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The Making of the West End Stage: Marriage, Management and the Mapping of Gender in London, 1830-1870

All roads lead to London - and to the West End theatre. This book presents a new history of the beginnings of the modern world of London entertainment. Putting female-centred, gender-challenging managements and styles at the centre, it redraws the map of performance history in the Victorian capital of the world. Bratton argues for the importance in Victorian culture of venues like the little Strand Theatre and the Gallery of Illustration in Regent Street in the experience of mid-century London, and of plays drawn from the work of Charles Dickens as well as burlesques by the early writers of Punch. Discovering a much more dynamic and often woman-led entertainment industry at the heart of the British Empire, this book seeks a new understanding of the work of women including Eliza Vestris, Mary Ann Keeley and Marie Wilton in creating the template for a magical new theatre of music, feeling and spectacle.

Making Pagans: Theatrical Practice and Comparative Religion in Early Modern England (Published in cooperation with the Folger Shakespeare Library)

How early modern theatrical practice helped construct the category of “pagan” as a tool of European self-definition and colonial ambitionIn Making Pagans, John Kuhn argues that drama played a powerful role in the articulation of religious difference in the seventeenth century. Tracing connections between the history of stagecraft and ethnological disciplines such as ethnography, antiquarianism, and early comparative religious writing, Kuhn shows how early modern repertory systems that leaned heavily on thrift and reuse produced an enduring theatrical vocabulary for understanding religious difference through the representation of paganism—a key term in the new taxonomy of world religions emerging at this time, and a frequent subject and motif in English drama of the era.Combining properties such as triumphal chariots, trick altars, and moving statues with music, special effects, and other elements, the spectacular set-pieces that were mostly developed for plays set in antiquity, depicting England’s pre-Christian past, were frequently repurposed in new plays, in representations of Native Americans and Africans in colonial contact zones. Kuhn argues that the recycling of these set-pieces encouraged audiences to process new cultural sites through the lens of old performance tropes, and helped produce fictitious, quasi-ethnographic knowledge for spectators, generating the idea of a homogeneous, trans-historical, trans-geographical “paganism.” Examining the common scenes of pagan ritual that filled England's seventeenth-century stages—magical conjurations, oracular prophecies, barbaric triumphal parades, and group suicides—Kuhn traces these tropes across dozens of plays, from a range of authors including Ben Jonson, Christopher Marlowe, John Dryden, and Philip Massinger.Drawing together theater history, Atlantic studies, and the history of comparative religion, Making Pagans reconceptualizes the material and iterative practices of the theater as central to the construction of radical religious difference in early modernity and of the category of paganism as a tool of European self-definition and colonial ambition.

Making Publics in Early Modern Europe: People, Things, Forms of Knowledge (Routledge Studies in Renaissance Literature and Culture)

The book looks at how people, things, and new forms of knowledge created "publics" in early modern Europe, and how publics changed the shape of early modern society. The focus is on what the authors call "making publics" — the active creation of new forms of association that allowed people to connect with others in ways not rooted in family, rank or vocation, but rather founded in voluntary groupings built on the shared interests, tastes, commitments, and desires of individuals. By creating new forms of association, cultural producers and consumers challenged dominant ideas about just who could be a public person, greatly expanded the resources of public life for ordinary people in their own time, and developed ideas and practices that have helped create the political culture of modernity. Coming from a number of disciplines including literary and cultural studies, art history, history of religion, history of science, and musicology, the contributors develop analyses of a range of cases of early modern public-making that together demonstrate the rich inventiveness and formative social power of artistic and intellectual publication in this period.

Making The Scene: A History Of Stage Design And Technology In Europe And The United States

Theatrical scene design is one of the most beautiful, varied, and lively art forms. Yet there are relatively few books on the subject, and almost none for a general audience that combine expansive scholarship with lavish design. Making the Scene offers an unprecedented survey of the evolving context, theory, and practice of scene design from ancient Greek times to the present, coauthored by the world's best-known authority on the subject and enhanced by three hundred full-color illustrations. Individual chapters of the book focus on Greece, Rome, Medieval Europe (including liturgical drama, street pageants, festival outdoor drama, Spanish religious drama, and royal entries), the Italian Renaissance, eighteenth-century Europe, Classicism to Romanticism, Realism and Naturalism, Modernism, and contemporary scene design. Making the Scene's authors review everything from the effects of social status on theatre design to the sea changes between Classicism, Romanticism, and Naturalism and the influence of perspective-based thought. Particularly intriguing is their rediscovery of lost tricks and techniques, from the classical deus ex machina and special effects in coliseums to medieval roving stage wagons and the floating ships of the Renaissance to the computerized practices of today's theatres. Such ingenious techniques, interwoven with the sweeping beauty of scene design through the ages, combine with the keen scholarship of Oscar Brockett and Margaret Mitchell to create a book as involving as the art it showcases.

Making Shakespeare: From Stage to Page (Accents on Shakespeare)

Making Shakespeare is a lively introduction to the major issues of the stage and print history, whilst also raising questions about what a Shakespeare play actually is. Tiffany Stern reveals how London, the theatre, the actors and the way in which the plays were written and printed all affect the 'Shakespeare' that we now read. Concentrating on the instability and fluidity of Shakespeare's texts, her book discusses what happened to a manuscript between its first composition, its performance on stage and its printing, and identifies traces of the production system in the plays we read. She argues that the versions of Shakespeare that have come down to us have inevitably been formed by the contexts from which they emerged; being shaped by, for example, the way actors received and responded to their lines, the props and music used in the theatre, or the continual revision of plays by the playhouses and printers. Allowing a fuller understanding of the texts we read and perform, Making Shakespeare is the perfect introduction to issues of stage and page. A refreshingly clear, accessible read, this book will allow even those with no expert knowledge to begin to contextualize Shakespeare's plays for themselves, in ways both old and new.

The Male Dancer: Bodies, Spectacle, Sexualities

In this challenging and lively book, Burt examines the representation of masculinity in twentieth century dance. The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural construction of gender.

The Male Dancer: Bodies, Spectacle and Sexuality

In this challenging and lively book, Ramsay Burt examines the representation of masculinity in twentieth century dance. Taking issue with formalist and modernist accounts of dance, which dismiss gender and sexuality as irrelevant, he argues that prejudices against male dancers are rooted in our ideas about the male body and male behaviour. Building upon ideas about the gendered gaze developed by film and feminist theorists, Ramsay Burt provides a provocative theory of spectorship in dance. He uses this to examine the work of choreographers like Nijinsky, Graham, Bausch, while relating their dances to the social, political and artistic contexts in which they were produced. Within these re-readings, he identifies a distinction between institutionalised modernist dance which evokes an essentialist, heroic, `hypermasculinity'; one which is valorised with reference to nature, heterosexuality and religion, and radical, avant garde choreography which challenges and disrupts dominant ways of representing masculinity. The Male Dancer will be essential reading for anyone interested in dance and the cultural construction of gender.

Male-to-Female Crossdressing in Early Modern English Literature: Gender, Performance, and Queer Relations (Routledge Studies in Renaissance Literature and Culture)

This volume examines and theorizes the oft-ignored phenomenon of male-to-female (MTF) crossdressing in early modern drama, prose, and poetry, inviting MTF crossdressing episodes to take a fuller place alongside instances of female-to-male crossdressing and boy actors’ crossdressing, which have long held the spotlight in early modern gender studies. The author argues that MTF crossdressing episodes are especially rich sources for socially-oriented readings of queer gender—that crossdressers’ genders are constructed and represented in relation to romantic partners, communities, and broader social structures like marriage, economy, and sexuality. Further, she argues that these relational representations show that the crossdresser and his/her allies often benefit financially, socially, and erotically from his/her queer gender presentation, a corrective to the dominant idea that queer gender has always been associated with shame, containment, and correction. By attending to these relational and beneficial representations of MTF crossdressers in early modern literature, the volume helps to make a larger space for queer, genderqueer, male-bodied and queer-feminine representations in our conversations about early modern gender and sexuality.

El maleficio de la mariposa

Conmemoramos el centenario del estreno de la primera obra de teatro de Federico García Lorca, El maleficio de la mariposa. El maleficio de la mariposa es una preciosa fábula en la que el poeta granadino nos pone en la piel de una cucaracha que sufre de uno de los peores males en la poesía: el amor imposible. A través de este curioso y original juego modernista Lorca nos habla de impotencia, frustración, aspiraciones truncadas y sentimientos no correspondidos. La presente edición, que está a cargo de Víctor Fernández, cuya mirada aporta frescura e ingenio, incluye Del amor. Teatro de animales, que antecede el estreno de la obra, y uno de los diálogos escritos en la Residencia de Estudiantes en aquella misma época. Reseña:«De todos los seres vivos que he conocido, Federico es el primero. No hablo ni de su teatro ni de su poesía, hablo de él. La obra maestra era él.»Luis Buñuel

Malicious Deceivers: Thinking Machines and Performative Objects (Sensing Media: Aesthetics, Philosophy, and Cultures of Media)

In Malicious Deceivers, Ioana B. Jucan traces a genealogy of post-truth intimately tied to globalizing modernity and connects the production of repeatable fakeness with capitalism and Cartesian metaphysics. Through case studies that cross times and geographies, the book unpacks the notion of fakeness through the related logics of dissimulation (deception) and simulation (performativity) as seen with software/AI, television, plastics, and the internet. Specifically, Jucan shows how these (dis)simulation machines and performative objects construct impoverished pictures of the world, ensuring a repeatable sameness through processes of hollowing out embodied histories and lived experience. Through both its methodology and its subjects-objects of study, the book further seeks ways to counter the abstracting mode of thinking and the processes of voiding performed by the twinning of Cartesian metaphysics and global capitalism. Enacting a model of creative scholarship rooted in the tradition of writing as performance, Jucan, a multimedia performance-maker and theater director, uses the embodied "I" as a framing and situating device for the book and its sites of investigation. In this way, she aims to counter the Cartesian voiding of the thinking "I" and to enact a different kind of relationship between self and world from the one posited by Descartes and replayed in much Western philosophical and — more broadly — academic writing: a relationship of separation that situates the "I" on a pedestal of abstraction that voids it of its embodied histories and fails to account for its positionality within a socio-historical context and the operations of power that define it.

Malo para mí

La suerte parece incluir un favor de Mateo tan pronto como consigue un trabajo en el restaurante donde trabaja Andrew, el chico de sus sueños. Siendo el romántico incurable que es, Mateo cree fielmente que puede convertir la amistad en un romance largamente esperado, el problema es que la vida está llena de sorpresas, y una de ellas va a sacudir completamente el corazón del chico, haciéndole entender que el amor no siempre es tan simple y color de rosa como imaginamos. Malo para mí es una historia ligera, con una trama atractiva y humorística, que hará reír y emocionar al lector hasta la última página. LEA TAMBIÉN, ESA MALDITA SONRISA.

Mama

In August 2017, Melbourne's La Mama Theatre celebrates 50 years since the premiere of its first production, Jack Hibberd's 'Three Old Friends'. La Mama commemorates the rich life story of the theatre so far, tracking the history and chronology of the work that has been made and the many careers that have been born, raised and cherished there. Complemented by hundreds of wonderful photographs, the book is woven together through a series of rowdy yarns spun by the La Mama community, capturing a sense of the magic that has been inspiring audiences for fifty years.

Mama and Jack Carew

Dramatic Comedy / 2m, 1f / Unit Set In the summer of 1969, Beau Stanley's last hurrah before heading off to study architecture in college, doting Mama Lillian vows to help him finally lose his baby fat. Armed with a supply of diet pills and a food-free regimen that includes tearing down a family room wall, 3 a.m. trips to Dulles Airport and blazing, amphetamine-fueled days on the beach, mother and son spend a memorable vacation together. But Beau's weight loss isn't restless Lillian's only project, and in an unguarded moment, she reveals her just-begun affair with a travelling defense contractor, Jack Carew. Once Lillian introduces son and lover, Beau's caught in the oedipal crossfire of a covert and explosive new alliance, forced to cover his Mama's many absences from home. Over the next decade, Jack's repeated pledge to end his own loveless marriage and sweep Lillian away proves a hollow promise. As increasingly beleaguered Beau sacrifices his own independence to help his mother confront her disillusionment and finally, betrayal, parent-child roles are turned upside down. Mama and Jack Carew is a harrowing, oftentimes black-comedic portrait of an unlikely triangle.

Mama Dada: Gertrude Stein's Avant-Garde Theatre (Studies in Modern Drama)

Mama Dada is the first book to examine Gertrude Stein's drama within the history of the theatrical and cinematic avant-gardes. Since the publication of Stein's major writings by the Library of America in 1998, interest in her dramatic writing has escalated, particularly in American avant-garde theaters. This book addresses the growing interest in Stein's theater by offering the first detailed analyses of her major plays, and by considering them within a larger history of avant-garde performance. In addition to comparing Stein's plays and theories to those generated by Dadaists, Surrealists, and Futurists, this study further explores the uniqueness of Stein via these theatrical movements, including discussions of her interest in American life and drama, which argues that a significant and heretofore unrecognized relationship exists among the histories of avant-garde drama, cinema, and homosexuality. By examining and explaining the relationship among these three histories, the dramatic writings of Stein can best be understood, not only as examples of literary modernism, but also as influential dramatic works that have had a lasting effect on the American theatrical avant-

Mambo Italiano

Mambo Italiano achieves its overwhelming power through a perfect balance of fast-paced comedy and poignant drama. Angelo, at the prompting of his equally repressed sister Anna, has told his very traditionally Italian immigrant parents, Maria and Gino, that he is gay. Hurt, betrayed and mortified by Angelo's coming out, his lover Nino is not unprepared for his widowed Italian mother Lina's reaction--a full-on operatic barrage of melodrama and hysterical excess so profound it gives even Angelo's shocked parents pause for second thoughts and prompts a hilarious and touching re-examination of their own outraged response to their son. Seeing their relationship shattered by their families' reactions of grotesquely overplayed comedy and pathos, Angelo emerges from the drama with his new-found pride intact, while Nino retreats even further into the darkness of his bisexual closet. While the press has often called the film version of Mambo Italiano "a gay My Big Fat Greek Wedding," there is far more at work in the play than the zealous mining of Italian immigrant family and gay culture stereotypes. Translated by Michel Tremblay, its huge fan, into a wildly successful Francophone theatrical phenomenon, Mambo Italiano is far more about the dynamics of family, about the vast spaces between the old world and the new, about grasping the resonant codes embedded in what is said and what is meant in ordinary speech, than it is "about" gay culture. In perhaps the play's most defining scene, the parish priest has been bribed with a bottle of wine and a carton of cigarettes to vacate his confessional so it can be occupied by the members of Angelo's family to ritually unburden themselves of their hilarious sins of personal hypocrisy, willful misapprehension and thoughtless transgression. Cast of 4 women and 3 men.

The Mammary Plays

The Mineola Twins and How I Learned To Drive are mirror-image family plays about coming of age in the '60s. The Mineola Twins, primarily set on Long Island, New York, is the more fiercely comic and political of the two. How I Learned To Drive, set mostly in Maryland, is a more delicate tale of sexual awakening.

A Man A Fish

Prosper is a fisherman trying to get by in the face of everyday problems: there’s the spectre of the baby his wife desires, the ghost of his dead mistress, his wife’s secret admirer, and the overwhelming lure of the village bar. When a slippery eel salesman arrives in town peddling progress to the rural community, Prosper’s list of problems only increases. Faced with an invasive new species in his lake, his fortunes decline along with the fish population, and Prosper gets a lesson in gift horses and generosity. A Man A Fish is a part of the 54ology, inspired by events in Burundi.

Man and Superman

One of Shaw's finest and most devilish comedies, Man and Superman portrays Don Juan as the quarry instead of the huntsman. John Tanner, upon discovering that his beautiful ward plans to marry him, flees to the Sierra Nevada mountain range, where he is captured by a group of rebels. Tanner falls asleep, and dreams the famous "Don Juan in Hell" sequence, which features a sparkling Shavian debate among Don Juan, the Devil, and a talkative statue. With its fairy-tale ending and a cast literally from hell, Man and Superman is a hilarious cocktail of farce, Nietzschean philosophy, and Mozart's Don Giovanni.

Man and Superman

A Man for All Seasons: A Play in Two Acts

St. Thomas More, Chancellor of England, was a man of principles and refused to approve King Henry VIII's wish to divorce his aging wife who cannot bear a son so that he could marry again.

A Man for All Seasons (SparkNotes Literature Guide Series)

A Man for All Seasons (SparkNotes Literature Guide) by Robert Bolt Making the reading experience fun! Created by Harvard students for students everywhere, SparkNotes is a new breed of study guide: smarter, better, faster. Geared to what today's students need to know, SparkNotes provides: *Chapter-by-chapter analysis *Explanations of key themes, motifs, and symbols *A review quiz and essay topicsLively and accessible, these guides are perfect for late-night studying and writing papers

Man From The USSR & Other Plays: And Other Plays

Four plays and two essays on drama, written during Nabokov's émigré years before his writings in English earned him worldwide fame. Translated and with Introductions by Dmitri Nabokov.

The Man in the Moonstone (Orca Books)

When Dinah gets a part in the musical adaptation of Wilkie Collins' "The Moonstone", she stumbles onto a plot to steal a priceless ring.

The Man of Destiny

Man of La Mancha

Winner of the New York Drama Critics Award for Best Musical, 1966"To me the most interesting aspect of the success of Man of La Mancha is the fact that it plows squarely upstream against the prevailing current of philosophy in the theater. That current is best identified by its catch-labels--Theater of the Absurd, Black Comedy, the Theater of Cruelty--which is to say the theater of alienation, of moral anarchy and despair. To the practitioners of those philosophies Man of La Mancha must seem hopelessly naive in its espousal of illusion as man's strongest spiritual need, the most meaningful function of his imagination. But I've no unhappiness about that. "Facts are the enemy of truth," says Cervantes-Don Quixote. And that is precisely what I felt and meant."--Dale Wasserman, from the Preface.From the Trade Paperback edition.