 Beyond Bourgeois Theatre (1960) 318 Part IV 1960–1980 325 Introduction to Part IV 325 42 Martin Esslin (1918–2002) 329 The Theatre of the Absurd (1961) 329 43 George Steiner (b. 1929) 333 The Death of Tragedy (1961) 333 44 Roland Barthes (1915–1980) 336 The Task of Brechtian Criticism (1956) 336 Theatre and Signification (1963) 340 45 Lionel Abel (1910–2001) 342 Of Bert Brecht – Not Simple but Simplified (1963) 343 46 Francis Fergusson (1904–1986) 345 The Notion of ‘‘Action’’ (1964) 345 47 Peter Szondi (1929–1971) 348 The Drama (1965) 349 48 Kenneth Burke (1897–1993) 352 Dramatic Form – And: Tracking Down Implications (1966) 352 49 Jacques Derrida (1930–2004) 360 Theatre of Cruelty and the Closure of Representation (1966) 361 50 Jerzy Grotowski (1933–1999) 366 Towards the Poor Theatre (1967) 367 51 Raymond Williams (1921–1988) 373 Drama from Ibsen to Brecht (1968) 373 52 Peter Brook (b. 1925) 378 The Immediate Theatre (1968) 378 53 Peter Weiss (1916–1982) 381 Notes on the Contemporary Theatre (1971) 381 54 Joyce Carol Oates (b. 1938) 387 The Edge of Impossibility: Tragic Forms in Literature (1972) 387 55 Luis Valdez (b. 1940) 390 Notes on Chicano Theater (1973) 390 56 Augusto Boal (b. 1931) 394 ‘‘Empathy or What? Emotion or Reason?’’ and ‘‘Experiments with the People’s Theatre in Peru’’ (1974) 394 57 Charles Ludlam (1943–1987) 397 Ridiculous Theatre, Scourge of Human Folly (1975) 397 58 Michael Kirby (b. 1931) 399 Manifesto of Structuralism (1975) 400 59 Wole Soyinka (b. 1934) 402 Drama and the African World-View (1976) 402 60 Robert Wilson (b. 1941) 408 ‘‘. . . I thought I was hallucinating hallucinating’’ (1977) 408 61 Patrice Pavis (b. 1947) 411 Languages of the Stage (1978) 411 62 Heiner Müller (1929–1995) 419 Reflections on Post-Modernism (1979) 419 63 Ntozake Shange (b. 1948) 423 unrecovered losses/black theater traditions (1979) 423 Part V 1980–2000 427 Introduction to Part V 427 64 Tadeusz Kantor (1915–1990) 431 Theatre Happening 1967 (1982) 431 65 Jeffrey E. Huntsman 434 Native American Theatre (1983) 434 66 Bert O. States (b. 1929) 441 The World On Stage (1985) 441 67 Victor Turner (1920–1983) 448 Images and Reflections: Ritual, Drama, Carnival, Film, and Spectacle in Cultural Performance (1987) 448 68 Eugenio Barba (b. 1936) 455 Eurasian Theatre (1988) 455 69 Megumi Sata 460 Aristotle’s Poetics and Zeami’s Teachings on Style and the Flower (1989) 460 70 Jill Dolan 469 Desire Cloaked in a Trenchcoat (1989) 470 71 Judith Butler (b. 1956) 476 From Parody to Politics (1990) 477 72 Reza Abdoh (1963–1995) 483 Los Angeles (1992) 483 73 Richard Foreman (b. 1937) 489 Foundations for a Theater (1992) 489 74 Suzan-Lori Parks (b. 1964) 494 Elements of Style (1994) 494 75 Rebecca Schneider (b. 1959) 500 The Explicit Body in Performance (1997) 500 76 Peggy Phelan (b. 1959) 505 Mourning Sex: Performing Public Memories (1997) 505 77 Erika Fischer-Lichte 509 Written Drama/Oral Performance (1997) 509 78 Richard Schechner (b. 1934) 517 What is Performance Studies Anyway? (1998) 518 79 Alina Troyano 523 I, Carmelita Tropicana (2000) 523 80 Herbert Blau 533 Limits of Performance: The Insane Root (2001) 533 81 Mitsuya Mori 539 The Structure of Theater: A Japanese View of Theatricality (2002) 539 82 Heisnam Kanhailal (b. 1941) 549 Ritual Theatre (Theatre of Transition) (2004) 550 Theatre in Theory: Working Units 555 Selected Bibliography 557 Index 558
£37.95
John Wiley and Sons Ltd A History of Modern Drama Volume I
Book SynopsisCovering the period 1879 to 1959, and taking in everything from Ibsen to Beckett, this book is volume one of a two-part comprehensive examination of the plays, dramatists, and movements that comprise modern world drama. Contains detailed analysis of plays and playwrights, connecting themes and offering original interpretations Includes coverage of non-English works and traditions to create a global view of modern drama Considers the influence of modernism in art, music, literature, architecture, society, and politics on the formation of modern dramatic literature Takes an interpretative and analytical approach to modern dramatic texts rather than focusing on production history Includes coverage of the ways in which staging practices, design concepts, and acting styles informed the construction of the dramas Trade Review“Summing Up: Recommended. All readers.” (Choice, 1 November 2012) “In his comprehensive History of Modern Drama (the first of two volumes, running up to 1959), David Krasner cites Roland Barthes writing about Baudelaire, and responding to this question with his own answer.” (Times Literary Supplement, 4 May 2012) Table of ContentsPreface and Acknowledgements ix Chapter 1 Introduction 1 Part I: Trauma Drama 33 Chapter 2 The Price of Freedom 39 Chapter 3 Unhinged Subjectivity 80 Chapter 4 Aboulia 109 Part II: Modernist Beginnings 137 Chapter 5 Rising Symbolism 145 Chapter 6 Rising Expressionism 158 Part III: Realism 167 Chapter 7 Rural Realism 171 Chapter 8 Urban Realism 178 Chapter 9 Optimistic Passion 182 Chapter 10 The Campaign Against Earnestness 189 Part IV: Dissociated Sensibility 193 Chapter 11 Distorted Modernism 195 Chapter 12 Lyrical Modernism 203 Chapter 13 Sentimental Modernism 210 Part V: Avant Garde 215 Chapter 14 Eros and Thanatos 217 Chapter 15 Robots and Automatons 226 Chapter 16 Farce and Parody 229 Part VI: Epic Modernism 235 Chapter 17 Gaming the System 237 Part VII: The Divided Self of American Drama 259 Chapter 18 Illusions 265 Chapter 19 Delusions 275 Chapter 20 Dreams 281 Chapter 21 Gender 289 Chapter 22 Race 293 Part VIII: Hell Is Other People 301 Chapter 23 The Farce of Intimacy 307 Chapter 24 The Tragedy of Intimacy 315 Part IX: Modernist Improvising 325 Chapter 25 Beckett Impromptu 327 Part X: Conclusion 349 Notes 351 Index 389
£107.96
John Wiley and Sons Ltd A History of Modern Drama Volume II
Book SynopsisA History of Modern Drama: Volume II explores a remarkable breadth of topics and analytical approaches to the dramatic works, authors, and transitional events and movements that shaped world drama from 1960 through to the dawn of the new millennium. Features detailed analyses of plays and playwrights, examining the influence of a wide range of writers, from mainstream icons such as Harold Pinter and Edward Albee, to more unorthodox works by Peter Weiss and Sarah Kane Provides global coverage of both English and non-English dramas including works from Africa and Asia to the Middle East Considers the influence of art, music, literature, architecture, society, politics, culture, and philosophy on the formation of postmodern dramatic literature Combines wide-ranging topics with original theories, international perspective, and philosophical and cultural context Completes a comprehensive two-part work examining modern wTrade ReviewDavid Krasner’s A History of Modern Drama, Volume II: 1960–2000 offers… a structural and technique-based approach to differentiating dramatic eras. In his sequel to A History of Modern Drama, Volume I, Krasner shifts focus from dividing drama by time periods (i.e., “modern” and “contemporary”) to categorizing dramatic eras according to their use of different formal techniques (i.e., “modern” and “postmodern”). This is an important distinction, as book-length studies on postmodern drama are few. Krasner’s Volume II makes this scholarly move feel like a logical step and a natural conclusion. This book will reinvigorate the study of postmodernism and drama. This is a worthy and important volume that should be read by anyone who teaches theatre history and/or modern and postmodern drama courses.- Michael Y. Bennett, Modern DramaTable of ContentsPreface and Acknowledgments ix Part I: Introduction 1 Chapter 1 Strangers More than Ever: Modern Drama and Alternative Modernities 3 Part II: United Kingdom and Ireland 47 Chapter 2 Jewish Oedipus, Jewish Ethics: Harold Pinter and Postmodern Philosophy 49 Chapter 3 Tom Stoppard and the Limits of Empiricism 92 Chapter 4 Caryl Churchill, Monetarism, and the Feminist Dilemma 119 Chapter 5 “Can’t Buy Me Love”: Socialism, Working Class Sensibilities, and Modern British Drama 139 Chapter 6 Between Past and Present: Brian Friel’s “Symbolic Middle Ground” 186 Part III: United States 205 Chapter 7 “Participate, I suppose”: Edward Albee and the Specter of Death 207 Chapter 8 “Ask a Criminal”: White Postmodern Manhood in David Mamet and Sam Shepard 225 Chapter 9 Modern Drama, Modern Feminism, and Postmodern Motherhood 254 Chapter 10 History, Reinvention, and Dialectics: African American Drama and August Wilson 279 Chapter 11 Tony Kushner’s Angels in America: Postmodern Ethics in the Age of Reagan 301 Part IV: Western and Eastern Europe 319 Chapter 12 Post]War, Cold War, and Post]Cold War: Marxism, Post]Totalitarianism, and European Drama in the Postmodern Era 321 Chapter 13 Eastern Europe, Totalitarianism, and the Wooden Words 353 Part V: Postcolonial Drama 387 Chapter 14 The Fragmentation of the Self in Postcolonial Drama 389 Chapter 15 Africa: Wole Soyinka, Athol Fugard, and Christina Ama Ata Aidoo 401 Chapter 16 Central and South America: Carlos Fuentes and Derek Walcott 417 Chapter 17 Asia and the Middle East: Yukio Mishima, Gao Xingjian, Girish Karnad, Hanoch Levin, and SaaDallah Wannous 429 Chapter 18 Canada: Ann]Marie MacDonald and Judith Thompson 449 Part VI: Nihilism at the Door 459 Chapter 19 Crisis of Values and Loss of Center in the Plays of Martin McDonagh and Sarah Kane 461 Chapter 20 Blasted, The Lieutenant of Inishmore, and Phaedra’s Love 477 Chapter 21 Pushing More Boundaries: Children and Desire 493 Notes 500 Index 567
£65.50
John Wiley and Sons Ltd Dionysus Resurrected
Book SynopsisDionysus Resurrected analyzes the global resurgence since the late 1960s of Euripides' The Bacchae. By analyzing and contextualizing these modern day performances, the author reveals striking parallels between transformational events taking place during the era of the play's revival and events within the play itself. Puts forward a lively discussion of the parallels between transformational eventsduring the era of the play's revival and events within the play itself The first comparative study to analyse and contextualize performances of The Bacchae that took place between 1968 and 2009 from the United States, Africa, Latin America, Europe and Asia Argues that presentations of the play not only represent liminal states but also transfer the spectators into such states Contends that the play's reflection on various stages of globalization render the tragedy a contemporary play Establishes the importance of The BTable of ContentsAcknowledgments vii Preface ix Introduction 1 –Rediscovering The Bacchae – Part I: Festivals of Liberation: Celebrating Communality 25 Chapter 1: The Birth Ritual of a New Theatre 27 – Richard Schechner’s Dionysus in 69 in New York (1968) – Chapter 2: Celebrating a Communion Rite? 48 – Wole Soyinka’s The Bacchae of Euripides at London’s National Theatre (1973) – Chapter 3: Sparagmos and Omophagia 72 – Teat(r)o Oficina’s Bacantes in São Paulo (1996) – Part II: Renegotiating Cultural Identities 91 Chapter 4: On the Strangeness and Inaccessibility of the Past 93 – The Antiquity Project at the Schaubühne Berlin (1974) – Chapter 5: Performing or Contaminating Greekness? 116 – Theodoros Terzopoulos’ The Bacchae in Delphi (1986) – Chapter 6: In Search of New Identities 136 – Krzysztof Warlikowski’s The Bacchae in Warsaw (2001) – Part III: Productive Encounter or Destructive Clash of Cultures? 157 Chapter 7: Dismemberment and the Quest for Wholeness 159 – Suzuki Tadashi’s The Bacchae in Japan and on World Tour (1978–2008) – Chapter 8: Transforming Kathakali 186 – The Bacchae by Guru Sadanam P. V. Balakrishnan in Delphi and New Delhi (1998) – Chapter 9: Beijing Opera Dismembered 206 – Peter Steadman and Chen Shi-zheng’s The Bacchae in Beijing (1996) – Epilogue 225 Name Index 231 Subject Index 236
£63.86
John Wiley and Sons Ltd Philosophy of the Performing Arts
Book SynopsisThe Performing Arts provides an accessible, yet sophisticated, introduction to the philosophical issues concerning the artistic performance.Trade Review“This is a remarkable and remarkably useful book, and for much the same reason … The other result is that professionals in the philosophy of art will have to rise to the challenge. Davies has set the bar very high.” (Oxford Journals Clippings, 4 May 2012) "Philosophy of the Performing Arts is a careful and detailed study in analytic philosophical aesthetics ... Summing Up: Highly recommended. Graduate students through professional/practitioners." (Choice, 1 January 2012)Table of ContentsPreface and Acknowledgments viii Part One Performance and the Classical Paradigm 1 1 The Nature of Artistic Performance 3 1 Introduction 3 2 What is a Performance? 4 3 Institutional Theories of Artistic Performance 7 4 Aesthetic Theories of Artistic Performance 10 5 Artistic Performance and Artistic Regard 14 6 Overview 17 2 The Classical Paradigm I: The Nature of the Performable Work 23 1 Introduction: Berthold and Magda Go to the Symphony 23 2 The Multiple Nature of Performable Works 24 3 Performable Works as Types 29 4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism 32 5 Other Theories of the Performable Work 38 3 The Classical Paradigm II: Appreciating Performable Works in Performance 51 1 Introduction: Talking Appreciatively about Performable Works 51 2 Can Performable Works Share Artistic Properties with Their Performances? 53 3 The Goodman Argument 57 4 Answering the Goodman Argument 62 4 Authenticity in Musical Performance 71 1 Introduction 71 2 Authenticity in the Arts 72 3 Three Notions of Historically Authentic Performance 74 5 Challenges to the Classical Paradigm in Music 87 1 Introduction: The Classical Paradigm in the Performing Arts 87 2 The Scope of the Paradigm in Classical Music 90 3 Jazz, Rock, and the Classical Paradigm 94 4 Non-Western Music and the Classical Paradigm 101 6 The Scope of the Classical Paradigm: Theater, Dance, and Literature 103 1 Introduction: Berthold and Magda Go to the Theater 103 2 Theatrical Performances and Performable Works 105 3 Challenges to the Classical Paradigm in Theater 112 4 Dance and the Classical Paradigm 120 5 The Novel as Performable Work? 128 Part Two Performance as Art 133 7 Performances as Artworks 135 1 Introduction: Spontaneous Performance in the Arts 135 2 The Artistic Status of Performances Outside the Classical Paradigm 138 3 The Artistic Status of Performances Within the Classical Paradigm 143 8 Elements of Performance I: Improvisation and Rehearsal 149 1 Introduction 149 2 The Nature of Improvisation 150 3 Improvisation and Performable Works: Three Models 154 4 Improvisation and Recording 160 5 The Place of Rehearsal in the Performing Arts 164 9 Elements of Performance II: Audience and Embodiment 172 1 Can There Be Artistic Performance Without an Audience? 172 2 Audience Response 181 3 The Embodied Performer and the Mirroring Receiver 189 10 Performance Art and the Performing Arts 200 1 Introduction 200 2 Some Puzzling Cases 201 3 What is Performance Art? 206 4 When Do Works of Performance Art Involve Artistic Performances? 209 5 Performance as Art: A Final Case 216 References 219 Index 226
£62.96
John Wiley and Sons Ltd Philosophy of the Performing Arts
Book SynopsisThe Performing Arts provides an accessible, yet sophisticated, introduction to the philosophical issues concerning the artistic performance.Trade Review“This is a remarkable and remarkably useful book, and for much the same reason … The other result is that professionals in the philosophy of art will have to rise to the challenge. Davies has set the bar very high.” (Oxford Journals Clippings, 4 May 2012) "Philosophy of the Performing Arts is a careful and detailed study in analytic philosophical aesthetics ... Summing Up: Highly recommended. Graduate students through professional/practitioners." (Choice, 1 January 2012)Table of ContentsPreface and Acknowledgments viii Part One Performance and the Classical Paradigm 1 1 The Nature of Artistic Performance 3 1 Introduction 3 2 What is a Performance? 4 3 Institutional Theories of Artistic Performance 7 4 Aesthetic Theories of Artistic Performance 10 5 Artistic Performance and Artistic Regard 14 6 Overview 17 2 The Classical Paradigm I: The Nature of the Performable Work 23 1 Introduction: Berthold and Magda Go to the Symphony 23 2 The Multiple Nature of Performable Works 24 3 Performable Works as Types 29 4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism 32 5 Other Theories of the Performable Work 38 3 The Classical Paradigm II: Appreciating Performable Works in Performance 51 1 Introduction: Talking Appreciatively about Performable Works 51 2 Can Performable Works Share Artistic Properties with Their Performances? 53 3 The Goodman Argument 57 4 Answering the Goodman Argument 62 4 Authenticity in Musical Performance 71 1 Introduction 71 2 Authenticity in the Arts 72 3 Three Notions of Historically Authentic Performance 74 5 Challenges to the Classical Paradigm in Music 87 1 Introduction: The Classical Paradigm in the Performing Arts 87 2 The Scope of the Paradigm in Classical Music 90 3 Jazz, Rock, and the Classical Paradigm 94 4 Non-Western Music and the Classical Paradigm 101 6 The Scope of the Classical Paradigm: Theater, Dance, and Literature 103 1 Introduction: Berthold and Magda Go to the Theater 103 2 Theatrical Performances and Performable Works 105 3 Challenges to the Classical Paradigm in Theater 112 4 Dance and the Classical Paradigm 120 5 The Novel as Performable Work? 128 Part Two Performance as Art 133 7 Performances as Artworks 135 1 Introduction: Spontaneous Performance in the Arts 135 2 The Artistic Status of Performances Outside the Classical Paradigm 138 3 The Artistic Status of Performances Within the Classical Paradigm 143 8 Elements of Performance I: Improvisation and Rehearsal 149 1 Introduction 149 2 The Nature of Improvisation 150 3 Improvisation and Performable Works: Three Models 154 4 Improvisation and Recording 160 5 The Place of Rehearsal in the Performing Arts 164 9 Elements of Performance II: Audience and Embodiment 172 1 Can There Be Artistic Performance Without an Audience? 172 2 Audience Response 181 3 The Embodied Performer and the Mirroring Receiver 189 10 Performance Art and the Performing Arts 200 1 Introduction 200 2 Some Puzzling Cases 201 3 What is Performance Art? 206 4 When Do Works of Performance Art Involve Artistic Performances? 209 5 Performance as Art: A Final Case 216 References 219 Index 226
£28.45
Johns Hopkins University Press Performing the Temple of Liberty
Book SynopsisScholars and students interested in slavery and abolition, British and American politics and culture, and Atlantic history will take an interest in this provocative work.Trade ReviewOver the past two decades social and theatre historians have begun retelling the history of American performance culture as a critical element of the country's political evolution. Only recently, however, have they begun interrogating slavery's influence on the popular theatre... Jenna M. Gibbs, in her excellent Performing the Temple of Liberty: Slavery, Theater, and Popular Culture in London and Philadelphia, 1760-1850, adds a major chapter to this history. By linking the two largest cities of the British Atlantic together as part of a theatrical network, Gibbs illustrates how stage performances both reflected and affected the transatlantic debate over abolition. -- Jason Shaffer Civil War Book Review Provides a fresh look at the transatlantic circulation of printed materials, the cultural work these materials performed, and their political and social implications for eighteenth- and nineteenth-century debates on slavery and abolition... Performing the Temple of Liberty constitutes an important contribution to the scholarship on print and performance culture in the British Atlantic. William and Mary Quarterly Serves as a valuable contribution to the study of antislavery politics and to the study of Anglo-Atlantic popular culture. Journal of American Ethnic History Gibbs' impressive study provides a fresh look on the transatlantic circulation of printed materials, the cultural work these materials perform, and their political and social implications for eighteenth and nineteenth-century debates on slavery and abolition...Performing the Temple of Liberty undoubtedly constitutes an important contribution to the scholarship on print and performance culture in the British Atlantic. American StudiesTable of ContentsList of IllustrationsAcknowledgmentsIntroduction: Political and Cultural Exchange in the British AtlanticPart I: Slave-Trade Abolition: Pageantry, Parody, and the Goddess of Liberty (1790s–1820s)1. Celebrating Columbia, Mother of the White Republic2. Abolitionist Britannia and the Blackface Supplicant Slave3. Spreading Liberty to AfricaPart II: Emancipation and Political Reform: Burlesque, Picaresque, and the Great Experiment (1820s–1830s)4. Black Freedom and Blackface Picaresque: Life in London, Life inPhiladelphia5. Transatlantic Travelers, Slavery, and Charles Mathews's "Black Fun"Part III: Radical Abolitionism, Revolt, and Revolution: Spartacus and the Blackface Minstrel (1830s–1850s)6. Spartacus, Jim Crow, and the Black Jokes of Revolt7. Revolutionary Brotherhood: Black Spartacus, Black Hercules, and theWage SlaveConclusion: Uncle Tom, the Eighteenth-Century Revolutionary Legacy, and Historical MemoryNotesEssay on SourcesIndex
£42.75
Johns Hopkins University Press Nightmare Factories
Book SynopsisHow the insane asylum came to exert such a powerful hold on the American imagination. Madhouse, funny farm, psychiatric hospital, loony bin, nuthouse, mental institution: no matter what you call it, the asylum has a powerful hold on the American imagination. Stark and foreboding, they symbolize mistreatment, fear, and imprisonment, standing as castles of despair and tyranny across the countryside. In the asylum of American fiction and film, treatments are torture, attendants are thugs, and psychiatrists are despots. In Nightmare Factories, Troy Rondinone offers the first history of mental hospitals in American popular culture. Beginning with Edgar Allan Poe's 1845 short story The System of Dr. Tarr and Prof. Fether, Rondinone surveys how American novelists, poets, memoirists, reporters, and filmmakers have portrayed the asylum and how those representations reflect larger social trends in the United States. Asylums, he argues, darkly reflect cultural anxieties and the shortcomings of Trade ReviewWill appeal to a broad range of readers, from academics interested in the history of medicine and popular culture, to general readers seeking social history rooted in an imaginative variety of sources.—Library JournalTable of ContentsAcknowledgments Introduction 1 Chapter 1. The Enchanter's Castle Chapter 2: Woman in White, Angel in Black Chapter 3: Monsters of the Asylum Chapter 4: Freudian Rescues Chapter 5: The Dawning Age of Paranoia Chapter 6: They're Coming to Take You Away Chapter 7: The Asylum Next Door Chapter 8: Asylums Don't Work Chapter 9: Breakout Chapter 10: Standardization Chapter 11: Return of the Gothic Epilogue: Real Horrors NotesInde0
£27.45
Johns Hopkins University Press Baroque Modernity
Book SynopsisA groundbreaking study on the vital role of baroque theater in shaping modernist philosophy, literature, and performance. Finalist for the Outstanding Book Award by the Association for Theatre in Higher Education, Honorable Mention for the Balakian Prize by the International Comparative Literature Association, Winner of the Helen Tartar Book Subvention Award by the American Comparative Literature Association, Finalist of the MSA First Book Prize by the Modernist Studies AssociationBaroque stylewith its emphasis on ostentation, adornment, and spectaclemight seem incompatible with the dominant forms of art since the Industrial Revolution, but between 1875 and 1935, European and American modernists connected to the theater became fascinated with it. In Baroque Modernity, Joseph Cermatori argues that the memory of seventeenth-century baroque stages helped produce new forms of theater, space, and experience around the turn of the twentieth century. In response, modern theater helped give Table of ContentsIllustrationsPrefaceAcknowledgmentsOn "Baroque"Introduction: Toward an Orphic ModernismChapter 1. Overcoming Ascetic Style: Nietzsche and the Transvaluation of the BaroqueChapter 2. The Matter of Spectacle: Mallarmé and the Futures of Theatrical OstentationChapter 3. Landscapes of Melancholy: Benjamin, Trauerspiel, and the Pathways of TraditionChapter 4. The Citability of Baroque Gesture: Unsettling SteinEpilogue: Glancing Back, Reaching ForwardNote on TranslationsNotesBibliography Index
£27.45
Johns Hopkins University Press Hold It Real Still
Book SynopsisHow did the American western feature film genre rebrand itself in the late seventies and respond to the fury of global and domestic political affairs?In Hold It Real Still, Lawrence Jackson examines Clint Eastwood's influence on the western film while also exploring how that genre continues to operate into the twenty-first century as an ideological channel for ideas about race and imperialism. Jackson argues that the western genre pivoted from an initial doctrine of racial liberalism, albeit a clumsy one, during the John Wayne years to a motile agenda of substitution, exclusion, and false equivalency during the Clint Eastwood period. The book traces how Eastwood, an actor first associated with the avant-garde, anti-colonialist discourse of spaghetti western cinema, reversed himself in the second half of the 1970s with The Outlaw Josey Walesa film that had at its heart the fantasy of Black erasure from American life. Jackson situates Eastwood's work as a response to massive social and pTable of ContentsIntroductionChapter One. Black Representations in the WesternChapter Two. The Good, the Bad and the Ugly and Critique of the Colonial AftermathChapter Three. "That Damn War": The Outlaw Josey Wales and Reframing the Civil WarChapter Four. "Hold It Real Still": Black Containment and Structures of Inequality in The Outlaw Josey WalesChapter Five. "Their Slaves, If Any They Have, Are Hereby Declared Free Men": Ride with the Devil and the Contraband as Decorative AdjunctChapter Six. "I Am That One in Ten Thousand": Django Unchained and the Black Exceptional StateChapter Seven. "Why Don't They Kill Us?" Django Unchained and the Politics of Deadly ForceConclusion. The Return of the NativeAcknowledgmentsNotesIndex
£33.75
Temple University Press,U.S. All Play and No Work
Book SynopsisMany of the Federal Theatre Project (FTP) plays Paul Gagliardi analyzes in All Play and No Work feature complex portrayals of labor and work relief at a time when access to work was difficult. Gagliardi asks, what does it mean that many plays produced by the FTP celebrated forms of labor like speculation and swindling? All Play and No Work directly contradicts the promoted ideals of work found in American society, culture, and within the broader New Deal itself. Gagliardi shows how comedies of the Great Depression engaged questions of labor, labor history, and labor ethics. He considers the breadth of the FTP's production history, staging plays including Ah, Wilderness!, Help Yourself, and Mississippi Rainbow. Gagliardi examines backstage comedies, middle-class comedies, comedies of chance, and con-artist comedies that employed diverse casts and crew and contained radical economic and labor ideas. He contextualizes these plays within the ideologically complicated New Deal, showing hTrade Review“Drawing connections among American work culture, theater, and history, Paul Gagliardi’s valuable contribution to studies of the Federal Theatre Project focuses on little-studied performances centered on labor. All Play and No Work illuminates federal theatrical contributions to Depression-era American work life and representation, thus highlighting the importance of Federal Theatre’s brief and significant American cultural moment.”—Leslie Frost, Teaching Professor, University of North Carolina at Chapel Hill, and author of Dreaming America: Popular Front Ideals and Aesthetics in Children’s Plays of the Federal Theatre Project“All Play and No Work is an essential study of the Federal Theatre Project, focusing on its long-neglected comedies. Paul Gagliardi demonstrates that comedic productions, from Eugene O’Neill’s Ah, Wilderness! to popular con-artist comedies, were far from being merely light entertainment. Instead, these comedies reveal New Deal-era concerns surrounding the nature of labor and work. Combining cultural history, insightful textual analysis, and production histories, Gagliardi’s interdisciplinary approach contextualizes Federal Theatre Project comedies while bringing them to life in this indispensable book.”—Julie Burrell, Associate Professor of English, Africana Studies, and Women’s and Gender Studies, Cleveland State University, and author of The Civil Rights Theatre Movement in New York, 1939–1966: Staging Freedom
£77.35
