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A History of the Theatre Costume Business: Creators of Character

A History of the Theatre Costume Business is the first-ever comprehensive book on the subject, as related by award-winning actors and designers, and first hand by the drapers, tailors, and craftspeople who make the clothes that dazzle on stage.Readers will learn why stage clothes are made today, by whom, and how. They will also learn how today’s shops and ateliers arose from the shops and makers who founded the business. This never-before-told story shows that there is as much drama behind the scenes as there is in the performance: famous actors relate their intimate experiences in the fitting room, the glories of gorgeous costumes, and the mortification when things go wrong, while the costume makers explain how famous shows were created with toil, tears, and sweat, and sometimes even a little blood. This is history told by the people who were present at the creation – some of whom are no longer around to tell their own story. Based on original research and first-hand reporting, A History of the Theatre Costume Business is written for theatre professionals: actors, directors, producers, costume makers, and designers. It is also an excellent resource for all theatregoers who have marveled at the gorgeous dresses and fanciful costumes that create the magic on stage, as well as for the next generation of drapers and designers.

A History of the Theatre Laboratory

The term ‘theatre laboratory’ has entered the regular lexicon of theatre artists, producers, scholars and critics alike, yet use of the term is far from unified, often operating as an catch-all for a web of intertwining practices, territories, pedagogies and ideologies. Russian theatre, however, has seen a clear emergence of laboratory practice that can be divided into two distinct organisational structures: the studio and the masterskaya (artisanal guild). By assessing these structures, Bryan Brown offers two archetypes of group organisation that can be applied across the arts and sciences, and reveals a complex history of the laboratory’s characteristics and functions that support the term’s use in theatre. This book’s discursive, historical approach has been informed substantially by contemporary practice, through interviews with and examinations of practitioners including Slava Polunin, Anatoli Vassiliev, Sergei Zhenovach and Dmitry Krymov.

History Of the Theatre (Tenth Edition)

Known as the "bible" of theatre history, Brockett and Hildy's History of the Theatre is the most comprehensive and widely used survey of theatre history in the market. This 40th Anniversary Edition retains all of the traditional features that have made History of the Theatre the most successful text of its kind, including worldwide coverage, more than 530 photos and illustrations, useful maps, and the expertise of Oscar G. Brockett and Franklin J. Hildy, two of the most widely respected theatre historians in the field. As with every edition, the text reflects the current state of knowledge and brings the history of theatre up to the present. This tenth edition continues to provide the most thorough and accurate assessment of theatre history available.

A History of Theater on Cape Cod

Theater on the Cape began in 1916 when a group of artists and writers in Provincetown mounted a production of a one-act play, Bound East for Cardiff, by a little-known playwright, Eugene O'Neill. They staged the play in a rickety old theater on a wharf in what was then little more than a sleepy fishing village. From that artists' colony--and others like it across the Cape and Islands--it grew into the constantly expanding theater universe it is today. The theatrical descendants of O'Neill and the Provincetown Players continue to present classical drama, contemporary hits and new, experimental works to audiences that have come to expect the best. In her tour of the theaters from Provincetown to Falmouth, author and entertainment columnist Sue Mellen reveals the rich past behind a unique cultural treasure.

A History of Theatre in Spain

Leading theater historians and practitioners map a theatrical history that moves from the religious tropes of Medieval Iberia to the postmodern practices of twenty-first-century Spain. Considering work across the different languages of Spain, from vernacular Latin to Catalan, Galician and Basque, this history engages with the work of actors and directors, designers and publishers, agents and impresarios, and architects and ensembles, in indicating the ways in which theater has both commented on and intervened in the major debates and issues of the day. Chapters consider paratheatrical activities and popular performance, such as the comedia de magia and flamenco, alongside the works of Spain's major dramatists, from Lope de Vega to Federico García Lorca. Featuring revealing interviews with actress Nuria Espert, director Lluís Pasqual and playwright Juan Mayorga, it positions Spanish theater within a paradigm that recognizes its links and intersections with wider European and Latin American practices.

The History of Troilus and Cressida

Shakespeare's tragic and comic dramatization of the Trojan War endures in one of his most intriguing plays. Shakespeare's portrayal of the snares of young love set against a backdrop of a senseless and endless war can be fully appreciated for the beauty of its verse and the profundity of its themes.

The History of Troilus and Cressida

Histrionic Hamlet: Shakespeare's Ultimate Metatheatrical Experiment (Routledge Studies in Shakespeare)

According to psychological research on acting, the histrionic personality consists of a compulsive tendency to play-act, exaggerate emotions, succumb to illusions, to seek attention through speech, body language, and costume, to be seductive and impulsive. An original intervention in the critical history of Shakespeare’s most famous play, Histrionic Hamlet argues that the Danish Prince is a stage representation of just such a personality—a born actor and a drama queen rather than a politician—incongruously thrown in the middle of ruthless high-stakes power struggle requiring pragmatic rather than theatrical skills. Uniquely among other English revenge tragedies, in Hamlet a histrionic protagonist striking a series of gratuitous, baffling, self-indulgent, and counterproductive poses is called upon to carry out a challenging and brutal political task, which he spectacularly and tragically mismanages. Unable to perform on a theatrical stage as a professional actor, the Clown Prince bitterly play-acts anyway, turning all situations into opportunities of pretend play rather than effective political action. In consequence, he wastes tactical advantages over his enemies, endangers himself, and jeopardizes his revenge plan, if ever there was one. Histrionic Hamlet should be of interest to students of Shakespeare, theater practitioners, and anyone interested in human dysfunctional and maladaptive behavior.

Hitchcock Annual (Volume #17)

Hitchcock Annual: Volume 17 contains essays on two of Hitchcock's most well-known films, Notorious and The Birds, and two of his lesser-known works, Juno and the Paycock and Stage Fright. It also includes a detailed study of the unused score for Frenzy by Henry Mancini, an examination of Hitchcock's presence in contemporary art installations and experimental films, and a review essay on two recent books on Hitchcock.

Hitchcock's Films Revisited

When Hitchcock's Films was first published, it quickly became known as a new kind of book on film and as a necessary text in the growing body of Hitchcock criticism. <p><p>This revised edition of Hitchcock's Films Revisited includes a substantial new preface in which Wood reveals his personal history as a critic -- including his coming out as a gay man, his views on his previous critical work, and how his writings, his love of film, and his personal life and have remained deeply intertwined through the years. This revised edition also includes a new chapter on Marnie.

Hitler's Canary: A Daring Tale of Wartime Adventure

"My brother stood up so quickly he almost knocked Mama over. 'Why aren't you doing something? Do you know what the British are calling us? Hitler's canary! I've heard it on the radio, on the BBC. They say he has us in a cage and we just sit and sing any tune he wants.'"Bamse's family are theater people. They don't get involved in politics. "it had nothing to do with us," Bamse tells us. Yet now he must decide: should he take his father's advice and not stir up trouble? Or should he follow his brother into the Resistance and take part in the most demanding role of his life?

Hokkien Theatre Across The Seas: A Socio-Cultural Study

This book adopts a refreshing approach by examining Hokkien theatre in a region connected by maritime networks, notably southern Fujian, Taiwan, Kinmen and Singapore. It considers how regional theatre is shaped by broader socio-cultural and political contexts and the motivation to stay relevant in an era of modernisation and secularisation. Political domains are often marked out by land boundaries, but the sea concept denotes fluidity, allowing theatrical forms to spread across these ‘land-bounded’ societies and share a common language and culture."This is an insightful theatrical study on the web of Chinese cultural networks in southern China and Singapore, and by extension, between China and Southeast Asia in the twentieth century and beyond. Using diverse sources in multiple languages and extensive field ethnography, this is a ground-breaking study which is both didactic and inspiring."- Lee Tong Soon, author of Chinese Street Opera in Singapore (University of Illinois, 2009)."Focusing on Hokkien theatre, this book offers new insights into how Chinese performing art responds to geographical, temporal, and social changes. Historical sources in different languages are widely used to give access to the cultural characteristics of Hokkien theatre, offering valuable ethnographic reports on the contemporary practices of Hokkien theatre in Taiwan, Kinmen, and Singapore. The book comments on the changing ritualistic significance of Hokkien theatre, and help us understand how societies remember the past of a performing tradition, and shape its present."- Luo Ai Mei, Co-Editor of A Preliminary Survey of the Cantonese Eight Song Cycles in South China: History and Sources (2016)

Hold Me Closer: The Tiny Cooper Story

TIME Magazine’s Top Ten Children’s Books of 2015"Tiny Cooper stole our hearts." —Entertainment Weekly Especially for those of us who ordinarily feel ignored, a spotlight is a circle of magic, with the strength to draw us from the darkness of our everyday lives. Watch out, ex-boyfriends, and get out of the way, homophobic coaches. Tiny Cooper has something to say—and he’s going to say it in song.Filled with honesty, humor, and “big, lively, belty” musical numbers, Hold Me Closer is the no-holds-barred (and many-bars-held) entirety of the beloved musical first introduced in Will Grayson, Will Grayson, the award-winning bestseller by John Green and David Levithan. Tiny Cooper is finally taking center stage . . . and the world will never be the same again.“Tiny will have readers falling out of their chairs laughing. . . . It's big. It's gay. It's outrageous and hilarious.” —Kirkus Reviews ★"Levithan has turned in another star turn with a book that is witty, wise, and well worthy of an encore." —Booklist, starred review★"Tiny’s passion for composing a big, beautiful life and a big, beautiful show overflows in thisthoroughly magical book.” —BCCB, starred review ★"Tiny Cooper . . . gets his own star turn." —Publishers Weekly, starred reviewFrom the Hardcover edition.

The Hollow

Drama / 6m,6f / Interior Set. An unhappy game of romantic follow-the-leader explodes into murder one weekend at The Hollow, home of Sir Henry and Lucy Angkatell. Dr. Cristow is at the center of the trouble when his mistress Henrietta, ex-mistress Veronica, and wife Gerda, simultaneously arrive at The Hollow. Also visiting are Edward (who is in love with Henrietta) and Midge (who loves Edward). Veronica ardently desires to marry Cristow and succeeds in reopening their affair but is unable to get him to divorce his wife. Veronica unwisely states that if she cannot have him, no one shall. Within five minutes Cristow is dead. Nearly everyone has a motive and most had the opportunity. Enter Inspector Colquhoun and Sergeant Penny to solve the crime.

The Hollow Crown: Shakespeare on How Leaders Rise, Rule, and Fall

What Shakespeare&’s plays can teach us about modern-day politics William Shakespeare understood power: what it is, how it works, how it is gained, and how it is lost. In The Hollow Crown, Eliot A. Cohen reveals how the battling princes of Henry IV and scheming senators of Julius Caesar can teach us to better understand power and politics today. The White House, after all, is a court—with intrigue and conflict rivaling those on the Globe&’s stage—as is an army, a business, or a university. And each court is full of driven characters, in all their ambition, cruelty, and humanity. Henry V&’s inspiring speeches reframe John F. Kennedy&’s appeal, Richard III&’s wantonness illuminates Vladimir Putin&’s brutality, and The Tempest&’s grace offers a window into the presidency of George Washington. An original and incisive perspective, The Hollow Crown shows how Shakespeare&’s works transform our understanding of the leaders who, for good or ill, make and rule our world.

Hollywood Blackout: The battle for recognition in a white Hollywood

On 29 February 1940, African American actor Hattie McDaniel became the first person of colour, and the first Black woman, to win an Academy Award. The moment marked the beginning of Hollywood's reluctant move toward diversity and inclusion. Since then, minorities and women have struggled to attain Academy Awards recognition within a system designed to discriminate against them. For the first time, Hollywood Blackout reveals the untold story of their tumultuous journey from exclusion to inclusion; from segregation to celebration. Author Ben Arogundade interweaves the experiences of Black actors and filmmakers with those of Asians, Latinos, South Asians, indigenous peoples and women. Throughout the decades their progression to the Oscars podium has been galvanized by defiant boycotts, civil rights protests and social media activism such as #OscarsSoWhite.Whether you are a film fan, history lover or diversity advocate, Hollywood Blackout is the quintessential choice for all those who wish to know the real story of Hollywood, the Oscars and the talents who fought to make change.

Hollywood Blackout: The battle for recognition in a white Hollywood

On 29 February 1940, African American actor Hattie McDaniel became the first person of colour, and the first Black woman, to win an Academy Award. The moment marked the beginning of Hollywood's reluctant move toward diversity and inclusion. Since then, minorities and women have struggled to attain Academy Awards recognition within a system designed to discriminate against them. For the first time, Hollywood Blackout reveals the untold story of their tumultuous journey from exclusion to inclusion; from segregation to celebration. Author Ben Arogundade interweaves the experiences of Black actors and filmmakers with those of Asians, Latinos, South Asians, indigenous peoples and women. Throughout the decades their progression to the Oscars podium has been galvanized by defiant boycotts, civil rights protests and social media activism such as #OscarsSoWhite.Whether you are a film fan, history lover or diversity advocate, Hollywood Blackout is the quintessential choice for all those who wish to know the real story of Hollywood, the Oscars and the talents who fought to make change.

Hollywood Blackout: The battle for recognition in a white Hollywood

On 29 February 1940, African American actor Hattie McDaniel became the first person of colour, and the first Black woman, to win an Academy Award. The moment marked the beginning of Hollywood's reluctant move toward diversity and inclusion. Since then, minorities and women have struggled to attain Academy Awards recognition within a system designed to discriminate against them. For the first time, Hollywood Blackout reveals the untold story of their tumultuous journey from exclusion to inclusion; from segregation to celebration. Author Ben Arogundade interweaves the experiences of Black actors and filmmakers with those of Asians, Latinos, South Asians, indigenous peoples and women. Throughout the decades their progression to the Oscars podium has been galvanized by defiant boycotts, civil rights protests and social media activism such as #OscarsSoWhite.Whether you are a film fan, history lover or diversity advocate, Hollywood Blackout is the quintessential choice for all those who wish to know the real story of Hollywood, the Oscars and the talents who fought to make change.

Hollywood Blackout: The battle for recognition in a white Hollywood

On 29 February 1940, African American actor Hattie McDaniel became the first person of colour, and the first Black woman, to win an Academy Award. The moment marked the beginning of Hollywood's reluctant move toward diversity and inclusion. Since then, minorities and women have struggled to attain Academy Awards recognition within a system designed to discriminate against them. For the first time, Hollywood Blackout reveals the untold story of their tumultuous journey from exclusion to inclusion; from segregation to celebration. Author Ben Arogundade interweaves the experiences of Black actors and filmmakers with those of Asians, Latinos, South Asians, indigenous peoples and women. Throughout the decades their progression to the Oscars podium has been galvanized by defiant boycotts, civil rights protests and social media activism such as #OscarsSoWhite.Whether you are a film fan, history lover or diversity advocate, Hollywood Blackout is the quintessential choice for all those who wish to know the real story of Hollywood, the Oscars and the talents who fought to make change.

Hollywood Goes Latin: Spanish-Language Cinema in Los Angeles

In the 1920s, Los Angeles enjoyed a buoyant homegrown Spanish-language culture comprised of local and itinerant stock companies that produced zarzuelas, stage plays, and variety acts. After the introduction of sound films, Spanish-language cinema thrived in the city's downtown theatres, screening throughout the 1930s, 1940s, and 1950s in venues such as the Teatro Eléctrico, the California, the Roosevelt, the Mason, the Azteca, the Million Dollar, and the Mayan Theater, among others. With the emergence and growth of Mexican and Argentine sound cinema in the early to mid-1930s, downtown Los Angeles quickly became the undisputed capital of Latin American cinema culture in the United States. Meanwhile, the advent of talkies resulted in the Hollywood studios hiring local and international talent from Latin America and Spain for the production of films in Spanish. Parallel with these productions, a series of Spanish-language films were financed by independent producers. As a result, Los Angeles can be viewed as the most important hub in the United States for the production, distribution, and exhibition of films made in Spanish for Latin American audiences. In April 2017, the International Federation of Film Archives organized a symposium, "Hollywood Goes Latin: Spanish-Language Cinema in Los Angeles," which brought together scholars and film archivists from all of Latin America, Spain, and the United States to discuss the many issues surrounding the creation of Hollywood's "Cine Hispano." The papers presented in this two-day symposium are collected and revised here.This is a joint publication of FIAF and UCLA Film & Television Archive.

Hollywood on Location: An Industry History

Location shooting has always been a vital counterpart to soundstage production, and at times, the primary form of Hollywood filmmaking. But until now, the industrial and artistic development of this production practice has been scattered across the margins of larger American film histories. Hollywood on Location is the first comprehensive history of location shooting in the American film industry, showing how this mode of filmmaking changed Hollywood business practices, production strategies, and visual style from the silent era to the present. The contributors explore how location filmmaking supplemented and later, supplanted production on the studio lots. Drawing on archival research and in-depth case studies, the seven contributors show how location shooting expanded the geography of American film production, from city streets and rural landscapes to far-flung territories overseas, invoking a new set of creative, financial, technical, and logistical challenges. Whereas studio filmmaking sought to recreate nature, location shooting sought to master it, finding new production values and production economies that reshaped Hollywood’s modus operandi.

Hollywood on Stage: Playwrights Evaluate the Culture Industry (Studies in Modern Drama #9)

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Hollywood vs. America: The Explosive Bestseller that Shows How—and Why—the Entertainment Industry has Broken Faith with Its Audience

Why does our popular culture seem so consistently hostile to the values that most Americans hold dear? Why does the entertainment industry attack religion, glorify brutality, undermine the family, and deride patriotism? In this explosive book, one of the nation's best known film critics examines how Hollywood has broken faith with its public, creating movies, television, and popular music that exacerbate every serious social problem we face, from teenage pregnancies to violence in the streets. Michael Medved powerfully argues that the entertainment business follows its own dark obsessions, rather than giving the public what it wants: In fact, the audience for feature films and network television has demonstrated its profound disillusionment in recent years, with disastrous consequences for many entertainment companies. Meanwhile, overwhelming numbers of our fellow citizens complain about the wretched quality of our popular culture--describing the offerings of the mass media as the worst ever. Medved asserts that Hollywood ignores--and assaults--the values of ordinary American families, pursuing a self-destructive and alienated ideological agenda that is harmful to the nation at large and to the industry's own interests. In hard-hitting chapters on "The Attack on Religion," "The Addiction to Violence," "Promoting Promiscuity," "The Infatuation with Foul Language," "Kids Know Best," "Motivations for Madness," and other subjects, Medved outlines the underlying themes that turn up again and again in our popular culture. He also offers conclusive evidence of the frightening real-world impact of these messages on our society and our children. Finally, Medved shows where and how Hollywood took a disastrous wrong turn toward its current crisis, and he outlines promising efforts both in and outside the industry to restore a measure of sanity and restraint to our media of mass entertainment.Sure to elicit strong response, whether it takes the form of cheers of support or howls of enraged dissent, Hollywood vs. America confronts head-on one of the most significant issues of our times.

Holocaust Theater: Dramatizing Survivor Trauma and its Effects on the Second Generation (Cambridge Studies In Modern Theatre Ser.)

Facts about the Holocaust are one way of learning about its devastating impact, but presenting personal manifestations of trauma can be more effective than citing statistics. Holocaust Theater addresses a selection of contemporary plays about the Holocaust, examining how collective and individual trauma is represented in dramatic texts, and considering the ways in which spectators might be swayed viscerally, intellectually, and emotionally by witnessing such representations onstage. Drawing on interviews with a number of the playwrights alongside psychoanalytic studies of survivor trauma, this volume seeks to foster understanding of the traumatic effects of the Holocaust on subsequent generations. Holocaust Theater offers a vital account of theater’s capacity to represent the effects of Holocaust trauma.

Holy Terrors: Latin American Women Perform

Holy Terrors presents exemplary original work by fourteen of Latin America's foremost contemporary women theatre and performance artists. Many of the pieces--including one-act plays, manifestos, and lyrics--appear in English for the first time. From Griselda Gambaro, Argentina's most widely recognized playwright, to such renowned performers as Brazil's Denise Stoklos and Mexico's Jesusa Rodrguez, these women are involved in some of Latin America's most important aesthetic and political movements. Of varied racial and ethnic backgrounds, they come from across Latin America--Argentina, Brazil, Mexico, Chile, Colombia, Puerto Rico, Peru, and Cuba. This volume is generously illustrated with over seventy images. A number of the performance pieces are complemented by essays providing context and analysis. The performance pieces in Holy Terrors are powerful testimonies to the artists' political and personal struggles. These women confront patriarchy, racism, and repressive government regimes and challenge brutality and corruption through a variety of artistic genres. Several have formed theatre collectives--among them FOMMA (a Mayan women's theatre company in Chiapas) and El Teatro de la mscara in Colombia. Some draw from cabaret and 'frivolous' theatre traditions to create intense and humorous performances that challenge church and state. Engaging in self-mutilation and abandoning traditional dress, others use their bodies as the platforms on which to stage their defiant critiques of injustice. Holy Terrors is a unique English-language presentation of some of Latin America's fiercest, most provocative art. Contributors Sabina Berman Tania Bruguera Petrona de la Cruz Cruz Diamela Eltit Griselda Gambaro Astrid Hadad Teresa Hernndez Rosa Luisa Mrquez Teresa Ralli Diana Raznovich Jesusa Rodrguez Denise Stoklos Katia Tirado Ema Villanueva