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Books > Arts & Architecture > Performing arts > Theatre, drama > General
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unpublished, he notes their critical reception while drawing on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.
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The Wizard of Oz (RSC)
(Paperback)
L. Frank Baum; Contributions by Harold Arlen, E. Y Harburg
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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.
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.
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.
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