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From the Theater to the Plaza: Spectacle, Protest, and Urban Space in Twenty-First-Century Madrid (McGill-Queen's Iberian and Latin American Cultures Series)
by Matthew I. FeinbergLavapiés - diverse, multicultural, and one of Madrid’s most iconic neighbourhoods - has emerged as a locus of resistance movements and of cultural flourishing. Poised at the intersection of theatre studies and cultural geography, this innovative study sketches its physical and imaginary contours.In From the Theater to the Plaza Matthew Feinberg guides readers on a journey through the development of the theatre, as both art and space, in Lavapiés. Offering a detailed analysis of dramatic texts and productions, performance spaces, urban planning documents, and the cultural activities of squatters, Feinberg sheds new light on the lead-up to Spain’s economic crisis and the emergence in 2011 of the 15-M anti-austerity protest movement. The result is a multidisciplinary account of how the spectacle of the contemporary city connects local, municipal, and global geographies.By linking the neighbourhood’s unique role as both a site and a subject of Madrid’s theatre tradition with its contemporary struggles over gentrification, From the Theater to the Plaza offers new approaches for understanding how culture and capital produce the twenty-first-century city.
From Traveling Show to Vaudeville: Theatrical Spectacle in America, 1830–1910
by Robert M. LewisBefore phonographs and moving pictures, live performances dominated American popular entertainment. Carnivals, circuses, dioramas, magicians, mechanical marvels, musicians, and theatrical troupes—all visited rural fairgrounds, small-town opera houses, and big-city palaces around the country, giving millions of people an escape from their everyday lives for a dime or a quarter. In From Traveling Show to Vaudeville, Robert M. Lewis has assembled a remarkable collection of nineteenth- and early twentieth-century primary sources that document America's age of theatrical spectacle. In eight parts, Lewis explores, in turn, dime museums, minstrelsy, circuses, melodramas, burlesque shows, Wild West shows, amusement parks, and vaudeville.Included in this compendium are biographies, programs, ephemera produced by theatrical entrepreneurs to lure audiences to their shows, photographs, scripts, and song lyrics as well as newspaper accounts, reviews, and interviews with such figures as P. T. Barnum and Buffalo Bill Cody. Lewis also gives us reminiscences about and reactions to various shows by members of audiences, including such prominent writers as Mark Twain, William Dean Howells, Nathaniel Hawthorne, Carl Sandburg, Walt Whitman, Louisa May Alcott, Charles Dickens, O. Henry, and Maxim Gorky. Each section also includes a concise introduction that places the genre of spectacle into its historical and cultural context and suggests major interpretive themes. The book closes with a bibliographic essay that identifies relevant scholarly works.Many of the pieces collected here have not been published since their first appearance, making From Traveling Show to Vaudeville an indispensable resource for historians of popular culture, theater, and nineteenth-century American society.
Fronteras Americanas
by Guillermo VerdecchiaFuelled by equal parts outrage, intelligence, and wit, Fronteras Americanas recreates one person's struggle to construct a home between two cultures, while exploding the images and constructs built up around Latinos and Latin America. This one-person play works through bold juxtapositions and satiric reference points: Simón Bolívar and Speedy Gonzales; Columbus and Fodor's travel guides; Ricky Ricardo and the Latin Lover; La Bamba and Placido Domingo; Carlos Fuentes and American drug-war movies. Verdecchia twirls stereotypes and clichés, offers comparative histories, examines myths and mysticism, and provides lessons in language and dancing.However, even as the ungovernable and surrealistic Fecundo Morales Secundo, or "Wideload," edifies us about how sex between a "Latin" and a "Saxon" can be "a mind-expanding and culturally enriching experience," eloquently quoting Octavio Paz and Federico García Lorca in direct response to contemporary struggles and injustices, he also transcends his role of "estereotype," reaching a place beyond maps that are only metaphors where borders are more than divisions between countries and take on the most outlandish properties.In Verdecchia's preface to the new edition, when examining his reasons for bringing forth a "refried" form of Fronteras Americanas in the 21st century, he indicates:There are, after all, people all over the globe living, crossing, resisting, defining, and defending linguistic, cultural, racial, gender, psycho- geographical, cartographic, political and other borders. While the world has changed in many ways since I first wrote and performed it, the processes of migration, displacement, and globalization that informed the play's creation have only accelerated. Some of us may lead more networked lives now, but the Border is alive and well and living all over the globe.Cast of 1 man.
Frontiers: American Modern Dancer and Dance Educator (Choreography and Dance Studies Series)
by Karen Bell-KannerFirst Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
Frozen: A Play
by Bryony Lavery"[A] big, brave, compassionate play about grief, revenge, forgiveness and bearing the unbearable." --The GuardianOne evening, ten-year-old Rhona goes missing. Her mother, Nancy, retreats into a state of frozen hope. Agnetha, an academic, comes to England to research a thesis entitled "Serial Killings: A Forgivable Act?" Then there's Ralph, a loner with a bit of a record who's looking for some distraction . . . Drawn together by horrific circumstances, these three embark upon a long, dark journey that finally curves upward into the light.
Frozen River (nîkwatin sîpiy)
by Michaela Washburn Joelle Peters Carrie CostelloMichaela and Carrie worked together previously on the TYA play Water Under the BridgeAll three authors share the desire to challenge audiences to think about big issues in meaningful ways for young people, wanting to offer something for the next seven generations, as youth are our future
Frugal Repast
by Ron HirsenDramatic Comedy / 4m, 4f, 1m Child / Interior / It is 1913 in Paris, where renowned art dealer Ambroise Vollard has just published “The Frugal Repast,” an edition of etchings by Pablo Picasso, the rising young star of the Paris art world. The art dealer entertains his dinner guests Gertrude Stein, Alice B. Toklas, and Guillaume Apollinaire, along with Picasso, and they engage in lively and urbane repartee. The two impoverished circus performers depicted in “The Frugal Repast” see the etching on display in the window of Vollard’s gallery and determine to steal it for ransom. If the artist can make money from stealing their faces, they say, then they can make money by stealing his print. The circus acrobats cleverly use their aerial skills to perform a stunning theft of the print, leaving in its place a ransom note asking for a thousand francs. Vollard, merely amused by the theft, replaces the stolen print with another one from the same edition. The ransom note, the duplicate prints, a mysterious invitation, and a delicious chicken curry all provoke both laughter and thought as the haves and have-nots wrestle over the value of art—and of life itself.
Fuente
by Cusi Cram4m, 2f / Dramatic Comedy Something is not right. There is a secret humidity in the air in a town where the breezes have been on strike for two hundred years. Soledad thinks she is Alexis Carrington from Dynasty and feels itchy. Chaparro can't seem to scratch her itch anymore. Esteban might just be the man for the job. And Adela watches it all unfold as if it were a soap opera on TV. Maybe it is? Anything is possible in Fuente, an almost-real town, somewhere between where North America ends and South America begins. Fuente is a magically-real comedy set in a remote desert town about love, revenge, escape, and the perilous powers of Aquanet hairspray. "The play, Fuente, is powerful, moving and original, which after a three-year development process and a Herrick Theatre Foundation Prize for New Play, is being given a smartly staged, well acted world premiere at Boyd's smaller venue in Sheffield. Cram has written a small-scale at once real and mythical epic about love, vengeance and one's sense of place. The language is earthy (this is NOT a family show!) and poetic. The characters and their stories are sad but also funny enough to have the audience burst out laughing. The Garcia Marquez-like magic is amusingly propelled by a bottle of Aqua Net hair spray." - CurtainUp.com
Fuente Ovejuna: Lost In A Mirror (Clásicos Y Modernos Ser. #Vol. 16)
by Lope de VegaEl comendador de Fuente Ovejuna comete tales atrocidades contra mujeres y hombres, que todos los vecinos asaltan la casa de la Encomienda, dan muerte al tirano y se reparten sus bienes. De la corte llega un juez para instruir el proceso contra los habitantes del pueblo. Ni con la tortura consigue que contesten a la pregunta «¿Quién mató al Comendador?» otra cosa que: «Fuente Ovejuna lo hizo, Fuente Ovejuna, señor». Esta historia de venganza y rebeldía estaba inspirada en un hecho real.
Fuenteovejuna
by Lope De VegaLope de Vega "single-handedly created the Spanish national theatre," writes Roberto González Echevarría in the introduction to this new translation of Fuenteovejuna. Often compared to Shakespeare, Molière, and Racine, Lope is widely considered the greatest of all Spanish playwrights, and Fuenteovejuna (The Sheep Well) is among the most important Spanish Golden Age plays. Written in 1614, Fuenteovejuna centers on the decision of an entire village to admit to the premeditated murder of a tyrannical ruler. Lope masterfully employs the tragicomic conventions of the Spanishcomediaas he leavens the central dilemma of the peasant lovers, Laurencia and Frondoso, with the shenanigans of Mengo, thegraciosoor clown. Based on an actual historical incident,Fuenteovejuna offers a paean to collective responsibility and affirmation of the timeless values of justice and kindness. Translator G.J. Racz preserves the nuanced voice and structure of Lope de Vega's text in this first English translation in analogical meter and rhyme. Roberto González Echevarría surveys the history ofFuenteovejuna, as well as Lope's enormous literary output and indelible cultural imprint. Racz's compelling translation and González Echevarría's rich framework bring this timeless Golden Age drama alive for a new generation of readers and performers.
Fuenteovejuna: A Dual-Language Book (Dover Dual Language Spanish)
by Lope De Vega Stanley AppelbaumFrom the golden age of the Spanish theater comes this captivating seventeenth-century drama of peasantry defending their honor against oppression by a feudal lord. Based on a historical incident during the reign of Ferdinand and Isabella, Fuenteovejuna takes its name from an Andalusian town in which the residents unite to enact justice when faced with vicious oppression.One of Spain's most highly esteemed and prolific playwrights, Lope de Vega (1562 - 1635) created a remarkable number of plays, noteworthy for their individual freshness, sincerity, and spontaneity. This edition of Fuenteovejuna, one of his most popular works, features an informative introduction with background on Spanish theater in the time of Lope de Vega as well as on the dramatist's career and on the play itself.The editor and translator has supplied an excellent English-prose version on the pages facing the original Spanish for an absolutely complete edition -- not freely adapted, but as close to the meaning of the original text as possible. Any student of Spanish language or literature will welcome this versatile and well-edited edition of a masterpiece of Spanish drama.
Fugitive Kind
by Tennessee Williams Allean HaleSocial outcasts, misfit survivors, dangerous passions—Tennessee Williams fleshed out the characters and themes that would dominate his later work in Fugitive Kind, one of his earliest plays. Fugitive Kind, one of Tennessee Williams's earliest plays, is one of his richest in dramatic material. Written in 1937 when the playwright was still Thomas Lanier Williams, Fugitive Kind introduces the character who will inhabit most of his later plays: the marginal man or woman who, through no personal fault, is a misfit in society but who demonstrates an admirable will to survive. Signature Tennessee Williams' characters, situations, and even the title (which was used as The Fugitive Kind for the 1960 film based on Orpheus Descending) have their genesis here. At age twenty-six, Williams was still learning his craft and this, his second full-length play, shows his debt to sources as diverse as thirties gangster films (The Petrified Forest, Winterset) and Romeo and Juliet. Fugitive Kind, with its star-crossed lovers and big city slum setting, takes place in a flophouse on the St. Louis waterfront in the shadow of Eads Bridge, where Williams spent Saturdays away from his shoe factory job and met his characters: jobless wayfarers on the dole, young writers and artists of the WPA, even gangsters and G-men. Fugitive Kind was also Williams's second play to be produced by The Mummers, a St. Louis theatre group devoted to drama of social protest. Called "vital and absorbing" by a contemporary review in The St. Louis Star-Times, this play reveals the young playwright's own struggle between his radical-socialist sympathies and his poetic inclinations, and signals his future reputation as our most compassionate lyric dramatist.
Fulke Greville, Lord Brooke 1554-1628: A Critical Biography
by Joan ReesThis title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1971.
Functions of Medieval English Stage Directions: Analysis and Catalogue (Routledge Advances in Theatre & Performance Studies)
by Philip ButterworthWhen we speak of theatre, we think we know what a stage direction is: we tend to think of it as an authorial requirement, devised to be complementary to the spoken text and directed at those who put on a play as to what, when, where, how or why a moment, action or its staging should be completed. This is the general understanding to condition a theatrical convention known as the 'stage direction'. As such, we recognise that the stage direction is directed towards actors, directors, designers, and any others who have a part to play in the practical realisation of the play. And perhaps we think that this has always been the case. However, the term 'stage direction' is not a medieval one, nor does an English medieval equivalent term exist to codify the functions contained in extraneous manuscript notes, requirements, directions or records. The medieval English stage direction does not generally function in this way: it mainly exists as an observed record of earlier performance. There are examples of other functions, but even they are not directed at players or those involved in creating performance. More than 2000 stage directions from 40 or so plays and cycles have been included in the catalogue of the volume, and over 400 of those have been selected for analysis throughout the work. The purpose of this research is to examine the theatrical functions of medieval English stage directions as records of earlier performance. Examples of such functions are largely taken from outdoor scriptural plays. This book will be of great interest to students and scholars in theatre, medieval history and literature.
Fundamentals of Directing
by Ric Knowles Pat FloodConcise and practical, Fundamentals of Directing is a distillation of Ric Knowles’s twenty-five years of experience as a director, teacher of directing, and dramaturge across Canada. Organized to reproduce the chronology of a play’s rehearsal, the book moves through the various stages of the directorial process, from selecting a project through auditioning; working with designers, actors, and technicians; to coordinating the work of the full company through tech week to closing night. It also, and uniquely, includes important appendices on the work of directors in devised theatre and new-play development.
Fundamentals of Theatrical Design
by Melissa Shafer Karen BrewsterVeteran theater designers Karen Brewster and Melissa Shafer have consulted with a broad range of seasoned theater industry professionals to provide an exhaustive guide full of sound advice and insight. With clear examples and hands-on exercises, Fundamentals of Theatrical Design illustrates the way in which the three major areas of theatrical design-scenery, costumes, and lighting-are intrinsically linked. Attractively priced for use as a classroom text, this is a comprehensive resource for all levels of designers and directors.
Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting Design
by Melissa Shafer Karen BrewsterVeteran theater designers Karen Brewster and Melissa Shafer have consulted with a broad range of seasoned theater industry professionals to provide an exhaustive guide full of sound advice and insight. With clear examples and hands-on exercises, Fundamentals of Theatrical Design illustrates the way in which the three major areas of theatrical design-scenery, costumes, and lighting-are intrinsically linked. Attractively priced for use as a classroom text, this is a comprehensive resource for all levels of designers and directors.
Funny Money
by Ray CooneyLittle Theatre. Farce . Ray Cooney . Characters: 6 male, 2 female. Never has this master of farce been frenetically funnier. Henry A. Perkins, a mild mannered C.P.A, accidently picks up the wrong briefcase one full of money. Henry assumes it is illicit cash and he decides to keep it. Knowing that the former owner must have his briefcase, he rushes home to book one way fares to Barcelona. He tells his confused wife to leave everything behind; if she doesn't like Barcelona, they can go to Bali. In fact, they can buy Bali! The doorbell rings as they wait for their taxi. The police detective at the door thinks Henry was soliciting in the men's room of the local pub actually, he was sitting in the loo counting the cash. The bell rings again. Another detective arrives thinking Henry is dead; a man with bullet holes in his head and Henry's briefcase were found in the Thames. Henry's inept attempts to extricate himself from this impossible situation lead to increasingly hysterical situations.
A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan Kettering Cancer Center of New York City: A Play
by Halley Feiffer“Raunchy and fearless . . . Halley Feiffer’s distinct voice is on display throughout, in all its uniquely unsettling glory.” —David Gordon, Theatermania “I’ve been single for so long, I’ve started having sexual fantasies about my vibrator,” riffs Karla for her captive, cancer-ward audience. The patients—her mother, who’s recovering from surgery for ovarian cancer, and her roommate behind the curtain, aren’t laughing—or even awake—but there’s someone else in the room . . . In Halley Feiffer’s “ painfully irresistible” (The New York Times) new play, a foul-mouthed twenty-something comedian and a middle-aged man embroiled in a nasty divorce are brought together unexpectedly when their cancer-stricken mothers become roommates in the hospital. Together, this unlikely duo must negotiate some of life’s biggest challenges . . . while making some of the world’s most inappropriate jokes. Can these two very lost people learn to laugh through their pain and lean on each other when all they really want to do is run away? In A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan Kettering Cancer Center of New York City, Halley Feiffer slays in a work that’s dark and disturbing and yet totally hilarious. The acclaimed world premiere at MCC Theater featured Beth Behrs, Erik Lochtefeld, Lisa Emery, and Jacqueline Sydney, and was directed by Trip Cullman.
Funny Valentines
by Dennis R. AndersenComedy / 2m, 3f / Children's book author Andy Robbins has been an unhappy bachelor since his divorce eight months before from his former collaborator, Ellen. On one incredible day, Ellen re enters his life eight months pregnant; his agent arrives with a TV contract that needs both Andy's and Ellen's approval, a beautiful lawyer appears to wrap up the TV deal and seduce Andy, and Ellen's mother makes an unexpected appearance. Completely rattled, Andy lies and introduces the lawyer as his agent's fiancee while he tries to get Ellen to sign a contract she opposes. By the final curtain, Andy has grown up just enough to straighten out the mess and win back his wife.
The Furies
by AeschylusThis classic trilogy by the great tragedian deals with the bloody history of the House of Atreus. Grand in style, rich in diction and dramatic dialogue, the plays embody Aeschylus' concerns with the destiny and fate of both individuals and the state, all played out under the watchful eye of the gods.
Further Steps 2: Fourteen Choreographers on What's the R.A.G.E. in Modern Dance
by Constance KreemerFurther Steps 2 brings together New York’s foremost choreographers – among them MacArthur ‘Genius’ award winners Meredith Monk and Bill T. Jones – to discuss the past, present and future of dance in the US. In a series of exclusive and enlightening interviews, this diverse selection of artists discuss the changing roles of race, gender, politics, and the social environment on their work. Bringing her own experience of the New York dance scene to her study, Constance Kreemer traces the lives and works of the following choreographers: Lucinda Childs, Douglas Dunn, Molissa Fenley, Rennie Harris, Bill T. Jones, Kenneth King, Nancy Meehan, Meredith Monk, Rosalind Newman, Gus Solomons jr, Doug Varone, Dan Wagoner, Mel Wong and Jawole Zollar.
The Future of Ritual: Writings on Culture and Performance
by Richard SchechnerIn The Future of Ritual, Richard Schechner explores the nature of ritualised behaviour and its relationship to performance and politics. A brilliant and uncontainable examination of cultural expression and communal action, The Future of Ritual asks pertinent questions about art, theatre and the changing meaning of 'culture' in today's intercultural world. An exciting new work by the author of Performance Theory.
Futures of Performance: The Responsibilities of Performing Arts in Higher Education
by Schupp KarenFutures of Performance inspires both current and future artists/academics to reflect on their roles and responsibilities in igniting future-forward thinking and practices for the performing arts in higher education. The book presents a breadth of new perspectives from the disciplines of music, dance, theatre, and mediated performance and from a range of institutional contexts. Chapters from teachers across various contexts of higher education are organized according to the three main areas of responsibilities of performing arts education: to academia, to society, and to the field as a whole. With the intention of illuminating the intricacy of how performing arts are situated and function in higher education, the book addresses key questions including: How are the performing arts valued in higher education? How are programs addressing equity? What responsibilities do performing arts programs have to stakeholders inside and outside of the academy? What are programs’ ethical obligations to students and how are those met? Futures of Performance examines these questions and offers models that can give us some of the potential answers. This is a crucial and timely resource for anyone in a decision-making position within the university performing arts sector, from administrators, to educators, to those in leadership positions.
El futuro truncado de Amie
by Eva Romero Lucinda E ClarkeAmie regresa a su amada África y a su vida habitual, pero sus enemigos no la han perdonado, ni olvidado. Están decididos a vengarse y recuperar su honor. Lo acontecido una noche lo cambia todo, dejándola sin casa, ni amigos, ni nombre, ni futuro. De repente, ya no existe y aquellos que la controlan se lo dejan bien claro; debe obedecer o morir. Futuro Truncado es el tercer libro de la saga Amie, un bestseller que ha recibido múltiples premios internacionales a ambos lados del Atlántico. De ser un ama de casa ingenua y recientemente casada, Amie pasa a enfrentarse a retos que cambian sus creencias y comportamiento más allá de lo reconocible. Una aventura de acción trepidante, que te mantiene pegada a sus páginas y que está ambientada en el África salvaje de la actualidad.