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Commedia dell'Arte, its Structure and Tradition: Antonio Fava in Conversation with John Rudlin
by John Rudlin Antonio FavaCommedia dell'Arte, its Structure and Tradition chronicles a series of discussions between two renowned experts in commedia dell'arte – master practitioners Antonio Fava and John Rudlin. These discussions were recorded during three recent visits by Fava to Rudlin’s rural retreat in south west France. They take in all of commedia dell'arte's most striking and enduring elements – its masks, its scripts and scenarios, and most outstandingly, its cast of characters. Fava explores the role of each stock Commedia character and their subsequent incarnations in popular culture, as well as their roots in prominent figures of their time. The lively and wide-ranging conversations also take in methods of staging commedia dell'arte for contemporary audiences, the evolution of its gestures, and the collective nature of its theatre-making. This is an essential book for any student or practitioner of commedia dell'arte – provocative, expansive wisdom from the modern world's foremost exponent of the craft.
Commedia dell'Arte Scenarios
by Sergio Costola Olly CrickCommedia dell'Arte Scenarios gathers together a collection of scenarios from some of the most important Commedia dell'Arte manuscripts, many of which have never been published in English before. Each script is accompanied by an editorial commentary that sets out its historical context and the backstory of its composition and dramaturgical strategies, as well as scene summaries, and character and properties lists. These supplementary materials not only create a comprehensive picture of each script’s performance methods but also offer a blueprint for readers looking to perform the scenarios as part of their own study or professional practice. This collection offers scholars, performers and students a wealth of original performance texts that brig to life one of the most foundational performance genres in world theatre.
Commentary on Shakespeare's Richard III
by Wolfgang ClemenFirst published in 1968. Providing a detailed and rigorous analysis of Richard III, this Commentary reveals every nuance of meaning whilst maintaining a firm grasp on the structure of the play. The result is an outstanding lesson in the methodology of Shakespearian criticism as well as an essential study for students of the early plays of Shakespeare.
A Commentary on the Complete Greek Tragedies: Aeschylus
by James C. HoganThis commentary offers a rich introduction and useful guide to the seven surviving plays attributed to Aeschylus. Though it may profitably be used with any translation of Aeschylus, the commentary is based on the acclaimed Chicago translations, "The Complete Greek Tragedies," edited by David Grene and Richmond Lattimore. James C. Hogan provides a general introduction to Aeschylean theater and drama, followed by a line-by-line commentary on each of the seven plays. He places Aeschylus in the historical, cultural, and religious context of fifth-century Athens, showing how the action and metaphor of Aeschylean theater can be illuminated by information on Athenian law athletic contests, relations with neighboring states, beliefs about the underworld, and countless other details of Hellenic life. Hogan clarifies terms that might puzzle modern readers, such as place names and mythological references, and gives special attention to textual and linguistic issues: controversial questions of interpretation; difficult or significant Greek words; use of style, rhetoric, and commonplaces in Greek poetry; and Aeschylus's place in the poetic tradition of Homer, Hesiod, and the elegiac poets. Practical information on staging and production is also included, as are maps and illustrations, a bibliography, indexes, and extensive cross-references between the seven plays. Forthcoming volumes will cover the works of Sophocles and Euripides.
A Commentary on The Complete Greek Tragedies: Aeschylus
by James C. HoganThis commentary offers a rich introduction and useful guide to the seven surviving plays attributed to Aeschylus. Though it may profitably be used with any translation of Aeschylus, the commentary is based on the acclaimed Chicago translations, The Complete Greek Tragedies, edited by David Grene and Richmond Lattimore. James C. Hogan provides a general introduction to Aeschylean theater and drama, followed by a line-by-line commentary on each of the seven plays. He places Aeschylus in the historical, cultural, and religious context of fifth-century Athens, showing how the action and metaphor of Aeschylean theater can be illuminated by information on Athenian law athletic contests, relations with neighboring states, beliefs about the underworld, and countless other details of Hellenic life. Hogan clarifies terms that might puzzle modern readers, such as place names and mythological references, and gives special attention to textual and linguistic issues: controversial questions of interpretation; difficult or significant Greek words; use of style, rhetoric, and commonplaces in Greek poetry; and Aeschylus's place in the poetic tradition of Homer, Hesiod, and the elegiac poets. Practical information on staging and production is also included, as are maps and illustrations, a bibliography, indexes, and extensive cross-references between the seven plays. Forthcoming volumes will cover the works of Sophocles and Euripides.
Commercial Dance: An Essential Guide
by Anthony R. TrahearnThis is an exploration of the vital and rapidly evolving world of Commercial Dance, tracing the evolution and merging of Hip-Hop, Club and Jazz dance styles from the music videos of the early 1980s, to today's huge influence on pop music and dance in a multi-media culture. Chapters including ‘Iconic Moments’ and ‘Main Movers’ contextualise and analyse culturally significant works and choreographers. With direct contributions from an international array of industry leading dancers, choreographers and creatives - including JaQuel Knight (Beyonce’s choreographer), Rich + Tone Talauega (Madonna & Michael Jackson collaborators), Rebbi Rosie (Rihanna’s dancer), Dean Lee (Janet Jackson’s choreographer) and Kiel Tutin (BLACKPINK’s choreographer) - this book shines a light on the creatives in the Commercial Dance industry who have made significant impacts, not just on the world of dance but on popular culture itself. Chapters discussing dance history, copyright law, inclusivity and dance class culture as well as additional contributions from dance scholars enable this book to give credence to Commercial Dance as a legitimate academic area of study. This is a complete and comprehensive textbook for all dance students at any level of study on college, university or conservatory courses.
Committing Theatre: Theatre Radicalism and Political Intervention in Canada
by Alan FilewodCommitting Theatre offers the first full-length historical study of political intervention theatre and theatrical spectatorship in English Canada. Building on twenty years of research and engagement in the field, this book’s historical narrative frames close-up examples of how theatre artists have intervened in and engaged with political struggle from the mid-19th century to the present. Lumber-camp mock trials, Mayday parades and street protests, the Workers Theatre Movement, agitprop theatre, the counter-culture theatre of the 1960s and 1970s, and more recent anarchist theatre collectives all played a role in a vibrant and unique radical theatre culture that went largely unnoticed, unrecorded, and undocumented by the professional theatre establishment.
Communal Justice in Shakespeare’s England: Drama, Law, and Emotion
by Penelope GengThe sixteenth century was a turning point for both law and drama. Relentless professionalization of the common law set off a cascade of lawyerly self-fashioning – resulting in blunt attacks on lay judgment. English playwrights, including Shakespeare, resisted the forces of legal professionalization by casting legal expertise as a detriment to moral feeling. They celebrated the ability of individuals, guided by conscience and working alongside members of their community, to restore justice. Playwrights used the participatory nature of drama to deepen public understanding of and respect for communal justice. In plays such as King Lear and Macbeth, lay people accomplish the work of magistracy: conscience structures legal judgment, neighbourly care shapes the coroner’s inquest, and communal emotions give meaning to confession and repentance. An original and deeply sourced study of early modern literature and law, Communal Justice in Shakespeare’s England contributes to a growing body of scholarship devoted to the study of how drama creates and sustains community. Penelope Geng brings together a wealth of imaginative and documentary archives – including plays, sermons, conscience literature, Protestant hagiographies, legal manuals, and medieval and early modern chronicles – proving that literature never simply reacts to legal events but always actively invents legal questions, establishes legal expectations, and shapes legal norms.
Communities, Performance and Practice: Enacting Communities
by Kerrie SchaeferThis book examines how a predominantly negative view of community has presented a challenge to critical analysis of community performance practice. The concept of community as a form of class-based solidarity has been hollowed out by postmodernism’s questioning of grand narratives and poststructuralism’s celebration of difference. Alongside the critique of a notion of community has been a critical re-signification of community, following the thinking of philosopher Jean-Luc Nancy who conceives of community not as common being but as being-in-common. The concept of community as being-in-common generates questions that have been taken up by feminist geographers, J.K. Gibson-Graham, in theorising a post-capitalist approach to community-based development. These questions and approaches guide the analyses in researched case studies of community performance practice. The book revises theoretical debates that have defined the field of community theatre and performance. It asks how the critical re-signification of community aligns with these debates and, at the same time, opens new modes of critical analysis of community theatre and performance practice.
Community Performance: An Introduction
by Petra KuppersCommunity Performance: An Introduction is a comprehensive and accessible practice-based primer for students and practitioners of community arts, dance and theatre. It is both a classroom-friendly textbook and a handbook for the practitioner, perfectly answering the needs of a field where teaching is orientated around practice. Offering a toolkit for students interested in running community arts groups, this book includes: international case-studies and first person stories by practitioners and participants sample exercises, both practical and reflective study questions excerpts of illustrative material from theorists and practitioners. This book can be used as a standalone text or together with its companion volume, The Community Performance Reader, to provide an excellent introduction to the field of community arts practice. Petra Kuppers has drawn on her vast personal experience and a wealth of inspiring case studies to create a book that will engage and help to develop the reflective community arts practitioner.
Community Performance: An Introduction
by Petra KuppersCommunity Performance: An Introduction is a comprehensive and accessible practice-based primer for students and practitioners of community arts, dance, and theatre, offering reflection on the ethical issues inherent to the field. It is both a classroom-friendly textbook and a handbook for the practitioner, perfectly answering the needs of a field where teaching is orientated around practice. Offering a toolkit for students interested in running community arts groups or community performance events, this book includes: international case studies and first-person stories by practitioners and participants sample exercises, both practical and reflective study questions excerpts of illustrative material from theorists and practitioners This second edition has been completely revised with over 25% new content to bring the book up to date with developments in both society and performance, including the rise of social media, updates in the contexts of social justice, new standards and norms in social practice, and the changing faces of funding, evaluation, and professional development. The book can be used as a standalone text or together with its companion volume, Community Performance: A Reader, to provide an excellent introduction to the field of community arts practice.
The Community Performance Reader
by Petra Kuppers Gwen RobertsonCommunity Performance: A Reader is the first book to provide comprehensive teaching materials for this significant part of the theatre studies curriculum. It brings together core writings and critical approaches to community performance work, presenting practices in the UK, USA, Australia and beyond. Offering a comprehensive anthology of key writings in the vibrant field of community performance, spanning dance, theatre and visual practices, this Reader uniquely combines classic writings from major theorists and practitioners such as Augusto Boal, Paolo Freire, Dwight Conquergood and Jan Cohen Cruz, with newly commissioned essays that bring the anthology right up to date with current practice. This book can be used as a stand-alone text, or together with its companion volume, Community Performance: An Introduction, to offer an accessible and classroom-friendly introduction to the field of community performance.
Community Theatre: Global Perspectives
by Eugene van ErvenCommunity theatre is an important device for communities to collectively share stories, to participate in political dialogue, and to break down the increasing exclusion of marginalised groups of citizens. It is practised all over the world by growing numbers of people. Published at the same time as a video of the same name, this is a unique record of these theatre groups in action. Based on van Erven's own travels and experiences working with community theatre groups in six very different countries, this is the first study of their work and the methodological traditions which have developed around the world.
Community Theatre and AIDS (Studies in International Performance)
by Ola JohanssonApplying research into assessments of community theatre, epidemiology, and young people's shared and private stories using a wide range of methodologies, this book explores the potential efficacy of community theatre to prevent the spread of HIV/AIDS in Tanzania with reference to several other comparable sites in Africa.
Como me gustaría que me hubiera conocido
by Gilberto Santos¿Sería posible enamorarse de alguien que ya se fue? Lucas y Lauro nunca se conocieron, no en esta vida ... Pero lo que sólo sería un viaje de vacaciones descomprometidas en el interior de São Paulo da un giro y revive la vida de Lauro, un psicólogo siempre dispuesto a ayudar. Sus creencias se ponen a prueba en medio de acontecimientos que desafían la lógica. Después de verse envuelto en un misterioso suicidio que sacudía la pequeña ciudad de Vinhedo, su ayuda a la familia del muerto no terminaría tan pronto; y luego lauro estaría envuelto y enamorado de Lucas. Del otro lado, sin saberlo, estaría también ayudando a su alma gemela a elevarse espiritualmente. Acompañe y emociónese con esta historia, que no deja dudas de que la muerte es sólo un viaje y de que las almas gemelas realmente existen.
The Compact Bedford Introduction to Drama (7th Edition)
by Lee A. JacobusOffering a carefully chosen selection of plays from the ancient Greeks to the present--including many new contemporary prize-winners--The Compact Bedford Introduction to Drama has the plays you want to teach and the features students need at a compact size. Twenty-eight chronologically arranged plays are illuminated by insightful commentaries and casebooks that enrich students' contextual understanding and encourage critical thinking.
A Companion to Greek Tragedy
by John FergusonThis handbook provides students and scholars with a highly readable yet detailed analysis of all surviving Greek tragedies and satyr plays. John Ferguson places each play in its historical, political, and social context--important for both Athenian and modern audiences--and he displays a keen, discriminating critical competence in dealing with the plays as literature. Ferguson is sensitive to the meter and sound of Greek tragedy, and, with remarkable success, he manages to involve even the Greekless reader in an actual encounter with the Greek as poetry. He examines language and metrics in relation to each tragedian's dramatic purpose, thus elucidating the crucial dimension of technique that other handbooks, mostly the work of philologists, renounce in order to concentrate on structure and plot. The result is perceptive criticism in which the quality of Ferguson's scholarship vouches for what he sees in the plays. The book is prefaced with a general introduction to ancient Greek theatrical production, and there is a brief biographical sketch of each tragedian. Footnotes are avoided: the object of this handbook is to introduce readers to the plays as dramatic poetry, not to detail who said what about them. There is an extensive bibliography for scholars and a glossary of Greek words to assist the student with the operative moral and stylistic terms of Greek tragedy.
A Companion to Shakespeare
by David S. KastanA Companion to Shakespeare is an indispensable book for readers of Shakespeare and anyone with an interest in his works. In 28 newly commissioned essays, this volume offers a remarkably innovative and comprehensive picture of the theatrical, literary, intellectual and social worlds in which Shakespeare wrote and produced his plays. <P>Each individual essay stands as an authoritative account of the state of knowledge in its field, and provides a new and compelling portrait of the historical conditions, both imaginative and institutional, that enabled (and in some cases inhibited) Shakespeare's great art. <P>Topics covered include the organization and regulation of Elizabethan playing, printing, and publication; the circulation of the play-texts: Shakespeare's reading; religion and political thought in England in late Elizabethan and Jacobean England: and the linguistic and literary environment in which he wrote.
Company Of Wayward Saints
by George HermanComedy / 6m, 3f / Platform stage / The company is a commedia dell' arte group who wander by mistake into the eye of an allegory. They are humanity, wayward saints all, who are far from home and without means. A nobleman may be their salvation if they can put on a good show for him. Surprisingly, the Company chooses to present the history of man, from the Garden of Eden through Everyman in birth, adolescence, marriage and death. Along the way they enact other wayward adventures such as the assassination of Julius Caesar and the homecoming of Odysseus. It is a fine mosaic of life redeemed by humor and human understanding.
Competing Germanies: Nazi, Antifascist, and Jewish Theater in German Argentina, 1933–1965 (Signale: Modern German Letters, Cultures, and Thought)
by Robert KelzFollowing World War II, German antifascists and nationalists in Buenos Aires believed theater was crucial to their highly politicized efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. Competing Germanies tracks the paths of several stage actors from European theaters to Buenos Aires and explores how two of Argentina's most influential immigrant groups, German nationalists and antifascists (Jewish and non-Jewish), clashed on the city's stages. Covered widely in German- and Spanish-language media, theatrical performances articulated strident Nazi, antifascist, and Zionist platforms. Meanwhile, as their thespian representatives grappled onstage for political leverage among emigrants and Argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. Publicly they projected unity, but offstage nationalist, antifascist, and Zionist populations were rife with infighting on issues of political allegiance, cultural identity and, especially, integration with their Argentine hosts.Competing Germanies reveals interchange and even mimicry between antifascist and nationalist German cultural institutions. Furthermore, performances at both theaters also fit into contemporary invocations of diasporas, including taboos and postponements of return to the native country, connections among multiple communities, and forms of longing, memory, and (dis)identification. Sharply divergent at first glance, their shared condition as cultural institutions of emigrant populations caused the antifascist Free German Stage and the nationalist German Theater to adopt parallel tactics in community-building, intercultural relationships, and dramatic performance.Its cross-cultural, polyglot blend of German, Jewish, and Latin American studies gives Competing Germanies a wide, interdisciplinary academic appeal and offers a novel intervention in Exile studies through the lens of theater, in which both victims of Nazism and its adherents remain in focus.
Competition Piece
by John WellsComedy, Short Play /10-21 m or f / Bare stage / This clever comedy is an ideal high school competition play. Three groups of students are preparing for a drama competition. One has lots of rehearsal time and chooses a romance. The meatheads decide to do a typical teen problem play. The arty clique wants to do a one act version of King Lear as a Japanese Noh drama. Winner of several competitions, this play is certain to delight your students, your audience and those hard to please judges.
The Complaisant Lover: A Play
by Graham GreeneA &“delicious . . . champagne cocktail&” of a stage comedy about a sporting British couple&’s marital—and extramarital—propositions (New York Herald Tribune). Victor Rhodes, a hearty and amiable dentist in North London, has what he thinks is a happy marriage. It&’s stable, routine, and comfortably platonic. Five years and counting, his wife, Mary, feels the same way. That&’s why she&’s taken a secret lover—their good friend, Clive Root, an antiquarian bookseller for whom relieving complaisant husbands of their duty is a pleasure. But when Mary and Clive connive a rendezvous in Amsterdam, their getaway takes a surprising turn with a visit from Victor. What&’s now at risk for Mary is more than a marriage to a man she genuinely loves but also a perfectly fulfilling affair with a man she truly desires. In this &“sin-and-tonic work of art,&” Mary isn&’t about to give up either of them (Spectator). &“An expert at badinage full of quiet English verve, Mr. Greene writes with smooth sophistication&” in his last play—a comedy of lies, cheats, and betrayals—produced by Sir John Gielgud at the Globe Theatre, London, in 1959 (The New York Times). Two years later, it debuted on Broadway, with a cast including Sandy Dennis, Michael Redgrave, and Gene Wilder.
The Complete Aeschylus
by AeschylusAeschylus' Oresteia, the only ancient tragic trilogy to survive, is one of the great foundational texts of Western culture. It begins with Agamemnon, which describes Agamemnon's return from the Trojan War and his murder at the hands of his wife Clytemnestra, continues with her murder by their son Orestes in Libation Bearers, and concludes with Orestes' acquittal at a court founded by Athena in Eumenides. The trilogy thus traces the evolution of justice in human society from blood vengeance to the rule of law, Aeschylus' contribution to a Greek legend steeped in murder, adultery, human sacrifice, cannibalism, and endless intrigue.
The Complete Book of Hand Shadows: Instructions for Shadowgraphy
by Louis NikolaGenerations of entertainers have amused audiences of children and adults with the art of hand shadows, using only a light source and their own two hands to form immediately recognizable profiles of people and animals. Lovers of nostalgia and aspiring hand shadow artists will delight in this facsimile of a 1913 book, which features more than 50 hand shadows. These quaint illustrations depict many different types of shadows, from swans, rabbits, and other animals to historic figures and fictional characters. Each hand shadow is accompanied by a description of specific hand positioning and an illustration. Additional helpful tips include instructions on lighting, projection screens, and hand exercises.
The Complete Euripides Volume II
by Peter Burian Alan ShapiroPlays: ELECTRA; IPHIGENIA IN TAURIS; ORESTES; IPHIGENIA AT AULIS