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Crossing Cultural Borders Through the Actor's Work: Foreign Bodies of Knowledge (Routledge Advances in Theatre & Performance Studies)
by Cláudia Tatinge NascimentoA sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, this book redirects the intercultural debate by focusing exclusively on the actor at work. Alongside the perspectives of other prominent intercultural actors, this study draws from original interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). By illuminating the hidden creative processes usually unavailable to outsiders--the actor’s apprenticeship, training, character development, and rehearsals--Nascimento both reveals how assumptions based on race or ethnicity are misguiding, trouble definitions of intra- and intercultural practices, and details how performance analyses and claims of appropriation fail to consider the permanent transformation of the actor’s identity that cultural transmission and embodiment represent.
Crossing Gender in Shakespeare: Feminist Psychoanalysis and the Difference Within (Routledge Studies In Shakespeare Ser. #3)
by James W. StoneIn this book, Stone effects a return to gender, after many years of neglect by Twenty-First-Century critics, via a methodology of close reading that foregrounds moments of sexual decentering and disequilibrium within the text and in the interstices of the dialogue between Shakespeare and his critics. Issues addressed range from the cross dressing of Viola and Imogen to the cross gartering of Malvolio, the sound of "un" and the uncanny lyric narcissism of Richard II, Hamlet’s misogyny, androgyny, and the poison of marital/political "union," Othello’s fears of impotence, rumors of Antony’s emasculation versus the militant yet nurturing triumphalism of Cleopatra’s suicide, and Posthumus’s hysterical reaction to the "woman’s part" in himself and his compensatory fantasies of parthenogenesis. Stone unpacks ideologically powerful but unsustainable male claims to self-identity and sameness, set over against man’s type-gendering of women as the origin of divisive sexual difference, discord, and the dissolution of marriage. Men who blame women for the difference that divides and weakens their sense of unity and sameness to oneself are unconscious that the uncanny feminine is not outside the masculine, its reassuring canny opposite; it is inside the masculine, its uncanny difference from itself.
The Crossing Guard & In Full Light
by Daniel KarasikEvery day after school, seventeen-year-old Timothy waits at the neighbourhood crosswalk where years earlier his older sister disappeared. Every day he crosses the street with Jim, the elderly crossing guard. It's a ritual Timothy thinks might go on forever, until one day he arrives and Jim is absent. Instead, standing at the crosswalk is a young woman—a young woman who looks a lot like his missing sister. The Crossing Guard is a tender meditation on the limits of fidelity. Ben's teenaged daughter Claire is hit by a car. To ease his conscience, Leon, the driver, approaches Ben with a cheque. Which Ben takes. But now why is Leon calling Ben at work and showing up on his front lawn? And what's going on with Claire, now recovered, throwing rocks at the window of the boy who lives across the street? In Full Light is a riveting exploration of obligation, obsession and desire.
Crossing the Stage: Controversies on Cross-Dressing
by Lesley FerrisCrossing the Stage brings together for the first time essays which explore cross-dressing in theatre, cabaret, opera and dance. The volume contains seminal pieces which have become standard texts in the field, as well as new work especially commissioned from leading writers on performance.Crossing the Stage is an indispensable sourcebook on theatrical cross-dressing. It will be essential reading for all those interested in performance and the representation of gender.
Crouching Tiger Hidden Dragon - Sword Of Destiny
by Justin Hill Wang DuluAnother life-altering quest, another struggle between honor and lust for power, another generation of warriors forging alliances and enmities. <P><P> The adventure, romance, and artistry of Crouching Tiger, Hidden Dragon continues in this novelized companion to the first ever Netflix debut film, Crouching Tiger, Hidden Dragon: Sword of Destiny based on the novel by Wang Dulu. Seventeen years after the legendary fighter Mubai dies protecting the world-conquering sword The Green Destiny, four great warriors are called together to guard the formidable weapon once more. The forces surrounding the sword irrevocably altered the life of Shulien, Mubai's lover, but seventeen years later she is still honor-bound to defend the blade from the power-hungry warlord Hades Dai. The young fighters Wei-fang and Snow Vase, switched at birth, also have heritages and inheritances that inextricably link them to both each other and the fate of the sword. And Silent Wolf, Shulien's former fiancé, returns from presumed death to thwart Hades Dai--and rekindle an emotionally isolated Shulien's feelings. Jam-packed with all the hallmarks of an epic adventure--sacrifice, battles, betrayal, vengeance, redemption, and destiny--this saga also explores the deeper meaning of true heroism and virtue. As Wei-fang and Snow Vase search for identity and forge their places in the world of warriors and heroes, Shu-lien and Silent Wolf struggle to reconcile both the traditions and heartbreak of the past with a fragile hope for the future.
Crowd and Rumour in Shakespeare (Studies in Performance and Early Modern Drama)
by Kai WiegandtIn this study, the author offers new interpretations of Shakespeare's works in the context of two major contemporary notions of collectivity: the crowd and rumour. The plays illustrate that rumour and crowd are mutually dependent; they also betray a fascination with the fact that crowd and rumour make individuality disappear. Shakespeare dramatizes these mechanisms, relating the crowd to class conflict, to rhetoric, to the theatre and to the organization of the state; and linking rumour to fear, to fame and to philosophical doubt. Paying attention to all levels of collectivity, Wiegandt emphasizes the close relationship between the crowd onstage and the Elizabethan audience. He argues that there was a significant - and sometimes precarious - metatheatrical blurring between the crowd on the stage and the crowd around the stage in performances of crowd scenes. The book's focus on crowd and rumour provides fresh insights on the central problems of some of Shakespeare's most contentiously debated plays, and offers an alternative to the dominant tradition of celebrating Shakespeare as the origin of modern individualism.
Crowd Funding for Filmmakers: The Way to a Successful Film Campaign
by John T. TrigonisThis book offers practical information, tips, and tactics for launching a successful film campaign by detailing traditional models of fundraising, utilizing today’s technological and social innovations, and augmenting each step with an added personal touch. This 2nd edition updates the latest techniques on Social Media to get your projects up and running asap.
Crown Of Life - Wilson Knight: Essays In Interpretation Of Shakespeare's Final Plays (University Paperbacks Ser.)
by G. Wilson KnightFirst published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
The Crucible (Penguin Plays)
by Arthur MillerA haunting examination of groupthink and mass hysteria in a rural community <P><P>The place is Salem, Massachusetts, in 1692, an enclave of rigid piety huddled on the edge of a wilderness. Its inhabitants believe unquestioningly in their own sanctity. <P>But in Arthur Miller's edgy masterpiece, that very belief will have poisonous consequences when a vengeful teenager accuses a rival of witchcraft--and then when those accusations multiply to consume the entire village. <P>First produced in 1953, at a time when America was convulsed by a new epidemic of witch-hunting, The Crucible brilliantly explores the threshold between individual guilt and mass hysteria, personal spite and collective evil. <P>It is a play that is not only relentlessly suspenseful and vastly moving but that compels readers to fathom their hearts and consciences in ways that only the greatest theater ever can.
The Crucible: A Play in Four Acts
by Arthur MillerMiller turns, for his setting, to the grim days of the Salem witch trials, and brings into focus an issue that still weighs heavily on the American civilization: the problem of guilt by association. Historical fiction.
The Crucible (Penguin Orange Collection)
by Arthur Miller<p><p>First produced in 1953, the Crucible brilliantly explores the threshold between individual guilt and mass hysteria, personal spite and collective evil. It is a play that is not only relentlessly suspenseful and vastly moving but that compels readers to fathom their hearts and consciences in ways that only the greatest theatre ever can.
A Cruel Theatre of Self-Immolations: Contemporary Suicide Protests by Fire and Their Resonances in Culture (Routledge Advances in Theatre & Performance Studies)
by Grzegorz ZiółkowskiA Cruel Theatre of Self-Immolations investigates contemporary protest self-burnings and their echoes across culture. The book provides a conceptual frame for the phenomenon and an annotated, comprehensive timeline of suicide protests by fire, supplemented with notes on artworks inspired by or devoted to individual cases. The core of the publication consists of six case studies of these ultimate acts, augmented with analyses and interpretations hailing from the visual arts, film, theatre, architecture, and literature. By examining responses to these events within an interdisciplinary frame, Ziółkowski highlights the phenomenon’s global reach and creates a broad, yet in-depth, exploration of the problems that most often prompt these self-burnings, such as religious discrimination and harassment, war and its horrors, the brutality and indoctrination of authoritarian regimes and the apathy they produce, as well as the exploitation of the so-called "subalterns" and their exclusion from mainstream economic systems. Of interest to scholars from an array of fields, from theatre and performance, to visual art, to religion and politics, A Cruel Theatre of Self-Immolations offers a unique look at voluntary, demonstrative, and radical performances of shock and subversion.
Crumbs from the Table of Joy and Other Plays
by Lynn NottageThis collection includes Lynn Nottage's best known work, Crumbs from the Table of Joy, which has been produced widely since its premiere in May 1995 and which the Chicago Tribune hailed as "a complex and thought provoking new play." Also included are Mud, River, Stone, Poof, Por'Knockers and her latest work, Las Meninas, inspired by the playwright's research into the African presence in 17th century Europe.Lynn Nottage lives in Brooklyn, New York. Her plays have been produced in many theatres across the U.S. including Second Stage (NY), South Coast Rep (Costa Mesa), Yale Repertory Theatre (New Haven), Alliance Theatre (Atlanta) and Steppenwolf (Chicago). She has won the Heideman and the White Bird awards and was a runner-up for the Susan Blackburn award.
Crushing on a Capulet: (Romeo & Juliet) (Cracked Classics #6)
by Tony AbbottSixth graders Devin and Frankie try to save star-crossed lovers Romeo and Juliet when they&’re magically transported into Shakespeare&’s classic play. When their teacher assigns Devin and Frankie—short for Francine—the lead roles in their class production of Romeo and Juliet, the two best friends aren&’t thrilled. How are they supposed to say their lines when they don&’t even sound like they were written in English? Luckily, the library&’s magic security gates come to their rescue again, and they leap into Shakespeare&’s famous tragedy. Unfortunately, they land right in the middle of a sword fight between two warring families, the Montagues and the Capulets. When they find out that Romeo Montague has fallen in love with Juliet Capulet, Devin and Frankie decide it&’s up to them to make sure this unlikely couple lives happily ever after. But can they change the book&’s tragic end and save the young lovers from their fate? &“The message that reading is important and can be fun comes through loud and clear,&” writes School Library Journal about the Cracked Classics series. &“The short chapters make this an ideal read-aloud and a treat for reluctant readers.&”
The Cry of the Senses: Listening to Latinx and Caribbean Poetics (Dissident Acts)
by Ren Ellis NeyraIn The Cry of the Senses, Ren Ellis Neyra examines the imaginative possibility for sound and poetics to foster new modes of sensorial solidarity in the Caribbean Americas. Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies. They locate and address the sonic in its myriad manifestations—across genres and forms, in a legal trial, and in the art and writing of Xandra Ibarra, the Fania All-Stars, Beatriz Santiago Muñoz, Édouard Glissant, and Eduardo Corral—while demonstrating how it operates as a raucous form of diasporic dissent and connectivity. Throughout, Ellis Neyra emphasizes Caribbean and Latinx sensorial practices while attuning readers to the many forms of blackness and queerness. Tracking the sonic through their method of multisensorial, poetic listening, Ellis Neyra shows how attending to the senses can inspire alternate, ethical ways of collective listening and being.
The Cryptogram
by David MametIn this gripping short play, David Mamet combines mercurial intelligence with genuinely Hitchcockian menace. The Cryptogram is a journey back into childhood and the moment of its vanishing--the moment when the sheltering world is suddenly revealed as a place full of dangers. On a night in 1959 a boy is waiting to go on a camping trip with his father. His mother wants him to go to sleep. A family friend is trying to entertain them--or perhaps distract them. Because in the dark corners of this domestic scene, there are rustlings that none of the players want to hear. And out of things as innocuous as a shattered teapot and a ripped blanket, Mamet re-creates a child terrifying discovery that the grownups are speaking in code, and that that code may never be breakable.
The CTR Anthology
by Alan FilewodSince its inception in 1974, "Canadian Theatre Review" has been one of the most important publishers of new Canadian plays. With a script in each issue, CTR has introduced new writers and advocated new approaches to Canadian drama. This volume brings together fifteen of the most significant plays published in CTR between 1974 and 1991. Most have been out of print since their appearance in the journal. They include recognized classics that have transformed Canadian theatre, such as "Ten Lost Years" and "This is for You, Anna," and lesser-known plays by such major writers as Robert Lepage and George F. Walker. Taken together these plays not only expand the boundaries of Canadian drama; they also document an important and exciting period in Canadian theatre. They are vivid testaments to the diversity of contemporary theatrical practice in Canada.
Cuánto vale una heladera y otros textos de teatro
by Claudia PiñeiroSeis piezas breves de teatro, tres comedias y tres dramas, escritas por una de las autoras más leídas en Argentina y en el mundo: Claudia Piñeiro. Este libro reúne las seis obras de teatro escritas por Claudia Piñeiro, tres comedias y tres dramas. Seis historias de gente común en situaciones que pueden mover a la risa o al espanto. Una mujer reclama una heladera nueva porque la suya se quemó por una bajada de tensión, pero su apellido se escribe con la letra ñ y las computadoras de la empresa no la reconocen como la propietaria; los hijos de una anciana con Parkinson se pelean para ver quién va a cuidarla; un hombre es asesinado unos días antes de casarse y en su velorio se descubren unas cuantas verdades; una madre y su hija dialogan sobre el genocidio armenio en paralelo al genocidio de la última dictadura en la Argentina; un joven vuelve al pueblo que abandonó años atrás para reencontrarse con su historia; el robo a una escribanía deja a la escribana y a su empleado atados uno junto al otro, en un diálogo incómodo. Con una enorme capacidad para la evocación de escenas cotidianas, con diálogos precisos, con el oído siempre atento a las inflexiones de la oralidad, la autora desliza sutiles sugerencias para la puesta en escena: una mirada, una luz, una canción nos llevan directo al corazón de las historias. Un libro delicioso que confirma que Claudia Piñeiro brilla en todos los géneros literarios. La crítica ha dicho... «Catedrales, la última novela de Claudia Piñeiro, nos interpela como sociedad. Nos obliga a detenernos y reflexionar. El texto exige no ser indiferentes.»Andrés Klipphan, Infobae «Si bien Piñeiro es reconocida por novelas dentro del género (Las viudas de los jueves; Betibú), es en el cruce entre intimidad y enigma donde nacen sus libros.»Verónica Boix, La Nación, sobre Catedrales «...su mayor virtud como narradora de cuentos podría ser la capacidad de resolver lo definitivo en un instante.»Silvina Friera, Página 12, sobre Quién no «Sus libros suelen proporcionarnos muy fecundos cruces entre niveles narrativos diferentes: en Las maldiciones está la ficción política pero también un nivel absolutamente íntimo que tiene que ver con la paternidad.»Eduardo Sacheri «Las maldiciones es una novela moral que te lleva al abismo de las oscuridades de las que son capaces los políticos para hundirse en la porquería dando la impresión de seguir impolutos.»Juan Cruz, El País (España) «Las viudas de los jueves es una novela ágil y un análisis implacable de un microcosmos social en acelerado proceso de decadencia.»José Saramago «Claudia Piñeiro arrancó con una perla rara, Tuya, un policial negro duro, pero de mujer, que usa con acelerador los elementos del género: la violencia, el engaño, los cruces complicados.»Elvio E. Gandolfo «Elena sabe es una historia sobrecogedora, narrada con gran hondura y economía de medios.»Rosa Montero
A Cuban Girl's Guide to Tea and Tomorrow: Soon to be a movie starring Kit Connor (Cuban Girl's Guide Ser.)
by Laura Taylor NameyLove isn't always part of the plan . . . A charming, heartwarming story following a Miami girl who unexpectedly finds love – and herself – in a small English town. Soon to be a movie starring Heartstopper's Kit Connor and Pretty Little Liars' Maia Reficco! For Lila Reyes, a summer in England hadn't been on the cards. Certainly not one stuck in the small town of Winchester with a lack of sun and zero Miami flavour. But when Lila meets Orion Maxwell in the local tea shop, her nightmare trip starts to look up. With a bright new future suddenly on the horizon, will Lila leave behind everything she's ever planned and follow her heart? A New York Times bestseller and Reese Witherspoon x Hello Sunshine Book Club YA Pick.PRAISE FOR A CUBAN GIRL'S GUIDE TO TEA AND TOMORROW: 'An absolute delight' Rachael Lippincott, author of Five Feet Apart 'An utterly charming read that feels like a treasured recipe that will heal and feed a broken heart.' Nina Moreno, author of Don&’t Date Rosa Santos 'I could live inside Laura Taylor Namey&’s lush, vibrant words forever.' Rachel Lynn Solomon, author of Today Tonight Tomorrow 'This book. THIS BOOK. Laura Taylor Namey has written the coziest love story I&’ve ever had the pleasure to read.' Erin Hahn, author of You&’d Be Mine and More Than Maybe
Cue Tears: On the Act of Crying
by Daniel SackCrying holds a privileged place in conversations around emotions as an expression of authentic feeling. And yet, tears are ambiguous: they might signal the most positive and negative of affects; they might present a sincere revelation of self or be simulated to manipulate others. Unsurprisingly, tears figure prominently on stage and on screen, where actors have experimented with the mechanics of making tears. Cue Tears: On the Act of Crying uses tears as a prism through which to see some of the foundational problems and paradoxes of acting and spectatorship anew, including matters of authenticity and sincerity, the ethics of the witness, the interaction between a speech act and its affective force, liveness and documentation. Across seven semi-autonomous essays, Cue Tears looks at the mechanisms of tear production, internal and external techniques that actors use to weep, and the effects of tears in performance situations on the stage, in the gallery, and in the classroom. The writing moves with a light touch between theory and criticism of a broad range of instances from literature, theater, performance art, visual art, and cinema, while also embracing a strong autobiographical and personal slant. Author Daniel Sack’s father was a biochemist who studied tears and collected his son’s tears for research during his childhood. These “reflex tears” were produced as a physical response to irritation—an eye stretched past the point of blinking, a cotton swab up the nose. This childhood occupation coincided with his first years taking acting classes, trying to learn how to cry “emotional tears” onstage through psychological stimulation and the recollection of memory. Cue Tears investigates these memories and methods, finding that tears both shore up and dissolve distinctions between truth and artifice, emotional and physical, private and public, sad and humorous.
Cul-de-sac
by Daniel Brooks Daniel MacivorIn his latest collaboration with director Daniel Brooks, MacIvor plays the role of Leonard, who narrates the events leading up to his murder while trying to understand them himself. Through the course of the play, we peer behind the curtains of his neighbourhood as MacIvor transforms into the multiple characters who bear witness to Leonard's life and death.
Cultural Convergence: The Dublin Gate Theatre, 1928–1960
by Ondřej Pilný Ian R. Walsh Ruud van den BeukenBased on extensive archival research, this open access book examines the poetics and politics of the Dublin Gate Theatre (est. 1928) over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre, Hollywood cinema, popular culture, and the development of Irish-language theatre, respectively. The overarching objective is to consider the output of the Gate in terms of cultural convergence – the dynamics of exchange, interaction, and acculturation that reveal the workings of transnational infrastructures.
The Cultural Geography of Early Modern Drama, 1620–1650
by Julie SandersLiterary geographies is an exciting new area of interdisciplinary research. Innovative and engaging, this book applies theories of landscape, space and place from the discipline of cultural geography within an early modern historical context. Different kinds of drama and performance are analysed: from commercial drama by key playwrights to household masques and entertainment performed by families and in semi-official contexts. Sanders provides a fresh look at works from the careers of Ben Jonson, John Milton and Richard Brome, paying attention to geographical spaces and habitats like forests, coastlines and arctic landscapes of ice and snow, as well as the more familiar locales of early modern country estates and city streets and spaces. Overall, the book encourages readers to think about geography as kinetic, embodied and physical, not least in its literary configurations, presenting a key contribution to early modern scholarship.
A Cultural History Of Theatre
by Jack Watson Grant McKernieThis comprehensive, multicultural text presents the history of theater within a framework of cultural and social ideas.
The Cultural Politics of One-to-One Performance: Strange Duets
by Rachel ZerihanThis monograph is the first study to critically examine works of performance made for an audience of one. Despite being a prolific feature of the performance scene since the turn of the millennium, critical writing about this area of contemporary practice remains scarce. This book proposes a genealogy of the curious relationship between solo performer and lone spectator through lineages in the histories of live art, visual art and theatre practices. Drawing on one-to-one performances by artists including Marilyn Arsem, Oreet Ashery, Franko B, Rosana Cade, Jess Dobkin, Karen Finley, David Hoyle, Adrian Howells, Kira O’Reilly, Barbara T Smith and Julie Tolentino, Rachel Zerihan produces research that is both affective and critical. This performance analysis proposes four frameworks through which to examine the significance and challenge of this work: cathartic, social, explicit and economic. One-to-one performance is proposed as a rich portal for examining the cultural politics of contemporary society. The book will appeal to students and scholars from performance studies, theatre, visual art and cultural studies.