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O iphihletšeng?: UEB Contracted
by Lesiba MaphosoO iphihletšeng? Mma o hlokofetše ge ke fetša marematlou, tate a gana go nkiša sekolong, fela ka fetša ke ile ntle le yena ... tate o rekišitše dikgomo mola ka gae a re bolaiša dikgakgaripane, megwapa ya dikgomo tšago ota ya go bola le moratha, fela re a fepega ... kgaetšedi le mogadibo ga ba šome, fela tate o rekelwa sellathekeng ... kgaetšedi o utswa dikgomo mola dikgomo tša tate di fela, fela lehodu la tšona ga se yena ... Yo mongwe o dira mošomo wo mobotse ka gare ga nyaganyaga ye, ka fao o swanelwa ke go lebogwa, fela motho yoo ga a itšweletše ... O iphihletšeng? “Motswako wa maikemišetšo le leratorato ka gare ga bongame le tshegišo, di ngwadilwe ka maatlakgogedi a go dira gore o phetle letlakala ka letlakala go fihla ka la mafelelo.” Vicky Seja Moletja - Mogaši wa dipapadi wa Thobela FM, o realo ka diteng tša tiragatšo ya Lesiba Maphoso.
O iphihletšeng?: UEB Uncontracted
by Lesiba MaphosoO iphihletšeng? Mma o hlokofetše ge ke fetša marematlou, tate a gana go nkiša sekolong, fela ka fetša ke ile ntle le yena ... tate o rekišitše dikgomo mola ka gae a re bolaiša dikgakgaripane, megwapa ya dikgomo tšago ota ya go bola le moratha, fela re a fepega ... kgaetšedi le mogadibo ga ba šome, fela tate o rekelwa sellathekeng ... kgaetšedi o utswa dikgomo mola dikgomo tša tate di fela, fela lehodu la tšona ga se yena ... Yo mongwe o dira mošomo wo mobotse ka gare ga nyaganyaga ye, ka fao o swanelwa ke go lebogwa, fela motho yoo ga a itšweletše ... O iphihletšeng? “Motswako wa maikemišetšo le leratorato ka gare ga bongame le tshegišo, di ngwadilwe ka maatlakgogedi a go dira gore o phetle letlakala ka letlakala go fihla ka la mafelelo.” Vicky Seja Moletja - Mogaši wa dipapadi wa Thobela FM, o realo ka diteng tša tiragatšo ya Lesiba Maphoso.
O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage
by Amanda Eubanks WinklerIn the 17th century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state; conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the musical portrayals of disorderly characters were multivalent and often ambiguous.O Let Us Howle Some Heavy Note focuses on the various ways that theatrical music represented disorderly subjects--those who presented either a direct or metaphorical threat to the health of the English kingdom in 17th-century England. Using theater music to examine narratives of social history, Winkler demonstrates how music reinscribed and often resisted conservative, political, religious, gender, and social ideologies.
O Machado
by Antonio Morcillo Lopez Angela R. BarbosaDois mecânicos peculiares numa qualquer garagem de uma qualquer cidade de Espanha, descobrem, no carro que consertam, algo que modificará as suas monótonas vidas e que lhes fará revelar o seu lado escuro. A violência é cada vez mais presente no nosso dia-a-dia, no nosso local de trabalho, nas nossas relações sociais e especialmente nos media. Pouco a pouco, eventos sérios, como um ataque terrorista, fazem parte do pão de cada dia, tornando-nos cada vez mais insensíveis. Esta obra pretende ser um espelho no qual o espectador se observa e reconhece o lado escuros que nenhum de nós está disposto a ver: De verdade que não seria capaz de matar alguém? Somos todos tão cívicos ao ponto de não cruzar a linha que nos torna também terroristas? Que culpa tem a media em tudo isto? Em que medida somos capazes de exercer esta violência en nós próprios? Publicado por Ñaque, 1998. Estreia no Auditório de Albacete, Espanha. Novembro 1996.
O Solo Homo: The New Queer Performance
by Holly Hughes David Román“Fresh, funny, sad, and sexy . . . [A] diverse collection of good, honest, and soundly structured monologue writing” (David Drake, Obie Award–winning actor and playwright). O Solo Homo is a diverse, definitive, and hugely entertaining collection representing the cutting edge of queer solo performance. The pieces in O Solo Homo touch nerves that run deep—from sex, politics, community, and health to the struggles and joys of family, friends, and lovers. Peggy Shaw, of Split Britches, revisits how she learned to be butch. The late Ron Vawter, of the Wooster Group, juxtaposes the lives of two very different men who died of AIDS: diva filmmaker Jack Smith and Nixon crony Roy Cohn. Tim Miller, one of the NEA 4, surveys the landscape of gay desire before and after the advent of AIDS. And Carmelita Tropicana, the “national songbird of Cuba,” makes an unforgettable, hilarious return to Havana. “A funny, personal, powerful primer of identity, performance and politics. O Solo Homo is a must read.” —Paula Vogel, Pulitzer Prize–winning author of How I Learned to Drive “Naked passion, fiery intellect and dissatisfaction with the status quo mark all good performance art. This collection embodies those elements at their best. Each piece makes you sit up and listen.” —Jewelle Gomez, author of The Gilda Stories “O Solo Homo represents the most significant and vibrant cross-section of queer solo performance since the gospels. A must-have field guide for the amateur and professional alike. Ten thumbs up!” —The Five Lesbian Brothers
An Oak Tree
by Catherine LoveFirst Published in 2017. Routledge is an imprint of Taylor & Francis, an Informa company.
The Object of Comedy: Philosophies and Performances (Performance Philosophy)
by Jamila M. H. Mascat Gregor ModerWhat is the object of comedy? What makes us laugh and why? Is comedy subversive, restorative or reparative? What is at stake politically, socially and metaphysically when it comes to comedic performances? This book investigates not only the object of comedy but also its objectives – both its deliberate goals and its unintended side effects.In researching the object of comedy, the contributions gathered here encounter comedy as a philosophical object: instead of approaching comedy as a genre, the book engages with it as a language, a medium, an artifice, a weapon, a puzzle or a trouble, a vocation and a repetition. Thus philosophy meets comedy at the intersection of various fields (e.g. psychoanalysis, film studies, cultural studies, and performance studies) –regions that comical practices and theories in fact already traverse.
Object Performance in the Black Atlantic: The United States
by Paulette RichardsGiven that slaveholders prohibited the creation of African-style performing objects, is there a traceable connection between traditional African puppets, masks, and performing objects and contemporary African American puppetry? This study approaches the question by looking at the whole performance complex surrounding African performing objects and examines the material culture of object performance. Object Performance in the Black Atlantic argues that since human beings can attribute private, personal meanings to objects obtained for personal use such as dolls, vessels, and quilts, the lines of material culture continuity between African and African American object performance run through objects that performed in ritual rather than theatrical capacity. Split into three parts, this book starts by outlining the spaces where the African American object performance complex persisted through the period of slavery. Part Two traces how African Americans began to reclaim object performance in the era of Jim Crow segregation and Part Three details how increased educational and economic opportunities along with new media technologies enabled African Americans to use performing objects as a powerful mode of resistance to the objectification of Black bodies. This is an essential study for any students of puppetry and material performance, and particularly those concerned with African American performance and performance in North America more broadly.
Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor
by Valerie Pye Hillary BucsObjectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski’s "objectives," "obstacles," and "tactics." The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski’s principles for today’s actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio. An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.
Objects as Actors: Props and the Poetics of Performance in Greek Tragedy
by Melissa MuellerObjects as Actors charts a new approach to Greek tragedy based on an obvious, yet often overlooked, fact: Greek tragedy was meant to be performed. As plays, the works were incomplete without physical items—theatrical props. In this book, Melissa Mueller ingeniously demonstrates the importance of objects in the staging and reception of Athenian tragedy. As Mueller shows, props such as weapons, textiles, and even letters were often fully integrated into a play’s action. They could provoke surprising plot turns, elicit bold viewer reactions, and provide some of tragedy’s most thrilling moments. Whether the sword of Sophocles’s Ajax, the tapestry in Aeschylus’s Agamemnon, or the tablet of Euripides’s Hippolytus, props demanded attention as a means of uniting—or disrupting—time, space, and genre. Insightful and original, Objects as Actors offers a fresh perspective on the central tragic texts—and encourages us to rethink ancient theater as a whole.
Objekte, die die Welt bedeuten: Carl Niessen und der Denkraum der Theaterwissenschaft (Szene & Horizont. Theaterwissenschaftliche Studien #4)
by Nora ProbstDas Buch widmet sich in wissenschaftsgeschichtlicher Perspektive den Anfängen der Theaterwissenschaft in Köln. Es untersucht die Wissenschaftspraktiken des Kölner Institutsgründers Carl Niessen (1890–1969), der das Fach als Forscher, Dozent, Sammler und Kurator über einen Zeitraum von rund 40 Jahren geprägt hat. Besonderes Augenmerk legt diese erste wissenschaftsgeschichtliche Monografie über Niessen auf dessen erweitertes Theaterverständnis, das den Bogen von rituellen Handlungen und cultural performances bis hin zu den Phänomenen des europäischen Gegenwartstheaters spannte. – Ausgangspunkt der Studie ist das Gebäude des im Zweiten Weltkrieg zerstörten Theatermuseums am Salierring in Köln. Durch das virtuelle Abschreiten der Museumsräume werden die durch Niessen initiierten Praktiken der frühen Theaterforschung und -lehre kartografiert und vor dem Hintergrund der Fachentwicklung analysiert.
Occult Knowledge, Science, and Gender on the Shakespearean Stage
by Mary Floyd-WilsonBelief in spirits, demons and the occult was commonplace in the early modern period, as was the view that these forces could be used to manipulate nature and produce new knowledge. In this ground-breaking study, Mary Floyd-Wilson explores these beliefs in relation to women and scientific knowledge, arguing that the early modern English understood their emotions and behavior to be influenced by hidden sympathies and antipathies in the natural world. Focusing on Twelfth Night, Arden of Faversham, A Warning for Fair Women, All's Well That Ends Well, The Changeling and The Duchess of Malfi, she demonstrates how these plays stage questions about whether women have privileged access to nature's secrets and whether their bodies possess hidden occult qualities. Discussing the relationship between scientific discourse and the occult, she goes on to argue that as experiential evidence gained scientific ground, women's presumed intimacy with nature's secrets was either diminished or demonized.
Odd
by Hal Corley2m, 2f / Drama / Unit Set / Anna Marie has raised her surly, contentious son Micah alone. Though Micah has long been pharmaceutically treated for his O.D.D. — Oppositional Defiance Disorder — she's desperate to introduce a paternal influence. Anna Marie hires Joe Eskin, an itinerant waiter with a vague past and take-no-prisoners tutoring style. Over one critical autumn Joe brings focus and structure to Micah's daily life. But as he opens incurious Micah's eyes to a world outside his sleepy New Jersey suburb, Joe ingratiates himself into the family and inadvertently stirs in Anna Marie dormant romantic longing. In a revelatory battle royal, Micah realizes that equally combative Joe is a kindred spirit — likely "O.D.D." himself. When Micah attracts the brilliant but volatile Ilona, Joe's Cyrano-like coaching to help Micah romance the older girl segues into near obsession. Though smitten Anna Marie remains oblivious, Ilona slowly realizes that Joe's emotional investment in Micah is invasive and threatening. During a Halloween trip into rain-drenched New York City, Ilona ends Joe's control by confronting him in front of Micah, with life-altering results. Exploring the challenges of teen isolation, single parenting, and our dependence on drug therapy as a panacea, ODD illuminates the terror and heartbreak that bind a unique quartet. / "The transformation of the fringe player to someone possibly acceptable by mainstream or even upper-class society, the man who breezes into town and energizes the young man with a disability, the man with troubles of his own who solves a family's troubles: These are classic human stories and ODD melds them well while bringing them to 2007…ODD asks who is broken — the people whose disorders are gaping, bleeding wounds, or the people weighed down by their life challenges…The winner of Premiere Stages' Play Festival, ODD is an important work at a time when befuddled parents want to fix their kids with a pill: better living through chemistry.” - Gannett/Home News Tribune
Odd Couple: A Comedy in Three Acts
by Neil SimonThis classic comedy opens as a group of the guys assembled for cards in the apartment of divorced Oscar Madison. And if the mess is any indication, it's no wonder that his wife left him. Late to arrive is Felix Unger who has just been separated from his wife. Fastidious, depressed and none too tense, Felix seems suicidal, but as the action unfolds Oscar becomes the one with murder on his mind when the clean-freak and the slob ultimately decide to room together with hilarious results as The Odd Couple is born.
Odd Ducks
by Bryden MacdonaldWelcome to the small town of Tartan Cross, Nova Scotia, where skeletons rattle in closets and past histories are so intertwined that the lives of four fortysomething, eccentric characters have become so complicated that something needs to change. In the comedy, Odd Ducks, award-winning playwright Bryden MacDonald positions his four characters at the brink of existential angst - and the action unfolds from there.At the centre of the drama is Ambrose Archibald, an irredeemable reprobate and the type of guy who rants philosophically at the bar while mooching beer from his friends. He's a narcissist who thinks he's God's gift to women. And he's having an affair with the charming and beautiful Mandy Menzies, who was the high school beauty queen but is now stuck in a marriage of convenience and a life of boredom. Her housekeeper, Estelle Carmichael, has seen it all, but her prickly exterior belies a loving heart. The dryly funny Freddy Durdle is the perfect counter-balance to over-the-top Ambrose.All four oddballs seem stuck in their lives, but searing sarcasm relieves the boredom and crazy, everyday dramas aid their struggle to move on and keep things lightCast of 2 women and 2 men.
Ode to Joy (TCG Edition)
by Craig Lucas"Irresistible . . . intoxicating. . . . Enduringly original sensibility."--New York TimesAdele is a painter and an addict. Through her eyes, we meet her two lovers, Mala and Bill, and follow her destructive relationships over the course of fourteen years. A vulnerable exploration of the interplay between art, love, and addiction, Ode to Joy is an affecting new drama from respected playwright Craig Lucas.Renowned playwright Craig Lucas's newest work is a sensitive look at illness, addiction, and love.Craig Lucas's plays include Missing Persons, Reckless, Blue Window, Prelude to a Kiss, God's Heart, The Dying Gaul, Stranger, Small Tragedy, Prayer for My Enemy, The Singing Forest, and the book for the The Light in the Piazza (music and lyrics by Adam Guettel).
Odin Teatret: Theatre in a New Century
by Adam J. LedgerFocusing on Odin Teatret's latest work, this discussion is updated by drawing on fresh research. The group's productions since 2000 are included and the book offers a reassessment of Odin's actor training. Its community work and legacy are discussed and Barba's intercultural practice is viewed alongside two major Theatrum Mundi productions.
The Odin Teatret Archives
by Mirella SchinoThe Odin Teatret Archives presents collections from the archives of one of the foremost reference points in global theatre. Letters, notes, work diaries, articles, and a wealth of photographs all chart the daily activity that underpins the life of Odin Teatret, telling the adventurous, complex stories which have produced the pioneering work that defines Odin's laboratory approach to theatre. Odin Teatret have been at the forefront of theatrical innovation for over fifty years, devising new strategies for actor training, knowledge sharing, performance making, theatrical alliances, and ways of creating and encountering audiences. Their extraordinary work has pushed boundaries between Western and Eastern theatre; between process and performance; and between different theatre networks across the world. In this unique volume, Mirella Schino brings together a never before seen collection of source materials which reveal the social, political, and artistic questions facing not just one groundbreaking company, but everyone who tries to make a life in the theatre.
Odysseus at Troy: Ajax, Hecuba and Trojan Women
by Stephen Esposito Robin Mitchell-Boyask Euripides Sophocles Diskin ClayThis book contains translations of three plays:Ajax, Hecuba, and Trojan Women. They are all centered around the mythological theme of the Greek warrior, Odysseus, hero of the Trojan War. All three plays are complete, with notes and introductions, plus an introduction to the volume with background to the story which was one of the most popular themes and one of the most written about Greek hero in Greek literature. Written during a tumultuous age of sophists and demagogues, these three plays (c. 450-425 BCE) bear witness to the gradual degradation of Odysseus' character. In presenting the unexpected devolution of a renowned mythic figure, the plays examine numerous themes relevant to contemporary American political life: the profound psychological consequences of brought on by the stress of war and why a once proud and noble warrior might commit suicide; and the dehumanizing darkness that descends upon innocent female war-victims when victors use act on false political necessity.
The Odyssey
by Geraldine Mccaughrean HomerThis book describes the epic journey of Odysseus, the hero of Ancient Greece...After ten years of war, Odysseus turns his back on Troy and sets sail for home. But his voyage takes another ten years and he must face many dangers - Polyphemus the greedy one-eyed giant, Scylla the six-headed sea monster and even the wrath of the gods themselves - before he is reunited with his wife and son.
The Odyssey: A Play
by Derek WalcottWith its inspired counterpointing of Homeric and Caribbean themes, Derek Walcott's play The Odyssey, commissioned by Britain's Royal Shakespeare Company, springs from the same imaginative sources as his epic poem Omeros."[The Odyssey features Walcott's] voluptuous metaphor making and severe truth telling."--TimeEpisodes of the story of Odysseus' protracted wanderings from fallen Troy to his island home of Ithaca are pungently interspersed with a commentary by the blind singer Billy Blue. Proteus, the Old Man of the Sea, the giant Cyclops, Circe and her revelers, ghosts, and mermaids are among the cast. With its vast sweep and richly figurative language, The Odyssey confirms that Derek Walcott is as compelling a playwright as he is a poet.
The Odyssey of Homer ( An Adapted Classic)
by Homer Henry I. ChristHomer's great epic describes the many adventures of Odysseus, Greek warrior, as he strives over many years to return to his home island of Ithaca after the Trojan War. His colorful adventures, his endurance, his love for his wife and son have the same power to move and inspire readers today as they did in Archaic Greece, 2800 years ago.
Odyssey Works: Transformative Experiences for an Audience of One
by Abraham Burickson Rick Moody Ayden LerouxOdyssey Works infiltrates the life of one person at a time to create a customtailored, life-altering performance. It may last for one day or a few months and consists of experiences that blur the boundaries of life and art--is that subway mariachi band, used book of poetry, or meal with a new friend real or a part of the performance? Central to this book is their 2013 performance for Rick Moody, author of The Ice Storm. His Odyssey lasted four months and included a fake children's book, introducing the themes of his performance, and a cello concert in a Saskatchewan prairie (which Moody almost missed after being stopped at customs with, suspiciously, no idea why he was traveling to Canada). The book includes Moody's interviews with Odyssey Works, an original short story by Amy Hempel, and six proposals for a new theory of making art.
Odysseys of Recognition: Performing Intersubjectivity in Homer, Aristotle, Shakespeare, Goethe, and Kleist (New Studies in the Age of Goethe)
by Ellwood WigginsLiterary recognition is a technical term for a climactic plot device. Odysseys of Recognition claims that interpersonal recognition is constituted by performance, and brings performance theory into dialogue with poetics, politics, and philosophy. By observing Odysseus figures from Homer to Kleist, Ellwood Wiggins offers an alternative to conventional intellectual histories that situate the invention of the interior self in modernity. Through strategic readings of Aristotle, this elegantly written, innovative study recovers an understanding of interpersonal recognition that has become strange and counterintuitive. Penelope in Homer’s Odyssey offers a model for agency in ethical knowledge that has a lot to teach us today. Early modern and eighteenth-century characters, meanwhile, discover themselves not deep within an impenetrable self, but in the interpersonal space between people in the world. Recognition, Wiggins contends, is the moment in which epistemology and ethics coincide: in which what we know becomes manifest in what we do. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Oedipus
by VoltaireŒdipus was written when Voltaire was but nineteen years of age. It was played for the first time in 1718, and ran for forty-five nights. Du Frêsne, a celebrated actor, and of the same age as the author, played the part of Œdipus; and Madame Desmarêts, a famous actress, did Jocaste, and soon after quitted the stage. In this edition, the part of Philoctetes is restored, and stands exactly as it was in the first representation. Wilder Publications is a green publisher. All of our books are printed to order. This reduces waste and helps us keep prices low while greatly reducing our impact on the environment.