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Clothes for a Summer Hotel
by Tennessee WilliamsThe late Tennessee Williams's Clothes for a Summer Hotelmade its New York debut in 1980. Here Scott and Zelda Fitzgerald, often seen as symbols of the doomed youth of the jazz age, become two halves of a single creative psyche, each part alternately feeding and then devouring the other. Set in Highland Hospital near Asheville, North Carolina, where Zelda spent her last confinement, this "ghost play" begins several years after Scott's death of a heart attack in California. But the past is "still always present" in Zelda, and Williams's constant shifting of chronology and mixing of remembrance with ghostly re-enactment suggest that our real intimacy is with the shadow characters of our own minds. As Williams said in the Author's Note to the Broadway production: "Our reason for taking extraordinary license with time and place is that in an asylum and on its grounds liberties of this kind are quite prevalent: and also these liberties allow us to explore in more depth what we believe is truth of character. " Williams poses the inevitable, unanswerable questions: Did Scott prevent Zelda from achieving an independent creativity? Did Zelda's demands force Scott to squander his talents and turn to alcohol? Whose betrayal--emotional, creative, sexual--destroyed the other? But he poses these questions in a new way: in the act of creation, Zelda and Scott are now aware of their eventual destruction, and the creative fire that consumed two artists combines symbolically with the fire that ended Zelda's life.
The Clouds
by AristophanesSocrates' "Thinkery" is at the center of Clouds, which spoofs untraditional techniques for educating young men.
Clouds
by AristophanesThis line-for-line translation of Aristophanes' best-known comedy features an Introduction on Old Comedy, and the place of Clouds and Aristophanic comedy within it. Footnotes and more detailed endnotes further distinguish this edition of a play famous for its caricature of Socrates and of the "new learning."
Clouds
by Aristophanes Jeffrey HendersonThis is an English translation of Aristophanes' famous comedy, Clouds, noted for its critique of philosophy, society and education. It includes essays on Old Comedy and the Theater of Dionysus, suggestions for further reading, notes on production, and a map. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture.
Clowning and Authorship in Early Modern Theatre
by Richard PreissTo early modern audiences, the 'clown' was much more than a minor play character. A celebrity performer, he was a one-man sideshow whose interactive entertainments - face-pulling, farce interludes, jigs, rhyming contests with the crowd - were the main event. Clowning epitomized a theatre that was heterogeneous, improvised, participatory, and irreducible to dramatic texts. How, then, did those texts emerge? Why did playgoers buy books that deleted not only the clown, but them as well? Challenging the narrative that clowns were 'banished' by playwrights like Shakespeare and Jonson, Richard Preiss argues that clowns such as Richard Tarlton, Will Kemp, and Robert Armin actually made playwrights possible - bridging, through the publication of their routines, the experience of 'live' and scripted performance. Clowning and Authorship tells the story of how, as the clown's presence decayed into print, he bequeathed the new categories around which theatre would organize: the author, and the actor.
Clowns: In conversation with modern masters
by Ezra LeBank David BridelClowns: In Conversation with Modern Masters is a groundbreaking collection of conversations with 20 of the greatest clowns on earth. In discussion with clown aficionados Ezra LeBank and David Bridel, these legends of comedy reveal the origins, inspirations, techniques, and philosophies that underpin their remarkable odysseys. Featuring incomparable artists, including Slava Polunin, Bill Irwin, David Shiner, Oleg Popov, Dimitri, Nola Rae, and many more, Clowns is a unique and definitive study on the art of clowning. In Clowns, these 20 master artists speak candidly about their first encounters with clowning and circus, the crucial decisions that carved out the foundations of their style, and the role of teachers and mentors who shaped their development. Follow the twists and turns that changed the direction of their art and careers, explore the role of failure and originality in their lives and performances, and examine the development and evolution of the signature routines that became each clown’s trademark. The discussions culminate in meditations on the role of clowning in the modern world, as these great practitioners share their perspectives on the mysterious, elusive art of the clown.
Clues to Acting Shakespeare
by Wesley Van TasselClues to Acting Shakespeare has become a popular guide for actors, directors, teachers and Shakespeare enthusiasts, selling over 15,000 copies of previous editions. This third edition retains the second edition’s unique solutions to challenges that face directors and actors at advanced levels and is expanded to include an entirely new section for amateur and community theatre groups. In this new edition, readers will be delighted to find: New section to aid community theatres to perform Shakespeare’s plays, including five recorded workshops of community theatre actors coached and trained by the author Updates to the successful sections on training student actors (MFA and BFA programs), and professional actors (including audition tips)—highlighted by twenty author-coached workshops with professional and advanced student actors Improved section for teachers of high school and child actors with worksheets and sample lesson plans New exercises and resources for all levels of acting and production To aid professionals, Clues to Acting Shakespeare offers a one-day brush-up for auditions and preparation to play Shakespeare immediately. Text analysis, character studies, and both classical British training and American methods are explored. The exercises and recorded workshops provide inspiring advice to all actors and demonstrate concepts discussed throughout the book. The critical skills required for acting Shakespeare, including scansion, phrasing, caesura, breathing, speech structure, antithesis, and more are covered in detail. The comprehensive exercises using the Bard’s plays and sonnets teach actors to break down the verse, support the words, understand the imagery, and use the text to create vibrant performances.
Clybourne Park: A Play
by Bruce NorrisClybourne Park spans two generations fifty years apart. In 1959, Russ and Bev are selling their desirable two-bedroom at a bargain price, unknowingly bringing the first black family into the neighborhood (borrowing a plot line from Lorraine Hansberry's A Raisin in the Sun) and creating ripples of discontent among the cozy white residents of Clybourne Park. In 2009, the same property is being bought by a young white couple, whose plan to raze the house and start again is met with equal disapproval by the black residents of the soon-to-be-gentrified area. Are the issues festering beneath the floorboards actually the same, fifty years on? Bruce Norris's excruciatingly funny and squirm-inducing satire explores the fault line between race and property. Clybourne Park is the winner of the 2011 Pulitzer Prize for Drama, and the winner of the 2012 Tony Award for Best Play.
Clybourne Park: A Play
by Bruce NorrisA Chicago house becomes a contested site in the politics of race in this “superb, elegantly written, and hilarious” play (The New Yorker).Winner, Pulitzer Prize for DramaWinner, Tony Award for Best PlayClybourne Park spans two generations fifty years apart. In 1959, Russ and Bev are selling their desirable two-bedroom at a bargain price, unknowingly bringing the first black family into the neighborhood (borrowing a plot line from Lorraine Hansberry's A Raisin in the Sun) and creating ripples of discontent among the cozy white residents of Clybourne Park. In 2009, the same property is being bought by a young white couple, whose plan to raze the house and start again is met with equal disapproval by the black residents of the soon-to-be-gentrified area. Are the issues festering beneath the floorboards actually the same, fifty years on? Bruce Norris's excruciatingly funny and squirm-inducing satire explores the fault line between race and property.“A spiky and damningly insightful new comedy.” —The New York Times“Indisputably, uproariously funny, and a quietly evocative meditation on the by-no-means-obsolete stereotypes that pervade millennial melting-pot America.” —Entertainment Weekly“Courageous. . . . Norris’s elegantly structured play nails marital tensions as much as it does racial disharmony in an evening of ebullient provocation.” —The Guardian
C'mon, Get Happy: The Making of Summer Stock
by David Fantle Tom JohnsonIn their third and final screen teaming, Judy Garland and Gene Kelly starred together in the MGM musical Summer Stock. Despite its riveting production history, charismatic lead actors, and classic musical moments, the movie has not received the same attention as other musicals from MGM’s storied dream factory. In C’mon, Get Happy: The Making of “Summer Stock,” authors David Fantle and Tom Johnson present a comprehensive study of this 1950 motion picture, from start to finish and after its release.The production coincided at a critical point in the careers of Kelly and an emotionally spent Garland. Kelly, who starred in An American in Paris just one year later, was at the peak of his abilities. On the other hand, Summer Stock was Garland’s final film at MGM, and she gamely completed it despite her own personal struggles. Summer Stock includes Kelly’s favorite solo dance routine and Garland’s signature number “Get Happy.”The authors discuss in rich detail the contributions of the cast (which included Gloria DeHaven, Eddie Bracken, Phil Silvers, and Marjorie Main); the director (Charles Walters); the producer (Joe Pasternak); the script writers (George Wells and Sy Gomberg); the songwriters (which included Harry Warren and Mack Gordon); and top MGM executives (Louis B. Mayer and Dore Schary). The volume features extensive interviews, conducted by the authors, with Kelly, Walters, Warren, and others, who shared their recollections of making the movie. Deeply researched, C’mon, Get Happy reveals the studio system at work during Hollywood’s Golden Era.Additionally, the authors have written a special section called “Taking Stock” that buttonholes numerous contemporary dancers, singers, choreographers, musicians, and even Garland impersonators for their take on Summer Stock, its stars, and any enduring legacy they think the film might have. Artists from Mikhail Baryshnikov, Ben Vereen, and Tommy Tune to Garland’s and Kelly’s daughters, Lorna Luft and Kerry Kelly Novick, respectively, offer their unique perspective on the film and its stars.
Cockeyed
by William Missouri DownsComedy / Character: 3m, 1w / Unit Set Phil, an average nice guy, is madly in love with the beautiful Sophia. The only problem is that she's unaware of his existence. He tries to introduce himself but she looks right through him. When Phil discovers Sophia has a glass eye, he thinks that might be the problem, but soon realizes that she really can't see him. Perhaps he is caught in a philosophical hyperspace or dualistic reality or perhaps beautiful women are just unaware of nice guys. Armed only with a B.A. in philosophy, Phil sets out to prove his existence and win Sophia's heart. This fast moving farce is the winner of the HotCity Theatre's GreenHouse New Play Festival. The St. Louis Post-Dispatch called Cockeyed a clever romantic comedy, Talkin' Broadway called it "hilarious," while Playback Magazine said that it was "fresh and invigorating." Winner of the HotCity Theatre GreenHouse New Play Festival "Rocking with laughter...hilarious...polished and engaging work draws heavily on the age-old conventions of farce: improbable situations, exaggerated characters, amazing coincidences, absurd misunderstandings, people hiding in closets and barely missing each other as they run in and out of doors...full of comic momentum as Cockeyed hurtles toward its conclusion." - Talkin' Broadway
cockroach (曱甴)
by Ho Ka Kei (Jeff Ho)You can call him Cockroach, or Roach for short. He’s a catnip-smoking city slicker living in the dark corners of our homes. A bard (yes, that one) longs for rest as he contends with his legacy. In their crosshairs lies a boy, caught in their collision of linguistics, longing, and lobsters (who sometimes burp). A unique exploration of survival and the dynamics of language erosion, cockroach (曱甴) is a coming-of-age play about the stories we tell ourselves to comfort, to persevere, to resist, to overcome, and to be.
The Cocktail Party: Verse Drama
by T. S. EliotA comedic play about the universal quest for meaning, written in some of Eliot's "most beautiful poetry" (The New York Times). A sterling example of contemporary theater, The Cocktail Party is a dramatic tour de force from one of our greatest writers to date.
Code-Choice and Identity Construction on Stage: Code-choice in Identity Construction on Stage (Routledge Advances in Theatre & Performance Studies)
by Sirkku AaltonenCode-Choice and Identity Construction on Stage challenges the general assumption that language is only one of the codes employed in a theatrical performance; Sirkku Aaltonen changes the perspective to the audience, foregrounding the chosen language variety as a trigger for their reactions. Theatre is ‘the most public of arts’, closely interwoven with contemporary society, and language is a crucial tool for establishing order. In this book, Aaltonen explores the ways in which chosen languages on stage can lead to rejection or tolerance in diglossic situations, where one language is considered unequal to another. Through a selection of carefully chosen case studies, the socio-political rather than artistic motivation behind code-choice emerges. By identifying common features of these contexts and the implications of theatre in the wider world, this book sheds light on high versus low culture, the role of translation, and the significance of traditional and emerging theatrical conventions. This intriguing study encompassing Ireland, Scotland, Quebec, Finland and Egypt, cleverly employs the perspective of familiarising the foreign and is invaluable reading for those interested in theatre and performance, translation, and the connection between language and society.
Code Kakori: कोड काकोरी
by Manoj Rajan Tripathiइस कहानी का बीज मेरे सामने बोया गया था और आज कहानी फसल बन कर लहलहा रही है, CODE काकोरी को दिल से मुबारकबाद - साजिद नाडियाडवाला। काकोरी अस्पताल के वॉर्ड में एक डेड बॉडी पड़ी है, जो पूरी तरह काली पड़ चुकी है। लाश पर सोने-चांदी के ब्रिटिश कॉइंस पड़े हैं। हर सिक्के पर क्वीन विक्टोरिया की तस्वीर छपी है। क़ातिल ने लाश के सीने पर पीतल की थंब पिन से एक ए फोर साइज़ का कागज़ टैग किया है, जिस पर लिखा है—हिंदुस्तान रिपब्लिकन एसोसिएशन। आख़िर क़ातिल का इशारा क्या है? क्यों छोड़े हैं उसने ये सुराग़? पुलिस को क्यों चैलेंज कर रहा है ये क़ातिल? असल में ये वही विक्टोरियन कॉइंस हैं, जो 1925 के ‘काकोरी कांड’ में लूटे गए थे। ये वही हिंदुस्तान रिपब्लिकन एसोसिएशन है जो 1924 में चंद्रशेखर आज़ाद ने बनाई थी। तब मक़सद था ब्रिटिश हुकूमत के ख़िलाफ़ बारूदी जंग छेड़ना, और बारूद उगलने वाले हथियार ख़रीदने के लिये 9 अगस्त 1925 को ट्रेन रोककर काकोरी में ही लूटा गया, अंग्रेज़ों का खज़ाना। लेकिन चौरानवे साल बाद अब क्या मक़सद है? अब क्या इरादा है? किसके ख़िलाफ़ है ये जंग? अब कौन है जिसने बनाया है ‘कोड काकोरी’? मनोज राजन त्रिपाठी के इस उपन्यास में थ्रिल है, सस्पेंस है, एक्शन है, कॉमेडी है, ड्रामा है; कहने का मतलब, एक पूरी फ़िल्म का मज़ा है।
Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre (Cognitive Studies in Literature and Performance)
by Evelyn B. TribbleEarly modern playing companies performed up to six different plays a week and mounted new plays frequently. This book seeks to answer a seemingly simple question: how did they do it? Drawing upon work in philosophy and the cognitive sciences, it proposes that the cognitive work of theatre is distributed across body, brain, and world.
Coinage and State Formation in Early Modern English Literature (Early Modern Cultural Studies 1500–1700)
by Stephen DengA reassessment of the historic relation between money and the state through the lens of early modern English literature, Coinage and State Formation examines the political implications of the monetary form in light of material and visual properties of coins as well as the persistence of both intrinsic and extrinsic theories of value.
Cold War Theatre (Routledge Revivals)
by John ElsomCold War Theatre, first published in 1992, provides an account of the theatrical history within the context of East/West politics. Its geographical span ranges from beyond the Urals to the Pacific Coast of the US, and asks whether the Cold War confrontation was not in part due to the cultural climate of Europe. Taking the McCarthy era as its starting point, this readable history considers the impact of the Cold War upon the major dramatic movements of our time, East and West. The author poses the question as to whether European habits of mind, fostered by their cultures, may not have contributed to the political stalemates of the Cold War. A wide range of actors from both the theatrical and political stages are discussed, and their contributions to the theatre of the Cold War examined in a hugely enjoyable and enlightening narrative. This book is ideal for theatre studies students.
Coleridge on Shakespeare: The text of the lectures of 1811-12 (Monographs)
by R. A. FoakesFirst published in 1971. The only substantial text of a series of lectures on Shakespeare by S T Coleridge is that provided by J P Collier's Seven Lectures on Shakespeare and Milton (1856). His text of these important lectures given by Coleridge in 1811-12 has been the basis of all modern editions. This edition is based on hitherto unpublished transcripts of the lectures made by Collier when, as a young man, he attended Coleridge's lectures. R A Foakes' introduction and appendices demonstrate the extent to which Collier revised and altered Coleridge's words for the edition he published forty-five years later. This volume therefore provides a much more authoritative text of Coleridge's most important Shakespeare lectures.
The Collaborative Habit: Life Lessons for Working Together
by Jesse Kornbluth Twyla TharpIn a career that has spanned four decades, choreographer Twyla Tharp has collaborated with great musicians, designers, thousands of dancers, and almost a hundred companies. She's experienced the thrill of shared achievement and has seen what happens when group efforts fizzle. Her professional life has been -- and continues to be -- one collaboration after another. In this practical sequel to her national bestseller The Creative Habit, Tharp explains why collaboration is important to her -- and can be for you. She shows how to recognize good candidates for partnership and how to build one successfully, and analyzes dysfunctional collaborations. And although this isn't a book that promises to help you deepen your romantic life, she suggests that the lessons you learn by working together professionally can help you in your personal relationships. These lessons about planning, listening, organizing, troubleshooting, and using your talents and those of your coworkers to the fullest are not limited to the arts; they are the building blocks of working with others, like if you're stuck in a 9-to-5 job and have an unhelpful boss. Tharp sees collaboration as a daily practice, and her book is rich in examples from her career. Starting as a twelve-year-old teaching dance to her brothers in a small town in California and moving through her work as a fledgling choreographer in New York, she learns lessons that have enriched her collaborations with Billy Joel, Jerome Robbins, Mikhail Baryshnikov, Bob Dylan, Elvis Costello, David Byrne, Richard Avedon, Milos Forman, Norma Kamali, and Frank Sinatra. Among the surprising and inspiring points Tharp makes in The Collaborative Habit: -Nothing forces change more dramatically than a new partnership. -In a good collaboration, differences between partners mean that one plus one will always equal more than two. A good collaborator is easier to find than a good friend. If you've got a true friendship, you want to protect that. To work together is to risk it. -Everyone who uses e-mail is a virtual collaborator. -Getting involved with your collaborator's problems may distract you from your own, but it usually leads to disaster. -When you have history, you have ghosts. If you're returning to an old collaboration, begin at the beginning. No evocation of old problems and old solutions. -Tharp's conclusion: What we can learn about working creatively and in harmony can transform our lives, and our world.
Collaborative Playwriting: Polyvocal Approaches from the EU Collective Plays Project
by Paul CastagnoIn Collaborative Playwriting, five collectively written plays apply polyvocal methods in which clash and frisson replace synthesis, a dialogic approach to collective writing that has never before been articulated or documented. Based on the EU Collective Plays Project, this collection of plays showcases each voice in dialogic tension and in relation to the other voices of the text, offering an entirely novel approach to new play development that challenges the single (and privileged) authorial voice. Castagno’s case-study approach provides detailed commentary on each of the various experimental methods, exploring the plays’ processes in detail. The book offers an evolutionary path forward in how to develop new work, thus encouraging and promoting the writing of collective, hybrid plays as having profound benefits for all playwrights. The ground breaking approaches to playmaking in Collaborative Playwriting will appeal to playwriting programs, instructors, academics, professional playwrights, theaters and new play development programs; as well as courses in gender LGBTQ studies, script analysis, dramaturgy and dramatic literature across the theater studies curricula.
Collaborative Stage Directing: A Guide to Creating and Managing a Positive Theatre Environment
by Jean BurgessCollaborative Stage Directing: A Guide to Creating and Managing a Positive Theatre Environment focuses on the director’s collaboration with actors and the creative team, and the importance of communication and leadership skills to create and manage a healthy working environment. Speaking directly to the student, this compact resource walks the aspiring director through basic principles of group dynamics, active listening, open-ended questioning, brainstorming, and motivational leadership, supported by examples and case studies offered by current professional and academic directors. With a focus on preparing the student director for resume-building opportunities beyond the studio lab, Collaborative Stage Directing challenges readers with reflective activities, a series of guiding questions to apply to three short plays, and an extensive checklist to assist them with independent directing projects. As an easy-to-use resource, Collaborative Stage Directing works as a supplement to a classic directing text or as a stand-alone guide.
Collaborative Theatre: Le Theatre du Soleil
by Eric Prenowitz David WilliamsOver the past thirty years Ariane Mnouchkine's 'Théâtre du Soleil' has become one of the most celebrated companies in Europe, and Mnouchkine one of its best-known directors. Collaborative Theatre is the first in-depth sourcebook in English on 'Théâtre du Soleil', providing English readers with first-hand accounts of the development of its collectivist practices and ideals.Collaborative Theatre presents critical and historical essays by theatre scholars from around the world as well as the writings of and interviews with members of le Théâtre du Soleil, past and present. Projects discussed include: 1789, L'Age d'Or, Richard II, L'Indiade and Les Atriades.
Collaborators: A Play (Books That Changed the World)
by John HodgeThis “gripping, disturbing, and often blackly comic drama” explores the historic connection between Stalin and Russian author Mikhail Bulgakov (The Daily Telegraph, UK).A “rare and special” play by the screenwriter of Trainspotting and Shallow Grave, Collaborators is inspired by the true story of another play: one that Mikhail Bulgakov was forced to write in commemoration Joseph Stalin’s sixtieth birthday (The Times, UK).Moscow, 1938. Stalin has been in power for sixteen years and his purges are underway. Bulgakov’s The Master and Margarita is lying unpublished in a desk drawer, and his latest play Molière has been banned following terrible reviews in Pravda. As a secret policeman dryly puts it, this has opened up a convenient “gap in his schedule.” This “gap” is to be filled by writing a play about Stalin’s life.As Bulgakov loses himself in a world of secrets, threats, and paradoxes, he begins to fall ill from kidney disease. His feverish dreams of conversations with Stalin become reality in his mind, just as the state’s lies become truths in his play. Collaborators is a darkly comic portrait of the impossible choices facing an artist living under dictatorship, and a surreal journey into the imagination of a writer as he loses himself in the subject of his drama.Winner of the 2012 Laurence Olivier Awards Best New Play