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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.
Theater after Film
by Martin HarriesA study of the impact of film and mass culture on drama after World War II. In Theater after Film, Martin Harries argues that after 1945, as cinema became omnipresent in popular culture, theater had to respond to cinema’s hegemony. Theater couldn’t break that hegemony, but it could provide a zone of contestation. Theater made film’s domination of the cultural field visible through hyperbole, refusal, and other strategies, thereby unsettling its power. Postwar theatrical experiment, Harries shows, often channeled and represented film’s mass cultural force, while knowing that it could never possess that force. Throughout the book, Harries brings critical theory into contact with theories of performance. Although Theater after Film treats the theatrical work of many figures, its central focus falls on Tennessee Williams, Samuel Beckett, and Adrienne Kennedy. Discussions of these dramatists consider their ways of addressing spectators, the politics of race between film and theater, and the place of the theatrical apparatus. Readings of these central figures in twentieth-century theater exemplify the book’s historical engagement with the media surround that drama confronted. This confrontation, Harries shows, was central to the development of some of the most continually compelling postwar drama.
Theater and Crisis: Myth, Memory, and Racial Reckoning in America, 1964-2020
by Patrice D. RankineRacial reckoning was a recurrent theme throughout the summer of 2020, a response to George Floyd’s murder and the unprecedented impact of COVID on marginalized groups. Theater and Crisis proposes a literary and theatrical study of how Floyd's killing could possibly happen in the aftermath of the Civil Rights era, and in the supposedly post-racial era following the election of Barack Obama. In the days and months following Floyd's death, there were nightly protests in streets across the United States and broader world. At the same time, theater performances were forced to shift online to video conferencing platforms and to find new ways to engage audiences. In each case, groups made shared meaning through storytelling and narrative, a liberatory process of myth-making and reverence that author Patrice D. Rankine calls “epiphanic encoding.” Rather than approaching the problem of racial reckoning through history, where periodization and progress are dominant narratives, Theater and Crisis argues that myth and memory allow for better theorization about recurring events from the past, their haunting, and what these apparent ghosts ask of us. Building on the study of myth as active, processual storytelling, Rankine acknowledges that it grounds and orients groups toward significant events. Theater and Crisis aligns narratives about Emmett Till, Trayvon Martin, and George Floyd, among others, with ancient, mythic figures such as Christ, Dionysus, Oedipus, and Moses. As living and verbal visitations, these stories performed on stage encode the past through their epiphanies in the present, urging audiences toward shared meaning. Rankine traces the cyclical hauntings of race through the refiguring of mythic stories across the past 75 years in the plays of James Baldwin, Ntozake Shange, Antoinette Nwandu, and many more, and in response to flashpoints in US racial history, such as the 1955 lynching of Emmett Till, the upheavals of the 1960s and 1970s, the wars on drugs and crime, and the continued violence against and disenfranchisement of Black people into the twenty-first century. Theater and Crisis explores the appearance of myth on the American stage and showcases the ongoing response by the theatrical establishment to transform the stage into a space for racial reckoning. This timely book is essential reading for scholars of theater studies, classics, and American studies.
Theater and World: The Problematics of Shakespeare's History (Routledge Revivals)
by Jonathan HartFirst published in 1992, Theater and World is a detailed exploration of Shakespeare’s representation of history and how it affects the relation between theatre and world. The book focuses primarily on the Second Tetralogy (Richard II, Henry IV Part I, Henry IV Part II, and Henry V) and includes a wealth of analysis and interpretation of the plays. In doing so, it explores a wide range of topics, including the relation between literary and theatrical representations and the world; the nature of illusion and reality; genre; the connection between history and fiction (especially plays); historiography and literary criticism or theory; poetry and philosophy; and irony, both rhetorical and philosophical. Theater and World continues to have lasting relevance for anyone with an interest in Shakespeare’s words and his representation of history in particular.
Theater for Beginners
by Richard MaxwellRichard Maxwell, the downtown writer and director with a deadpan aesthetic and an ever-innovative body of work, has written a quasi-study guide to the art of making theater according to his "affecting affectless technique" (New York Times...) This illuminating volume will provide students and artists with a deeper understanding of Maxwell's work, aesthetic philosophy, and process for creating theater.
Theater of the People
by David Kawalko RoselliGreek drama has been subject to ongoing textual and historical interpretation, but surprisingly little scholarship has examined the people who composed the theater audiences in Athens. Typically, scholars have presupposed an audience of Athenian male citizens viewing dramas created exclusively for themselves-a model that reduces theater to little more than a medium for propaganda. Women's theater attendance remains controversial, and little attention has been paid to the social class and ethnicity of the spectators. Whose theater was it? Producing the first book-length work on the subject, David Kawalko Roselli draws on archaeological and epigraphic evidence, economic and social history, performance studies, and ancient stories about the theater to offer a wide-ranging study that addresses the contested authority of audiences and their historical constitution. Space, money, the rise of the theater industry, and broader social forces emerge as key factors in this analysis. In repopulating audiences with foreigners, slaves, women, and the poor, this book challenges the basis of orthodox interpretations of Greek drama and places the politically and socially marginal at the heart of the theater. Featuring an analysis of the audiences of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander, Theater of the People brings to life perhaps the most powerful influence on the most prominent dramatic poets of their day.
Theater of the Void: Plasticity, Hauntology, and Nuclear Blast (Signale: Modern German Letters, Cultures, and Thought)
by Teresa KovacsTheater of the Void explores contemporary German theater in the aftermath of the technology of the atomic bomb. Informed by threats of total annihilation—whether through nuclear technology or, more recently, global warming—German-language theater since the late 1970s encounters the void not as empty space or nothingness but as the possibility of radical transformation. Theater of the Void investigates theatrical forms that transform fundamental categories of time, space, and causality in light of the ontological and epistemological shifts of the nuclear age. Teresa Kovacs focuses on four directors and playwrights whose works offer insights into the theater of the void: Heiner Müller, Elfriede Jelinek, Christoph Schlingensief, and René Pollesch. Kovacs shows that contemporary German theater has not turned away from the sciences after Hiroshima and Nagasaki but has remained entangled with scientific thinking about quantum physics, biology, and the environment. Investigating these entanglements, Theater of the Void finds in the works of these German theater-makers a grammar of the void that speaks to the possibilities of a transformed theater in the Anthropocene.
Theater: Participatory Performance And The Making Of Meaning
by Scott MagelssenAt an ecopark in Mexico, tourists pretend to be illegal migrants, braving inhospitable terrain and the U. S. Border Patrol as they attempt to cross the border. At a living history museum in Indiana, daytime visitors return after dark to play fugitive slaves on the Underground Railroad. In the Mojave Desert, the U. S. Army simulates entire provinces of Iraq and Afghanistan, complete with bustling villages, insurgents, and Arabic-speaking townspeople, to train soldiers for deployment to the Middle East. At a nursing home, trainees put on fogged glasses and earplugs, thick bands around their finger joints, and sandbag harnesses to simulate the effects of aging and to gain empathy for their patients. These immersive environments in which spectator-participants engage in simulations of various kinds—or “simming”—are the subject of Scott Magelssen’s book. His book lays out the ways in which simming can provide efficacy and promote social change through affective, embodied testimony. Using methodology from theater history and performance studies (particularly as these fields intersect with cultural studies, communication, history, popular culture, and American studies), Magelssen explores the ways these representational practices produce, reify, or contest cultural and societal perceptions of identity.
Theatercontrolling: Trends, Herausforderungen und Perspektiven aus Theorie und Praxis
by Tom Koch Petra Schneidewind Bettina ReinhartDas Führen von Theatern und Orchestern ist heute möglicherweise so komplex wie nie zuvor. Die Auswirkungen von Corona-Krise, Inflation, Fachkräftemangel, Nachhaltigkeitsbestrebungen und viele weitere Faktoren stellen die Bühnenbetriebe vor enorme Herausforderungen. Das Controlling mit der zentralen Funktion der Zielsteuerung muss sich diesen Herausforderungen nicht nur reaktiv stellen, sondern neue, auch kreative und zukunftsweisende Lösungen finden. Es gilt, sich proaktiv auf die Herausforderungen der Zukunft einzustellen und strategisch zu positionieren. Anlässlich des zehnjährigen Bestehens des „Forum Theatercontrolling“ greifen Autor*innen aus Theorie und Praxis aktuelle Themen auf, anhand derer sie die Handlungsfelder und Potenziale für ein zukunftsorientiertes Theatercontrolling diskutieren. Dazu gehören neben an Bedeutung gewinnenden Aufgabenfeldern wie Nachhaltigkeits-, Risiko-, Personal- oder Marketingcontrolling auch methodische Fragen wie Agilität oder Digitalisierung im Controlling. Nicht zuletzt werden personelle Themen wie die strategische Rolle von Controller*innen, Generationenwechsel und Nachwuchskräfte oder lebenslanges Lernen behandelt.
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
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 & Change in South Africa (Contemporary Theatre Studies #Vol. 12.)
by Anne Fuchs Geoffrey DavisFirst Published in 1997. Can South African theatre continue to maintain its autonomy and exercise its critical role? Can one rethink form and find new content? Can a concept of post-protest theatre be developed? How might theatre contribute to post-apartheid soceity? These are just of the questions addressed in this book. The real and present difficulties South Africian theatre is facing, as well as possible future orientations, are clearly shown, at one of the most complex moments of political transition in the history of the South African society. The authors include contributions from playwrights, actors, visual artists, poets, directors, administrators, critics and theatre academics. Their comments and thoughts portray the active process of reflection and reappraisal, redefining their artistic and political aims, searching for new and vital theatrical forms.
Theatre & Stage Photography: A Guide to Capturing Images of Theatre, Dance, Opera, and Other Performance Events
by William KenyonDocumenting theatrical and stage events under the often dramatic lighting designed for the production provides a number of specific photographic challenges, and is unlike most every other branch of photography. Theatre & Stage Photography provides an overview of basic photography as it applies to "available-light" situations, and will move both basic and experienced photographers through the process of accurately capturing both the production process and the resultant performance. The book is accompanied by additional web content found at stagephoto.org, including tutorials, author blog, a photo gallery, and more resources.
Theatre (Brief Edition), 9th Edition
by Robert CohenThis lively introduction to theatre offers equal measures of appreciation of theatrical arts and descriptions of the collaborative theatrical crafts. The author's enthusiasm for and knowledge of the current theatre, highlighted by contemporary production shots from around the world, put the students in the front row.
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 Harvey Young Megan E. GeignerEmphasizing 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 Appreciation Online: Course Number THE 2000
by Stephen NealThis Theatre Appreciation Online course textbook for Florida International University students provides an extensive study on What Is the Theatre, What Is a Play, The Playwright, The Critic and the Dramaturg, The Actor, The Director, Designers and Technicians, Theatre Traditions: East and West, and The Modem Theatre.
Theatre Artisans and Their Craft: The Allied Arts Fields (Backstage)
by Rafael JaenTheatre Artisans and Their Craft: The Allied Arts Fields profiles fourteen remarkable artists and technicians who elevate theatre production to new dimensions, explore new materials and technologies, and introduce new safety standards and solutions. Readers will learn how the featured artists delved into entrepreneurial ventures and created their own work for themselves; researching, studying, and experimenting, seeking answers when none were available. The book explores how to make an impact in the entertainment industry from behind the scenes, and how students can model themselves after these successful professionals to jump-start their career in theatre production. Aimed at theatre and film practitioners in the allied arts fields, Theatre Artisans and Their Craft offers a collection of success stories that are both inspiring and informative.
Theatre Arts on Acting
by Laurence SenelickDuring its fifty year run, Theatre Arts Magazine was a bustling forum for the foremost names in the performing arts, including Stanislavski, Laurence Olivier, Lee Strasberg, John Gielgud and Shelley Winters. Renowned theatre historian Laurence Senelick has plundered its stunning archives to assemble a stellar collection of articles on every aspect of acting and theatrical life.