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Theater Planning: Facilities for Performing Arts and Live Entertainment
by Gene LeitermannThis book introduces the concepts of theater planning, and provides a detailed guide to the process and the technical requirements particular to theater buildings. Part I is a guide to the concepts and practices of architecture and construction, as applied to performing arts buildings. Part II is a guide to the design of performing arts buildings, with detailed descriptions of the unique requirements of these buildings. Each concept is illustrated with line drawings and examples from the author’s extensive professional practice. This book is written for students in Theatre Planning courses, along with working practitioners.
Theater Shoes (The Shoe Books #3)
by Noel StreatfeildThree orphans are forced to enter a theater school by their grandmother, a famous actress. Unable to pay the tuition, they are given scholarships from the now-grown orphans from Ballet Shoes. Will they be able to live up to their patrons’ legacies? The children are ready to run away—until they discover their hidden talents. Originally published in 1945.
Theater Trip
by Jules TascaComedy / 2m, 1f / 1 set / In this existential comedy an actor in a one character play pleads with the author to give him a mate. The results are so disastrous that the author must enter the play to resolve the chaos. He is forced to resolve the plot in a way that a boy meets girl play has never before ended.
Theaters of Anatomy: Students, Teachers, and Traditions of Dissection in Renaissance Venice
by Cynthia KlestinecOf enduring historical and contemporary interest, the anatomy theater is where students of the human body learn to isolate structures in decaying remains, scrutinize their parts, and assess their importance. Taking a new look at the history of anatomy, Cynthia Klestinec places public dissections alongside private ones to show how the anatomical theater was both a space of philosophical learning, which contributed to a deeper scientific analysis of the body, and a place where students learned to behave, not with ghoulish curiosity, but rather in a civil manner toward their teachers, their peers, and the corpse. Klestinec argues that the drama of public dissection in the Renaissance (which on occasion included musical accompaniment) served as a ploy to attract students to anatomical study by way of anatomy’s philosophical dimensions rather than its empirical offerings. While these venues have been the focus of much scholarship, the private traditions of anatomy comprise a neglected and crucial element of anatomical inquiry. Klestinec shows that in public anatomies, amid an increasingly diverse audience—including students and professors, fishmongers and shoemakers—anatomists emphasized the conceptual framework of natural philosophy, whereas private lessons afforded novel visual experiences where students learned about dissection, observed anatomical particulars, considered surgical interventions, and eventually speculated on the mechanical properties of physiological functions. Theaters of Anatomy focuses on the post-Vesalian era, the often-overlooked period in the history of anatomy after the famed Andreas Vesalius left the University of Padua. Drawing on the letters and testimony of Padua's medical students, Klestinec charts a new history of anatomy in the Renaissance, one that characterizes the role of the anatomy theater and reconsiders the pedagogical debates and educational structure behind human dissection.
Theaters of Error: Problems Of Performance In German And French Enlightenment Theater (Palgrave Studies In Theatre And Performance History Ser.)
by Pascale LaFountainThis book offers provocative readings of canonical Enlightenment dramas that reflect and shape the period’s changing understanding of error. With striking interdisciplinary connections to theater treatises as well as works from the philosophical, legal, and medical discourses, it tracks the relocation of error from the moral to the physical realm, a movement that begins with Lessing and continues through the turn of the nineteenth century.Featuring detailed analyses of Lessing’s Miß Sara Sampson, Diderot’s Le Fils naturel, Schiller’s Die Räuber, and Kleist’s Die Familie Schroffenstein alongside rich close readings of diverse primary sources, ranging from previously untranslated acting treatises by Sainte-Albine and Engel to texts from the German Archiv des Criminalrechts, this study introduces the reader to new Enlightenment sources and compellingly concludes that ultimately it is no longer evil, but rather bodily irregularities and mistakes in reading the body that become the driving principle of Enlightenment drama.
Theaters of Justice: Judging, Staging, and Working Through in Arendt, Brecht, and Delbo
by Yasco HorsmanWhat role do legal trials have in collective processes of coming to terms with a history of mass violence? How does the theatrical structure of a criminal trial facilitate and limit national processes of healing and learning from the past? This study begins with the widely publicized, historic trials of three Nazi war criminals, Eichmann, Barbie, and Priebke, whose explicit goal was not only to punish, but also to establish an officially sanctioned version of the past. The Truth and Reconciliation commissions in South America and South Africa added a therapeutic goal, acting on the belief that a trial can help bring about a moment of closure. Horsman challenges this belief by reading works that reflect on the relations among pedagogy, therapy, and legal trials. Philosopher Hannah Arendt, poet Charlotte Delbo, and dramaturg Bertolt Brecht all produced responses to historic trials that reopened the cases those trials sought to close, bringing to center stage aspects that had escaped the confines of their legal frameworks.
Theaters of Pardoning (Corpus Juris: The Humanities in Politics and Law)
by Bernadette MeylerFrom Gerald Ford's preemptive pardon of Richard Nixon and Donald Trump's claims that as president he could pardon himself to the posthumous royal pardon of Alan Turing, the power of the pardon has a powerful hold on the political and cultural imagination. In Theaters of Pardoning, Bernadette Meyler traces the roots of contemporary understandings of pardoning to tragicomic "theaters of pardoning" in the drama and politics of seventeenth-century England. Shifts in how pardoning was represented on the stage and discussed in political tracts and in Parliament reflected the transition from a more monarchical and judgment-focused form of the concept to an increasingly parliamentary and legislative vision of sovereignty.Meyler shows that on the English stage, individual pardons of revenge subtly transformed into more sweeping pardons of revolution, from Shakespeare's Measure for Measure, where a series of final pardons interrupts what might otherwise have been a cycle of revenge, to later works like John Ford's The Laws of Candy and Philip Massinger's The Bondman, in which the exercise of mercy prevents the overturn of the state itself. In the political arena, the pardon as a right of kingship evolved into a legal concept, culminating in the idea of a general amnesty, the "Act of Oblivion," for actions taken during the English Civil War. Reconceiving pardoning as law-giving effectively displaced sovereignty from king to legislature, a shift that continues to attract suspicion about the exercise of pardoning. Only by breaking the connection between pardoning and sovereignty that was cemented in seventeenth-century England, Meyler concludes, can we reinvigorate the pardon as a democratic practice.
Theatre: Its Art and Craft
by Stephen Archer Cynthia M. Gendrich Woodrow B. HoodTheatre: Its Art and Craft is an introductory theatre text focusing on theatre practitioners and their processes. Using an accessible tone and a focused exploration of how theatre artists work, the book covers playwrights, directors, actors, designers of sets, costumes, props, lights, sound, and new technology, as well as the varying roles of scholars, critics, and dramaturgs. Appropriate for beginning theatre majors, minors, or non-majors, Theatre: Its Art and Craft helps students understand how theatre happens, who makes it, and what they do. Updated with new statistics, references, and photographs, the sixth edition now features an overhauled design section: the authors have divided the design chapter into two parts: one focused on the tactile elements of design (sets, costumes, props) and the second on the temporal elements (lights, sound, and new technologies).
Theatre: A Way of Seeing
by Milly S. BarrangerConsistently praised as "streamlined" and "clear and student friendly," THEATRE: A WAY OF SEEING offers the beginning theatre student an exciting, full-color introduction to all aspects of theatre. It presents the experience of theatre, who sees it, what is seen, and where and how it is seen largely from the viewpoint of audiences exposed to a complex, living art that involves people, spaces, plays, designs, staging, forms, language, and productions. The book includes the appropriate coverage of the history, diversity, and most critical moments in theatre in a way that encourages students to experience theatre as "a performing art and humanistic event."
Theatre
by David MametIf theatre were a religion, explains David Mamet in his opening chapter, "many of the observations and suggestions in this book might be heretical." As always, Mamet delivers on his promise: in Theatre, the acclaimed author of Glengarry Glen Ross and Speed the Plow calls for nothing less than the death of the director and the end of acting theory. For Mamet, either actors are good or they are non-actors, and good actors generally work best without the interference of a director, however well-intentioned. Issue plays, political correctness, method actors, impossible directions, Stanislavksy, and elitists all fall under Mamet's critical gaze. To students, teachers, and directors who crave a blast of fresh air in a world that can be insular and fearful of change, Theatre throws down a gauntlet that challenges everyone to do better, including Mamet himself.
Theatre: The Lively Art
by WilsonSeveral qualities set Theatre: The Lively Art apart from other introductory texts. A particularly important element is our emphasis on the audience. All students reading the book are potential theatregoers, not just during their college years but throughout their lives. We have therefore attempted to make This new edition is an ideal one-volume text to prepare students as future audience members. It will give them a grasp of how theatre functions, of how it should be viewed and judged, and of the tradition behind any performance they may attend. Lively Art allows instructors to focus on both the elements of the theatre and the history of the theatre. It also focuses on today's diverse and global theatre. In addition to serving as an ideal text for nonmajors, Theatre: The Lively Art will prepare students who wish to continue studies in theatre, as majors, minors, or students from other disciplines who take advanced courses.
Theatre: The Lively Art
by Edwin Wilson Alvin GoldfarbIn its ninth edition, Theatre: The Lively Art remains the best-selling program for Theatre Appreciation courses. With its hallmark focus on preparing future audience members, students will learn how theatre functions, how it should be viewed and judged, and the tradition behind any performance they may attend.
Theatre: The Lively Art
by Edwin Wilson Alvin GoldfarbTheatre: The Lively Art remains the best-selling program for Theatre Appreciation courses. With its hallmark focus on preparing future audience members, students will learn how theatre functions, how it should be viewed and judged, and the transition behind any performance they may attend.
Theatre: The Lively Art (8th Edition)
by Edwin Wilson Alvin GoldfarbTheatre: The Lively Art will provide the background to theatre and it will encourage and inspire students to become lifelong audience members, if not actual theatre artists.
The Theatre A Concise History 4th edition
by Phyllis Hartnoll Enoch BraterActing, direction, stagecraft, theatre architecture and design, the extraordinary evolution of dramatic literature—here is an all-embracing and richly illustrated history, worldwide in scope and ranging from the ancient origins of the theatre in the choral hymns sung around the altar of Dionysus to the endless variety of forms that theatre takes in our own day. For this fourth edition, Enoch Brater, Professor of English and Theatre at the University of Michigan, has contributed a revised and extended final chapter on contemporary theatre and updated factual information throughout the book
Theatre Across Oceans: Mediators of Transatlantic Exchange, 1890–1925 (Transnational Theatre Histories)
by Nic LeonhardtTheatre Across Oceans: Mediators Of Transatlantic Exchange allows the reader to enter and understand the infrastructural 'backstage area' of global cultural mobility during the years between 1890 and 1925. Located within the research fields of global history and theory, the geographical focus of the book is a transatlantic one, based on the active exchange in this phase between North and South America and Europe. Emanating from a rich body of archival material, the study argues that this exchange was essentially facilitated and controlled by professional theatrical mediators (agents, brokers), who have not been sufficiently researched within theatre or historical studies. The low visibility of mediators in the scientific research is in diametrical contrast to the enormous power that they possessed in the period dealt with in this book.
Theatre After Empire
by Megan E. Geigner Harvey YoungEmphasizing the resilience of theatre arts in the midst of significant political change, Theatre After Empire spotlights the emergence of new performance styles in the wake of collapsed political systems. Centering on theatrical works from the late nineteenth century to the present, twelve original essays written by prominent theatre scholars showcase the development of new work after social revolutions, independence campaigns, the overthrow of monarchies, and world wars. Global in scope, this book features performances occurring across Africa, the Americas, Asia, Europe, and the Middle East. The essays attend to a range of live events—theatre, dance, and performance art—that stage subaltern experiences and reveal societies in the midst of cultural, political, and geographic transition. This collection is an engaging resource for students and scholars of theatre and performance; world history; and those interested in postcolonialism, multiculturalism, and transnationalism.
Theatre After Empire
by Harvey YoungEmphasizing the resilience of theatre arts in the midst of significant political change, Theatre After Empire spotlights the emergence of new performance styles in the wake of collapsed political systems.Centering on theatrical works from the late nineteenth century to the present, twelve original essays written by prominent theatre scholars showcase the development of new work after social revolutions, independence campaigns, the overthrow of monarchies, and world wars. Global in scope, this book features performances occurring across Africa, the Americas, Asia, Europe, and the Middle East. The essays attend to a range of live events—theatre, dance, and performance art—that stage subaltern experiences and reveal societies in the midst of cultural, political, and geographic transition.This collection is an engaging resource for students and scholars of theatre and performance; world history; and those interested in postcolonialism, multiculturalism, and transnationalism.The Introduction ("Framing Latine Theatre and Performance") of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.
Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977
by Barry HoulihanThis book presents new insights into the production and reception of Irish drama, its internationalisation and political influences, within a pivotal period of Irish cultural and social change. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland’s national theatre, the Abbey. Drawing on newly released and digitised archival records, this book argues for an inclusive historiography reflective of the formative impacts upon modern Irish theatre as recorded within marginalised performance histories. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. The book, framed by the device of ‘archival memory’, serves as a means for scholars and theatre-makers to inter-contextualise existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory.
Theatre and Aural Attention
by George Home-CookTheatre and Aural Attention investigates what it is to attend theatre by means of listening. Focusing on four core aural phenomena in theatre - noise, designed sound, silence, and immersion - George Home-Cook concludes that theatrical listening involves paying attention to atmospheres.
Theatre and AutoBiography: Writing and Performing Lives in Theory and Practice
by Sherrill GraceThat both autobiography and biography have acquired a position of unprecedented importance over the past thirty years is now obvious. Less obvious are the reasons for this phenomenon. Theorists and students of AutoBiography, a research subject now viewed as respectable in academic circles, have recently mapped the contours and shifting parameters of the autobiographical and the biographical processes, thereby contributing to the profile and stature of both. This collection brings theatre practitioners together with academics from three continents in a groundbreaking exploration of the interdisciplinary realm of Theatre and AutoBiography. On the theoretical side, the contributors draw on a range of contemporary theorists: from Jacques Lacan, Gilles Deleuze and Emmanuel Levinas to Judith Butler, Mieke Bal and Homi Bhabha; from Elin Diamond and Jill Dolan to Leigh Gilmore, Paul John Eakin and Philippe Lejeune. In general terms, auto/biographical performances have become hugely popular forms in Europe and North America because we live in a culture of me or I at a time when access to cultural production is easy. AutoBiographies satisfy our desire for story at the same time as they promise to give us truths (if not Truth). With the post-postmodern return of the author and the waning of a deep-seated anti-humanism associated in Western culture with modernist ideology and aesthetics, a desire for agency, voice, visibility and subjectivity has resurfaced with a renewed passion--that personal identity matters and that it is not necessarily fixed by a set script we learn from birth. The playwrights discussed here could scarcely be more broadly representative of British and North American drama in the twentieth and early twenty-first centuries: from W. B. Yeats and Samuel Beckett to Michel Tremblay, Sharon Pollock and David Mamet; from Spalding Gray and Karen Finley to Linda Griffiths; and from Orlan to Sally Clark, R. H. Thomson, Monique Mojica and George Seremba, the range of styles performances and subjectivities is extraordinary.
Theatre and Boxing: The Actor who Flies (Routledge Icarus)
by Franco RuffiniTheatre and Boxing focuses on a problem which is of paramount importance for any theatre practitioner and researcher: the actor’s believable body. This problem has been taken up by Stanislavski, Meyerhold, Artaud, Brecht, Decroux, Copeau, Grotowski, and many others. It is an essential hurdle for all who practice the theatrical craft or want to study it theoretically. This hurdle can be considered one of the foundations of theatre science and of the relationship between technique, politics and ethics. This book tells the story of a revolution in the work of the actor in the early- and mid-20th century, a period in which the focus of theatrical interest shifted from the emotions to the body. The actor’s body became a tool for purveying a dynamic set of actions which often transformed the very actor himself. This new centrality of the body also drew attention to those places in which the body is central: the gym, the boxing ring and the circus with its trapezes and tightropes became, together with the stage, laboratories for the theatre. Thus, in addition to the reformers of the theatre the pages of this book are filled with boxers, acrobats, gymnasts and wrestlers, pursuers of an utopia: the "actor who flies".
Theatre and Culture in Early Modern England, 1650-1737: From Leviathan to Licensing Act
by Catie GillFramed by the publication of Leviathan and the 1713 Licensing Act, this collection provides analysis of both canonical and non-canonical texts within the scope of an eighty-year period of theatre history, allowing for definition and assessment that uncouples Restoration drama from eighteenth-century drama. Individual essays demonstrate the significant contrasts between the theatre of different decades and the context of performance, paying special attention to the literary innovation and socio-political changes that contributed to the evolution of drama. Exploring the developments in both tragedy and comedy, and in literary production, specific topics include the playwright's relationship to the monarch, women writers' connection to the audience, the changing market for plays, and the rise of the bourgeoisie. This collection also examines aspects of gender and class through the exploration of women's impact on performance and production, masculinity and libertinism, master/servant relationships, and dramatic representations of the coffee house. Accompanied by a list of Spanish-English plays and a chronology of monarch's reigns and significant changes in theatre history, From Leviathan to Licensing Act is a valuable tool for scholars of Restoration and eighteenth-century performance, providing groundwork for future research and investigation.
Theatre and Dictatorship in the Luso-Hispanic World (Routledge Advances in Theatre & Performance Studies)
by Diego SánchezTheatre and Dictatorship in the Luso-Hispanic World explores the discourses that have linked theatrical performance and prevailing dictatorial regimes across Spain, Portugal and their former colonies. These are divided into three different approaches to theatre itself - as cultural practice, as performance, and as textual artifact - addressing topics including obedience, resistance, authoritarian policies, theatre business, exile, violence, memory, trauma, nationalism, and postcolonialism. This book draws together a diverse range of methodological approaches to foreground the effects and constraints of dictatorship on theatrical expression and how theatre responds to these impositions.
Theatre and Event
by Adrian KearTheatre and Event: Staging the European Century, examines how, in these first decades of the twenty-first century, contemporary European theatre-makers have sought to consider the disastrous events of the twentieth century as the 'unfinished business' of the contemporary. Kear argues that by thinking through the logic of the event, and the theatre event especially, contemporary performance practice enables an affective interrogation of 'the event' of the European century. Examining the work of leading theatre companies, Theatre and Event: Staging the European Century offers detailed expositions and engaged analyses of key works by Needcompany (Belgium), Jaunais Rigas Teatris (Latvia), Societas Raffaello Sanzio (Italy), National Theatre Wales (UK), and Studios Kabako (France/Democratic Republic of the Congo). This book offers an original conception of the theatre event as an event which exists in relation to, and performatively historicises, other 'events', requiring a critical and creative practice of spectatorship to animate its political affects. "