Exam Board: Pearson BTEC Academic Level: BTEC National Subject: Performing Arts First teaching: September 2016 First Exams: Summer 2017 For all four of the externally assessed units 1, 3, 5 and 7. Builds confidence with scaffolded practice questions. Unguided questions that allow students to test their own knowledge and skills in advance of assessment. Clear unit-by-unit correspondence between this Workbook and the Revision Guide and ActiveBook.

This is the first full-length book to provide an introduction to badhai performances throughout South Asia, examining their characteristics and relationships to differing contexts in Bangladesh, India, and Pakistan. Badhai's repertoires of songs, dances, prayers, and comic repartee are performed by socially marginalised hijra, khwaja sira, and trans communities. They commemorate weddings, births and other celebratory heteronormative events. The form is improvisational and responds to particular contexts, but also moves across borders, including those of nation, religion, genre, and identity. This collaboratively authored book draws from anthropology, theatre and performance studies, music and sound studies, ethnomusicology, queer and transgender studies, and sustained ethnographic fieldwork to examine badhai's place-based dynamics, transcultural features, and communications across the hijrascape. This vital study explores the form's changing status and analyses these performances' layered, scalar, and sensorial practices, to extend ways of understanding hijra-khwaja sira-trans performance.

In American Dramatists in the 21st Century: Opening Doors, Christopher Bigsby examines the careers of seven award-winning playwrights: David Adjmi, Julia Cho, Jackie Sibblies Drury, Will Eno, Martyna Majok, Dominique Morisseau and Anna Ziegler. In addition to covering all their plays, including several as yet unpublished, he notes their critical reception while drawing on their own commentary on their approach to writing and the business of developing a career. The writers studied come from a diverse range of racial, religious and immigrant backgrounds. Five of the seven are women. Together, they open doors on a changing theatre and a changing America, as ever concerned with identity, both personal and national. This is the third in a series of books which, together, have explored the work of twenty-four American playwrights who have emerged in the current century.

Augusto Boal saw theatre as a mirror to the world, one that we can reach into to change our reality. This book, The Theatre of the Oppressed, is the foundation to 'Forum Theatre', a popular radical form practised across the world. Boal's techniques allowed the people to reclaim theatre, providing forums through which they could imagine and enact social and political change. Rejecting the Aristotelian ethic, which he believed allowed the State to remain unchallenged, he broke down the wall between actors and audience, the two sides coming together, the audience becoming the 'spect-actors'. Written in 1973, while in exile from the Brazilian government after the military coup-d'etat, this is a work of subversion and liberation, which shows that only the oppressed are able to free themselves.

Can theatre change the world? If so, how can it productively connect with social reality and foster spectatorial critique and engagement? This open access book examines the forms and functions of political drama in what has been described as a post-Marxist, post-ideological, even post-political moment. It argues that Bertolt Brecht's concept of dialectical theatre represents a privileged theoretical and dramaturgical method on the contemporary British stage as well as a valuable lens for understanding 21st-century theatre in Britain. Establishing a creative philosophical dialogue between Brecht, Walter Benjamin, Theodor W. Adorno and Jacques Ranciere, the study analyses seminal works by five influential contemporary playwrights, ranging from Mark Ravenhill's 'in-yer-face' plays to Caryl Churchill's 21st century theatrical experiments. Engaging critically with Brecht's theatrical legacy, these plays create a politically progressive form of drama which emphasises notions of negativity, ambivalence and conflict as a prerequisite for spectatorial engagement and emancipation. This book adopts an interdisciplinary and intercultural theoretical approach, reuniting English and German perspectives and innovatively weaving together a variety of theoretical strands to offer fresh insights on Brecht's legacy, on British theatre history and on the selected plays. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

This book provides an overview of the inception, development and achievements of British socialist and workers theatre – a feat which has not been attempted before. It explores the connections between politics and culture (specifically theatre) and between political theory and cultural (theatrical) expression. The book is organized chronologically and uncovers much in labour and theatre history which is in danger of being lost. It can also be seen as a way into different moments in its subject’s story (e.g. post-Ibsen naturalism; agitprop theatre; ‘fringe’ theatre of the 1970s) and the relationship of such forms to specific political events and ideas at specific points in history.

This book explores the impact that high-profile and well-known translators have on audience reception of translated theatre. Using Relevance Theory as a framework, the book demonstrates how prior knowledge of a celebrity translator's contextual background can affect the spectator's cognitive state and influence their interpretation of the play. Three canonical plays adapted for the British stage are analysed: Mark Ravenhill's translation of Life of Galileo by Bertolt Brecht, Roger McGough's translation of Tartuffe by Moliere and Simon Stephens' translation of A Doll's House by Henrik Ibsen. Drawing on interviews, audience feedback, reviews, blogs and social media posts, Stock examines the extent to which audiences infer the celebrity translator's own voice from their translations. In doing so, he adds new perspectives to the long-standing debate on the visibility of the translator in both the process of translating and the reception of the translation. Celebrity Translation in British Theatre offers an original approach to theatre translation that sheds light on the culture of celebrity and its capacity to attract new audiences to plays in translation.

This fully revised and updated edition of the hugely successful London Theatres features ten additional theatres, including the Victoria Palace Theatre, the Sondheim Theatre, the Bridge Theatre and the Noel Coward Theatre. London is the undisputed theatre capital of the world. From world-famous musicals to West End shows, from cutting-edge plays to Shakespeare in its original staging, from outdoor performance to intimate fringe theatre, the range and quality are unsurpassed. Leading drama critic Michael Coveney invites you on a tour of more than 50 theatres that make the London stage what it is. With stories of the architecture, the people and the productions which have defined each one, alongside sumptuous photographs by Peter Dazeley of the auditoriums, public and backstage areas, this illustrated overview of London's theatres is a book like no other. A must for fans of the stage! Praise for the first edition: 'This coffee table whopper ... dazzles' Spectator 'London Theatres ... will surely feature on any theatre buff's present list' Sightlines New chapters included in the second edition: Victoria Palace Theatre; The Bridge Theatre; Menier Chocolate Factory; Hampstead Theatre; Sondheim Theatre (formerly Queen's Theatre); Harold Pinter Theatre, Noel Coward Theatre; Aldwych Theatre; Garrick Theatre; Vaudeville Theatre; Phoenix Theatre

This book offers an innovative account of how audiences and actors emotionally interacted in the English theatre during the middle decades of the eighteenth century, a period bookended by two of its stars: David Garrick and Sarah Siddons. Drawing upon recent scholarship on the history of emotions, it uses practice theory to challenge the view that emotional interactions between actors and audiences were governed by empathy. It carefully works through how actors communicated emotions through their voices, faces and gestures, how audiences appraised these performances, and mobilised and regulated their own emotional responses. Crucially, this book reveals how theatre spaces mediated the emotional practices of audiences and actors alike. It examines how their public and frequently political interactions were enabled by these spaces.

Follow the yellow brick road in this delightful stage adaptation of L. Frank Baum's beloved tale, featuring the iconic musical score from the MGM film. The timeless tale, in which young Dorothy Gale travels from Kansas over the rainbow to the magical Land of Oz, continues to thrill audiences worldwide. Professional Artwork Available for Your Production of The Wizard of Oz (R.S.C. 1987)! Concord Theatricals has collaborated with Subplot Studio to create high-quality artwork that complies with your license. Promoting your show has never been easier! Learn more at Subplot Studio. There are two full-length versions of The Wizard of Oz: MUNY and RSC. Both include the songs "Over The Rainbow," "Munchkinland (Ding Dong! The Witch Is Dead)," "If I Only Had A Brain/A Heart/The Nerve," "We're Off To See The Wizard (Follow The Yellow Brick Road)," "The Jitterbug," and "The Merry Old Land of Oz." The MUNY version also has "Evening Star." The RSC version also includes "Poppies (Optimistic Voices)" and "If I Were King Of The Forest." This RSC version is a more faithful adaptation of the film. A more technically complex production, it recreates the dialogue and structure of the MGM classic nearly scene for scene, though it is adapted for live stage performance. The RSC version's musical material also provides more work for the SATB chorus and small vocal ensembles. The MUNY Version is more theatrically conservative, employing its stage, actors, singers, dancers, and musicians in traditional ways. Using L. Frank Baum's book - and not the MGM film - as its inspiration, this version employs story and songs as elements of a classic stage musical, adding a bit more humor to the witch and her cronies. The MUNY version does not include Toto, but instead adds new characters, including: Farmhand Joe, Gloria of Oz, Lord Growlie, Tibia (the witch's skeletal assistant), two comical neighboring witches, and the Royal Army of Oz.

From the Largest Theatre Group in the World to The Oldest Stage in England and the Future of the Theatre Michael Wheatley-Ward has had invaluable experience of the theatre management business as the pages of this book will reveal. Here is a colourful entertainment all of its own of the risks involved in production management from the wings as well as front of house. A wealth of knowledge which has been gained through knowing and working with some leading actors, directors and producers in the theatre business over fifty years. From some of London's West End play houses, cinemas and provincial picture houses to the second oldest theatre in England, the Theatre Royal Margate. This centre was one of local controversy in 2007, which led to the creation of the Sarah Thorne Theatre in Broadstairs. For the reader the second purpose of this book, will be to gain an objective account of the events which actually took place, through the reports of some of those involved in the experience.

WINNER: 2022 THEATRE BOOK PRIZE Written by the Crucible Theatre's first Artistic Director, Colin George, and his son, Tedd, 'Stirring Up Sheffield' is the extraordinary story of a group of visionaries who came together to build a revolutionary thrust stage theatre in Sheffield. The radical design they proposed for the auditorium - which redefined the actor/audience relationship - aroused fierce opposition from Sheffield's conservative quarters and several of the era's theatrical luminaries. But it also galvanised a new generation of Britain's actors, directors, designers and playwrights who launched a passionate defence of the thrust stage and its theatrical potential.

Curated from the first four volumes of Peter Lang's Playing Shakespeare's Characters series, this omnibus edition selects the most practical essays for actors and directors wanting to play and produce Shakespeare's plays. The dozen contributors in this volume explore ways to play Shakespeare's lovers, villains, monarch, madmen, rebels, and tyrants. It gives critical guidance for directors and producers wanting to stage Shakespeare in the age of Black Lives Matter and #MeToo. The book is a valuable companion for students, actors, directors, and designers who want insight into playing Shakespeare today.