As the first full-length study to analyse utopian plays in Western drama from antiquity to the present, Utopian Drama: In Search of a Genre offers an illuminating appraisal of the objectives of utopianism as manifested in drama through the ages, and carefully ascertains the added value that live performance brings to the persuasion of utopian thought. Sian Adiseshiah scrutinises the distinctive intervention of utopian drama through its examination alongside the utopian prose tradition - in this way, the book establishes new ways of approaching utopian aesthetics and new ways of interpreting utopian drama. This book provides fresh understandings of the generic features of utopian plays, identifies the gains of establishing a new genre, and ascertains ways in which this genre functions as political theatre. Referring to over 40 plays, of which 18 are examined in detail, Utopian Drama traces the emergence of the utopian play in the Western tradition from ancient Greek Comedy to experimental contemporary work. Works discussed in detail include plays by Aristophanes, Margaret Cavendish, George Bernard Shaw, Howard Brenton, Claire MacDonald, Cesi Davidson, and Mojisola Adebayo. As well as offering extended attention to the work of these playwrights, the book reflects on the development of utopian drama through history, notes the persistent features, tropes, and conventions of utopian plays, and considers the implications of their registration for both theatre studies and utopian studies.

In this second volume of Stays and Corsets, Mandy Barrington continues to create historical patterns for a modern body shape. This book contains all new corset patterns with a range of silhouettes that span over 300 years, from the late 16th century to the early 20th century. The corset patterns are generated from an original historical garment and have been designed for a wide range of female figures and sizes. The technique of flat pattern drafting your stays or corset will enable you to change the shape of the wearer to create an authentic historic silhouette. All calculations have been worked out for the reader and are provided in easy-to-read tables, which avoids extremely difficult, time-consuming and inaccurate re-sizing of historical patterns. Some prior knowledge of pattern drafting is helpful; however, each pattern has step-by-step instructions supported by clear diagrams that will take you through each stage of the pattern drafting process. The final result is an accurate period stays or corset pattern for your model.

This volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces. Imagination is arguably the architect's most crucial capacity, underpinning memory, invention and compassion. No simple power of the mind, architectural imagination is deeply embodied, social and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr'actes arranged in three sections: Bodies, Settings and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India and Japan. Topics include: the central role of the human body in design; the city as a place of political drama, protest and phenomenal play; and world-making through language, gesture and myth. Chapters also consider sacred and magical functions of theatre in Balinese and Persian settings; eccentric experiments at the Bauhaus and 1970 Osaka World Expo; and ecological action and collective healing amid contemporary climate chaos. Inspired by architect and educator Marco Frascari, the book performs as a Janus-like memory theatre, recalling and projecting the architect's perennial task of reimagining a more meaningful world. This collection will delight and provoke thinkers and makers in theatrical arts and built environment disciplines, especially Architecture, Landscape and Urban Design.

In the 1890s, when Henry James tried to achieve fame and financial security by turning to the theater, he was unceremoniously booed off the stage. Since the 1940s and '50s his fiction has nevertheless been consistently interpreted by composers and film directors, culminating in the recent film adaptations of his novels by Merchant-Ivory, Jane Campion, and Iain Softley. Henry James on Stage and Screen traces this historical development.

Shakespeare in Cuba: Caliban's Books explores how Shakespeare is consumed and appropriated in Cuba. It contributes to the underrepresented field of Latin American Shakespeares by applying the lens of cultural anthropophagy, a theory with Latin American roots, to explore how Cuban artists ingest and transform Shakespeare's plays. By consuming these works and incorporating them into Cuban culture and literature, Cuban writers make the plays their own while also nourishing the source texts and giving Shakespeare a new afterlife.

With the Meiji Restoration in 1868, Japan opened its doors to the West and underwent remarkable changes as it sought to become a modern nation. Accompanying the political changes that Western trade ushered in were widespread social and cultural changes. Newspapers, novels, poems, and plays from the Western world were soon adapted and translated into Japanese. The combination of the rich storytelling tradition of Japan with the realism and modernism of the West produced some of the greatest literature of the modern age. Historical Dictionary of Modern Japanese Literature and Theater presents a broad perspective on the development and history of literature narrative, poetry, and drama in modern Japan. This book offers a chronology, introduction, bibliography, and over 400 cross-referenced dictionary entries on authors, literary and historical developments, trends, genres, and concepts that played a central role in the evolution of modern Japanese literature."

Bram Stoker worked in the theatre for most of his adult life, as theatre reviewer in Dublin in the 1870s and as business manager at London's Royal Lyceum Theatre in the final two decades of the 19th century. Despite this, critical attention to the influence of the stage on Stoker's writing has been sparse. Bram Stoker, Dracula and the Victorian Gothic Stage addresses this lacuna, examining how Stoker's fictions respond to and engage with Victorian theatre's melodramatic climate and, in particular, to supernatural plays, Gothic melodramas and Shakespearean productions that Henry Irving and Ellen Terry performed at the Lyceum. Bram Stoker, Dracula and the Victorian Gothic Stage locates the writer between stage and page. It reconsiders his literary relationships with key actors, and challenges the biographical assumption that Henry Irving provided the model for the figure of Count Dracula.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

In 1991, Boyz N the Hood made history as an important film text and the impetus for a critical national conversation about American urban life in African American communities, especially for young urban black males. Boyz N the Hood: Shifting Hollywood Terrain is an interdisciplinary examination of this iconic film and its impact in cinematic history and American culture. This interdisciplinary approach provides an in-depth critical perspective of Boyz N the Hood as the embodiment of the blues: how Boyz intimates a world beyond the symbolic world Singleton posits, how its fictive stance pivots to a constituent truth in the real world. Boyz speaks from the first person perspective on the state of being "invisible." Through a subjective narrative point of view, Singleton interrogates the veracity of this claim regarding invisibility and provides deep insight into this social reality. This book is as much about the filmmaker as it is about the film. It explores John Singleton's cinematic voice and helps explicate his propensity for a type of folk element in his work (the oral tradition and lore). In addition, this text features critical perspectives from the filmmaker himself and other central figures attached to the production, including a first-hand account of production behind the scenes by Steve Nicolaides, Boyz's producer. The text includes Singleton's original screenplay and a range of critical articles and initial movie reviews.

-Step-by-step exercises and tutorials thoroughly explain hand-drafting and drafting with the visualization programs Vectorworks and Sketchup. -Written to complement a regular 14-or15-week semester course. -The primary focus of the book is how to construct a drawing, providing in-depth coverage fundamentals for hand drafting and visualization software.

This book details the Irish socialistic tracks pursued by Bernard Shaw and Sean O'Casey, mostly after 1916, that were arguably impacted by the executed James Connolly. The historical context is carefully unearthed, stretching from its 1894 roots via W. B. Yeats' dream of Shaw as a menacing, yet grinning sewing machine, to Shaw's and O'Casey's 1928 masterworks. In the process, Shaw's War Issues for Irishmen, Annajanska, the Bolshevik Empress, The Tragedy of an Elderly Gentleman, Saint Joan, The Intelligent Woman's Guide to Socialism and Capitalism, and O'Casey's The Story of the Irish Citizen Army, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, and The Silver Tassie are reconsidered, revealing previously undiscovered textures to the masterworks. All of which provides a rethinking, a reconsideration of Ireland's great drama of the 1920s, as well as furthering the knowledge of Shaw, O'Casey, and Connolly.

In the first conceptual overview of current practices and debates in theatre education, Helen Nicholson explores the contribution that professional theatre practitioners make to the education of young people. She maps the environments in which theatre and learning meet, and looks at how the educational concerns and artistic inventiveness of people living in different times and places have inflected theatre and changed education. This inspiring book tells the story of ground-breaking developments of twentieth century theatre education, and explores the ways in which current theatre practitioners have upheld these radical traditions. Helen Nicholson investigates the effects on theatre education of a newly globalised economy, and asks pertinent questions such as: how can theatre education continue to encourage debates about social justice in the political landscape of the twenty-first century? How do the practices, policies and principles of theatre speak to different generations? Offering diverse illustrations of practice from around the world, Helen Nicholson draws on much personal experience and expert knowledge to demonstrate how cutting edge performance practices continue to engage young people today.

The book offers an introduction to adaptations between stage and screen, examining stage and screen works as texts but also as performances and cultural events. Case studies of distinct periods in British film and theatre history are used to illustrate the principle that adaptations can't be divorced from the historical and cultural moment in which they are produced and to look at issues around theatrical naturalism and cinematic realism. Written in a refreshingly accessible style, it offers an original analysis with emphasis on performance and event. It opens up new avenues of exploration to include non-literary issues such as the treatment of space and place, mise en scene, acting styles and star personas. The recent growth of digital theatre is examined to foreground the 'events' of theatre and cinema, with phenomena such as NT Live analysed for the different ways that 'liveness' is adapted. Adapting Performance Between Stage and Screen explores how cultural values can be articulated in the act of translating between mediums. The book takes as its subject the interaction between film and theatre and argues that, rather than emphasising differences between the two mediums, the emphasis should be placed on elements that they share, in particular the emphasis on performance and the participation in an event. It uses a number of case studies to show how this relationship is affected by changes in technology - the coming of film sound, the invention of live-casting - and in the nature of the event being offered to particular audiences. These examples, ranging from the well-known to the obscure, are all treated with relevant and knowledgeable analysis and a strong and appropriate sense of context. The book offers a welcome overview of previous work in this area and demonstrates the importance of basing analysis on historical context, as well as giving new insights into some familiar examples. Discussion ranges from Steven Spielberg and Alfred Hitchcock to Robert Lepage and Ivo van Hove. There are detailed analyses of Alfie, Gone Too Far and Festen as well as authoritative analyses of NT Live performances and British New Wave cinema. The book will be of primary interest to academics, researchers, teachers and students working in adaptation studies, film studies and theatre studies. Written in an accessible style it will appeal to teachers and students on A-level, undergraduate and postgraduate film, theatre, media and cultural studies courses. The chapter on digital theatres will add to the growing body of literature in this area and appeal to students and academics working on digital cultures and new media. Live screenings of theatre events are becoming more widely available and increasingly popular, including some of the productions discussed. There is potential interest for a general audience interested in British films, theatre and actors.

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From hip performance spaces in New York and Los Angeles to the heart of Middle America, the last twenty years have seen a rich proliferation of gay and lesbian performance art In O Solo Homo, Holly Hughes, the First Lady of queer performance, and theater critic and professor David Roman have brought together the best solo work from some of the most acclaimed and influential artists in the field.

The pieces in O Solo Homo touch nerves that run deep -- racism and misogyny, AIDS and breast cancer, the struggles and joys of family and the complicated transcendence of desire. Peggy Shaw, of the Obie Award-winning trio Split Britches, looks at butch/femme identity and describes how she learned to be a man. The acclaimed author, performer, and "gender outlaw" Kate Bornstein takes apart gender, from the street to the bedroom to Geraldo. The late Ron Vawter, of the Wooster Group, conjures two very different men who died of AIDS: diva filmmaker Jack Smith and Nixon crony Roy Cohn. And Carmelita Tropicana, the "national songbird of Cuba", makes an unforgettable, hilarious return to Havana. O Solo Homo will move and provoke you, make you laugh, and make you think.

No play in the history of the American stage has been as ubiquitous and as widely viewed as Uncle Tom's Cabin. This book traces the major dramatizations of Stowe's classic from its inception in 1852 through modern versions on film. Frick introduces the reader to the artists who created the plays and productions that created theatre history.

This book takes Roland Barthes's famous proclamation of 'The Death of the Author' as a starting point to investigate concepts of authorial presence and absence on various levels of text and performance. By offering a new understanding of 'the author' as neither a source of unquestioned authority nor an obsolete construct, but rather as a performative figure, the book illuminates wide-ranging aesthetic and political aspects of 'authorial death' by asking: how is the author constructed through cultural and political imaginaries and erasures, intertextual and intertheatrical references, re-performances and self-referentiality? And what are the politics and ethics of these constructions?

Theatre and Ghosts brings theatre and performance history into dialogue with the flourishing field of spectrality studies. Essays examine the histories and economies of the material operations of theatre, and the spectrality of performance and performer.

This well-illustrated work is the first attempt to bridge the gap between several specialized discourses concerning Japanese theatre. Central are problems of scholarly and practical reception of Japanese theatre forms in the West.
The essays by a careful selection of internationally well-reputed scholars range widely through Japanese theatre, from the ancient to the postmodern, or, one might say, from "kagura to "angura. It deals with reception of Japanese theatre in the West, the treatment of the body in stage art and drama, Western influence, the impact of Japanese theatre practice and theory upon the actor's training, and stage directing in the West. Readers will come across a wide variety of intriguing topics, such as lion dances, "kabuki, "nth, folk theatre, "taishu engeki, and several important modern playwrights, etc.
This book truly promises to intensify future dialogue between the many disciplines concerned with Japanese theatre.

In the Anthropocene, icy environments have taken on a new centrality and emotional valency. This book examines the diverse ways in which ice and humans have performed with and alongside each other over the last few centuries, so as to better understand our entangled futures. Icescapes - glaciers, bergs, floes, ice shelves - are places of paradox. Solid and weighty, they are nonetheless always on the move, unstable, untrustworthy, liable to collapse, overturn, or melt. Icescapes have featured - indeed, starred - in conventional theatrical performances since at least the eighteenth century. More recently, the performing arts - site-specific or otherwise - have provoked a different set of considerations of human interactions with these non-human objects, particularly as concerns over anthropogenic warming have mounted. The performances analysed in the book range from the theatrical to the everyday, from the historical to the contemporary, from low-latitude events in interior spaces to embodied encounters with the frozen environment.

Marco Paolini: A Deep Map breaks new ground in the field of Italian political theatre by outlining the unique approach of one of Italy's most celebrated playwrights, Marco Paolini, whose work has hitherto remained inaccessible to English-speaking audiences. The book is the first substantial study of Paolini's corpus in English. Additionally, it offers an in-depth analysis of Paolini's unique methods by focusing on the recovery of collective cultural memory through theatre and in-depth historical and political context. The book engages critically with art and politics in Italy specifically, but has implications and relevance on a global scale. Perissinotto's multidisciplinary approach simultaneously draws upon memory studies, history, and poetry. She demonstrates how Paolini's plays evoke themes similar to ancient Greek theatre, which called for the engagement of actors in political commentary from the stage, connecting them directly with the public on social and ethical issues.

The Production Manager's Toolkit Second Edition offers an up-to-date, comprehensive introduction to a career in theatrical and special event production for new and aspiring professionals, given by expert voices in the field. The book discusses management techniques, communication skills, and relationship building tactics to become effective and successful production managers. With a focus on management theory, top production managers provide insights into budgeting, scheduling, meetings, hiring, maintaining safety, and more. Through interviews and case studies, the techniques of production management are explored throughout a variety of entertainment genres including theatre, dance, opera, music, and special events. The second edition includes all new case studies, new chapters, and updated content throughout, showcasing a continued progressive approach to the job and the field. Filled with references, tools, templates, and checklists, The Production Manager's Toolkit is an invaluable resource for students in Production Management, Events Management, and Stage Management courses as well as new and aspiring professionals. The book includes access to a companion website featuring downloadable paperwork and links to other useful resources such as unions, venues, and vendors. (www.routledge.com/cw/gillett)