"Ghosts of Theatre and Cinema in the Brain" focuses on the staging of Self and Other as phantom characters inside the brain (in the "mind's eye," as Hamlet says). It explores the brain's anatomical evolution from animal drives to human consciousness to divine aspirations, through distinctive cultural expressions in stage and screen technologies. Even-numbered chapters look at specific dramas with ghost characters from the ancient Egyptians, Greeks, and Romans to Shakespeare, Japanese Noh, modern drama, and recent films. Odd-numbered chapters examine various intersections of psychoanalytic and neuroscientific theories to explore the brain's inner theatre, regarding ghosts and gods performed onstage and onscreen, as extensions of and connections between different brains in particular cultures.

What part did Shakespeare play in the construction of a 'white people' and how has his work been enlisted to define and bolster a white cultural and racial identity? Since the court of Queen Elizabeth I, through the early modern English theatre to the storming of the United States Capitol on 6 January 2021, white people have used Shakespeare to define their cultural and racial identity and authority. White People in Shakespeare unravels this complex cultural history to examine just how crucial Shakespeare's work was to the early modern development of whiteness as an embodied identity, as well as the institutional dissemination of a white Shakespeare in contemporary theatres, politics, classrooms and other key sites of culture. Featuring contributors from a wide range of disciplines, the collection moves across Shakespeare's plays and poetry and between the early modern and our own time to interrogate these relationships. Split into two parts, 'Shakespeare's White People' and 'White People's Shakespeare', it explores a variety of topics, ranging from the education of the white self in Hamlet, or affective piety and racial violence in Measure for Measure, to Shakespearean education and the civil rights era, and interpretations of whiteness in more contemporary work such as American Moor and Desdemona.

MARIONETTES MASKS and SHADOWS BY WINIFRED H. JVIILLS Head of Art Department, Fairmount Junior High Training School, Cleveland, Ohio LOUISE M. DUNN Assistant Curator of Education, the Cleveland Museum of Art, Cleveland, Ohio Illustrated by CORYDON BELL Garden City, New York DOUBLEDAY, DORAN COMPANY, INC. 1928 To Adventurers among Puppets and Plays CONTENTS MARIONETTES I. The Marionette Its Family Tree . II. The Marionette Its Famous Friends III. Choosing Your Play IV. Making Your Stage V. Making Your Marionette VI. Making Your Scenery .... VII. Making Your Properties VIIL Lighting Your Stage .... IX Training Your Puppeteers . X. Presenting Your Play . . i 25 33 47 S 84 1 02 112 VII Contents MASKS . I. The Map of the Mask 143 II. Occasions for Wearing the Mask . . 152 III. Making the Mask ....... 160 IV. The Costume and Setting for the Mask. 168 V. The Mask with Pantomime, Music and Dance . 196 SHADOWS I. The Mystery of the Shadow ., II. Making a Shadow Play . III. Producing Cut-out Shadow Plays IV. Producing Human Shadow Plays Bibliography . . . Index 205 212 215 225 24 265 Vlll ILLUSTRATIONS Tree of the Marionettes .... Frontispiece HALFTONES MARIONETTES FACING PAGE Marionette play, Men of Iron given by ninth year pupils, Fairmount Junior High School, Cleveland, Ohio 18 Scenes from Marionette play, cc Adventures of Alice, given by ninth year pupils Fairmount Junior High School at the Cleveland Museum of Art. Marionettes made by Tuesday Marionette Club 34 ix Illustrations FACING PAGE Scenes from the Marionette play, Men of Iron 98 Marionette Ballet, Tetrouchka .... 114 Upper. Marionettes from The Adventures of Alice. Lower Left. Bear and Trainer from Men of Iron Lower Right. Marionettefrom Tetrouchka. 130 MASKS Masks made by students in Summer School, Cleveland School of Education. Indian Corn Maidens. Clowns. Japanese Characters Old Woman, Devil Mask, Old Man. .... 146 Upper Row. Bishop, Queen, King, Middle Row. Lady in Waiting, Crusader, Child Lower Row. Jester, Old Woman, Little Jack, 1 50 Masks. Upper Mummer, Queen, Jester Middle Egyptian Priest, Persian Poet, Greek Maiden Lower. Columbine and Pierrot . . 158 Characters from Christmas Mask . ., . 162 Scene from Christmas Mask given by ninth year Fairmount Junior High School pupils at the Cleveland Museum of Art. Lady in Waiting, King . 178 SHADOWS Upper Scene from cut out shadow play, The Traveling Musicians of Bremen-Lower Behind the scene in a cut out shadow play, given by eighth grade pupils of Fairmount Junior High School, Cleveland, Ohio . . 210 Illustrations FACING PAGE Scenes from the cut out shadow play, The Traveling Musicians of Bremen. . . . 214 Behind the scenes in the human shadow play The Indian and the Oki. 222 Scenes from the human shadow play, c The Indian and the Old 226 More scenes from the human shadow play, The Indian and the Oki 232 Scenes from the human shadow play, The Shepherdess 236 FULL PAGE LINE DRAWINGS PAGE Constructional drawing of Marionette stage, back view 50 Side view of Marionette stage, with lighting 51 Knight Marionette 77 FACING PAGE The Map of the Mask . 144 XI

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of 'the stranger' and 'the other'. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally. Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent's turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English. In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019. In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare's Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

In his latest book, John Russell Brown sets out the grounds for a new and revealing way of studying Shakespeare's plays. By considering the entire theatrical event and not only what happens on stage, he takes his readers back to the major texts with a fuller understanding of their language and an enhanced view of a play's theatrical potential. Chapters on theatre-going, playscripts, acting, parts to perform, interplay, stage space, off-stage space, and the use of time all bring recent developments in Theatre Studies together with Shakespeare Studies.

The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as the barometer of the times and acts as the tour guide on this excursion through the worlds of African American vaudeville, black and white America during the swing era, the European touring circuit, and pre-Civil Rights era racial etiquette.

This innovative, theoretical work focuses on temporal issues in theatre and the 'chemistry' of theatre - the ways in which a variety of factors in performance combine to make up what we call 'theatre'. Discussing a range of canonical plays, from Shakespeare to Beckett, the book makes a unique contribution to theatre and performance studies.

This book recounts the personal and professional life of Thomas Souness Hamblin (1800-1853), Shakespearean actor and Bowery Theatre manager. Primarily responsible for the popularity of "blood and thunder" melodramas with working class audiences in New York City, Hamblin discovered, trained and promoted many young actors and, especially, actresses who later became famous in their own right. He also epitomized the "sporting man" of mid-nineteenth century life, conducting a scandalous series of affairs and visits to Manhattan brothels, which cost him his marriage to Elizabeth Blanchard Hamblin (1799-1849) and made him the brunt of moralist, religious and journalistic crusades, notably that of James Gordon Bennett's New York Herald. His machinations and perseverance through trying challenges, including several destructions of the Bowery Theatre by fire, extensive financial and legal complications, and the untimely deaths of several young protegees, earned him equal measures of admiration and opprobrium.

There is extraordinary diversity, depth, and complexity in the encounter between theatre, performance, and human rights. Through an examination of a rich repertoire of plays and performance practices from and about countries across six continents, the contributors to this volume seek to open the way toward understanding the character and significance of this encounter. Divided into three interrelated sections, the book focuses on a range of critical and timely human rights questions as they relate to transitional justice, memory politics, citizenship, the 'War on Terror, ' transnational spectatorship, and the global economic order. Authors ask what artists, audiences and readers imagine, expect, and desire from the engagement of theatre and performance with these crucial questions. Ultimately, this book aims to provide nuanced, global perspectives on the emerging and transformative aesthetics, ethics and effects of this encounter at the turn of the twenty-first century.

Black Matters: Lewis Morrow Plays is a play anthology that maps the impact of emotional, social, cultural, and economic forces that shape the quality of African American life in the 21st century. Focusing on the narratives of Black men and women carrying the hopes and dreams of a generation, Morrow writes stories of dreams deferred, lives incarcerated, and families broken by circumstance who strive to beat the stereotypes of Blackness. Bending time to create hyperreal poetic engagements with anti-Blackness and systemic racism, Morrow questions who has the audacity of hope while living within circumstances that anticipate premature death. Morrow's poignant characters speak truth to power directly from their hearts as they present as unapologetically Black in a world that is indifferent to, and fatigued by, claims of racism and inequality. Baybra's Tulips: Baybra, a recently rereleased convict, returns home to live with sister Tallulah and her husband Charles under the pretence of rehabilitation but with the objective to avenge his sister's spousal abuse by his brother-in-law that resulted in the loss of her child. Begetters: Explores generational inheritance of trauma focusing on husband and wife, Spicer and Norma, in the twilight years of their marriage, and their descent into darkness and therapy after the loss of a family member Mother/son: A dark dramedy about a white mother who is in denial about her racist perspective and her cocaine addiction. Forced to get clean, she comes to live with her Black son (mixed race) who is reluctant to invest in her latest efforts to get clean in the converging pandemics of BLM and Covid.

- Each historical chapter is followed by a process chapter giving the explication of a detailed rehearsal methodology useful to both directors and actors. - The process chapters include objectives, examples from the practice of other directors and actors, and examples from the author's practice, making this a useful text for practitioners and students in Directing and Acting programs. - From the unique perspective of a female director from a working class background.

The first International Festival of Women in Experimental Theatre, the Magdalena Project, took place in Cardiff in 1986. Fifteen countries were represented by 30 women. This illustrated volume documents the unique event and offers insight into the origins and organization of the workshop, probes into the problems of authority and power relations within the group, records individual training sessions and presents short profiles of each performer. The author explores some of the theoretical issues relating to women's theatre and the state of experimental theatre, which emerged from the festival.

Theatre 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.

This book provides a fascinating study into the history of kingship, madness and masculinity that was acted out on the early modern stage. Providing students of early modern history, theatre and performance studies and disability studies with interesting case studies to inform their upper level seminars and research. Throughout the volume the authors engage with the field of disability studies to show how disability and mental health were portrayed and what that tells us about the period and the people who lived in it. Showing students, a new dimension of early modern Europe. The chapters uncover how, as the early modern understanding of mental illness re-focused on human, rather than supernatural, causes, the public stages became important arenas for playwrights, actors, and audiences to explore expressions of madness and to practice diagnoses. Enabling students from multiple disciplines such as the history of medicine, the history of theatre and performance and the history of early modern Europe to see the how attitudes formed and changed around kingship, madness and masculinity in this period.

Runaways is a collection of songs, dances, and spoken word pieces performed by children who have run away from their homes. Initially created from interviews with homeless children and those in orphanages, Liz Swados' unique piece weaves songs about personal struggle and the world at large through the eyes of youth in New York City in the '70s. The show blends different musical styles, from pop to hip-hop and jazz to reggae, while asking why children can't remain children. The licensed version of Runaways reflects the version performed by Encores in 2016.

Taiwan's historical and contemporary status as a nexus of Asian and Western cultural influences provides a rich canvas of research for the author who is uniquely trained in both Western critical and Taiwanese theatrical practices. This highly original book furnishes a creative interpretation of alternative, contemporary Taiwanese Theater by applying Feminism, Interculturalism and other western theories to three intercultural performances of four avant-garde female directors from 1993-2004. Although several important playwrights and directors have staged vital gender critiques of national and international practices, almost no critic has remarked upon them. The book's intersection of a gender critique, and, in part, a postcolonial one, with Taiwanese stage practices is, therefore, a unique and significant contribution. ..". This book is original and forward-looking in its approach." - Sue-Ellen Case, Professor and Chair, Critical Studies, Department of Theater, UCLA

This volume offers rare insights into the connection between young audiences and the performing arts. Based on studies of adolescent and post-adolescent audiences, ages 14 to 25, the book examines to what extent they are part of our society s cultural conversation. It studies how these young people read and understand theatrical performance. It looks at what the educational components in their theatre literacy are, and what they make of the whole social event of theatre. It studies their views on the relationship between what they themselves decide and what others decide for them. The book uses qualitative and quantitative data collected in a six-year study carried out in the three largest Australian States, thirteen major performing arts companies, including the Sydney Opera House, three state theatre companies and three funding organisations. The book s perspectives are derived from world-wide literature and company practices and its significance and ramifications are international.

The book is written to be engaging and accessible to theatre professionals and lay readers interested in theatre, as well as scholars and researchers.

This extraordinary book thoroughly explains why young people (ages 14-25+) do and do not attend theatre into adulthood by delineating how three inter-linked factors (literacy, confidence, and etiquette) influence their decisions. Given that theatre happens inside spectators minds, the authors balance the theatre equation by focusing upon young spectators and thereby dispel numerous beliefs held by theatre artists and educators. Each clearly written chapter engages readers with astute insights and compelling examples of pertinent responses from young people, teachers, and theatre professionals. To stem the tide of decreasing theatre attendance, this highly useful book offers pragmatic strategies for artistic, educational, and marketing directors, as well as national theatre organizations and arts councils around the world. I have no doubt that its brilliantly conceived research, conducted across multiple contexts in Australia, will make a significant and original contribution to the profession of theatre on an international scale. Jeanne Klein, "University of Kansas, USA"

" Young Audiences, Theatre and the Cultural Conversation" is" "a compelling and comprehensive study on attitudes and habits of youth theatre audiences by leading international scholars in the field. This benchmark study offers unique insights by and for theatre makers and administrators, theatre educators and researchers, schools, parents, teachers, students, audience members of all ages.

A key strength within the book centers on the emphasis of the participant voices, particularly the voices of the youth. Youth voices, along with those of teachers and theatre artists, position the extensive field research front and center. George Belliveau, "The University of British Columbia, Canada""

This is the first collection of primary sources that addresses the amateur theatre produced by the workers in the first decade after the Russian Revolution. Newly translated from the Russian, the essays capture both theoretical articulations on the scene - by luminaries such as Alexander Bogdanov, Platon Kerzhentsev, Valerian Pletnev, Alexander Mgebrov and Valentin Smyshliaev - and the more fleeting descriptions and first-hand accounts of the productions staged, accounts and voices which are typically harder to capture. The essays tell a story of unabashed optimism in the creativity of the working classes. They speak of the use of theatre to carve a public and political role in the construction of a new world. The sources, however, also exhibit the flipside of the scene, or the sombre difficulties faced by the amateur actors and the incessant calls to raise standards through professional help. The narrative developed is that of an amateur theatre which began as an autonomous and heterogeneous activity but which by the mid-to-late 1920s was transformed into a regulated practice and a space for cultural programming. The collection makes an important contribution to our understanding of modern theatre: scholarship conventionally tackles the canonical names from the professional world but gives little attention to the more down-to-earth forms of performance taking place in factories, clubs and amateur circles. An introductory essay also highlights the range and significance of the collection and draws links between the essays.

Hysteria, trauma and melancholia are not only powerful tropes in contemporary culture, they are also prominent in the theatre. As the first study in its field, "Hysteria, Trauma and Melancholia" explores the characteristics and concerns of the Drama of Hysteria, Trauma and Melancholia through in-depth readings of representative plays.

Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts which explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood.

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.