Developing and executing marketing strategies is a vital aspect of any business and few books currently cover this with relation to creative industries. This textbook provides students and managers in the creative industries with a solid grounding in how to maximize the impact of their marketing efforts across a range of business types in the creative and cultural industries. The author, an experienced cultural marketing educator, provides sector-contextual understanding to illuminate the field by: * taking a strategic approach to developing marketing plans; * bringing together strategic planning, market research, goal setting, and marketing theory and practice; * explaining how content marketing on social media encourages a relationship with consumers so that they co-promote the creative product. With a range of learning exercises and real-life examples throughout, this text shows students how to create successful marketing plans for their creative businesses. This refreshed edition is a valuable resource for students and tutors of creative, cultural and arts marketing worldwide.

It was a time when personal exploration was a way of life-a time when it was still okay to hitchhike, grow your hair long, and be carefree. But during the 1970s and early 1980s, it still was not okay to be gay. In "Complex, " the first of the two plays presented in "Baby Crib, " author Michael J.-P. Williams introduces Mickey, a man haunted by guilt-and a dark secret. Just as a new consciousness is lighting the way for those who wish to escape the closet, artist wannabe Mickey is battling internal demons. Ashamed that he is homosexual and even more ashamed that he is still alive after his twin brother dies from cancer, Mickey must struggle to accept himself and his desires. In the second play, "I Ski Maybell, " Paul West is on the road to success. With a newly acquired MBA in hand and a good job in a new city, Paul's fresh start in life suddenly goes awry when he allies himself with Nova McWorth. Unfortunately, she is his boss. Williams interweaves multifaceted characters within poignant storylines that prove that perhaps life really is too short to worry about what we cannot control.

Examining the changing reception of Shakespeare in the Nordic countries between 1870 and 1940, this follow-up volume to Disseminating Shakespeare in the Nordic Countries focuses on the broad movements of national revivalism that took place around the turn of the century as Finland and Norway, and later Iceland, were gaining their independence. The first part of the book demonstrates how translations and productions of Shakespeare were key in such movements, as Shakespeare was appropriated for national and political purposes. The second part explores how the role of Shakespeare in the Nordic countries was partly transformed in the 1920s and 1930s as a new social system emerged, and then as the rise of fascism meant that European politics cast a long shadow on the Nordic countries and substantially affected the reception of Shakespeare. Contributors trace the impact of early translations of Shakespeare's works into Icelandic, the role of women in the early transmission of Shakespeare in Finland and the first Shakespeare production at the Finnish Theatre, and the productions of Shakespeare's plays at the Norwegian National Theatre between 1899 and the outbreak of the Great War. In Part Two, they examine the political overtones of the 1916 Shakespeare celebrations in Hamlet's 'hometown' of Elsinore, Henrik Rytter's translations of 23 Shakespeare plays into Norwegian to assess their role in his poetics and in Scandinavian literature, the importance of the 1937 production of Hamlet in Kronborg Castle starring Laurence Olivier, and the role of Shakespeare in general and Hamlet in particular in Swedish Nobel laureate Eyvind Johnson's early work where it became a symbol of post-war passivity and rootlessness.

Pathos as Communicative Strategy in Late-Medieval Religious Drama and Art explores the strategies employed to trigger emotional responses in late-medieval dramatic texts from several Western European traditions, and juxtaposes these texts with artistic productions from the same areas, with an emphasis on Britain. The aim is to unravel the mechanisms through which pathos was produced and employed, mainly through the representation of pain and suffering, with mainly religious, but also political aims. The novelty of the book resides in its specific linguistic perspective, which highlights the recurrent use of words, structures and dialogic patterns in drama to reinforce messages on the salvific value of suffering, in synergy with visual messages produced in the same cultural milieu.

Aloha"" is at once the most significant and the most misunderstood word in the Indigenous Hawaiian lexicon. For Kanaka Maoli people, the concept of ""aloha"" is a representation and articulation of their identity, despite its misappropriation and commandeering by non-Native audiences in the form of things like the ""hula girl"" of popular culture. Considering the way aloha is embodied, performed, and interpreted in Native Hawaiian literature, music, plays, dance, drag performance, and even ghost tours from the twentieth century to the present, Stephanie Nohelani Teves shows that misunderstanding of the concept by non-Native audiences has not prevented the Kanaka Maoli from using it to create and empower community and articulate its distinct Indigenous meaning. While Native Hawaiian artists, activists, scholars, and other performers have labored to educate diverse publics about the complexity of Indigenous Hawaiian identity, ongoing acts of violence against Indigenous communities have undermined these efforts. In this multidisciplinary work, Teves argues that Indigenous peoples must continue to embrace the performance of their identities in the face of this violence in order to challenge settler-colonialism and its efforts to contain and commodify Hawaiian Indigeneity.

Beckett's Voices / Voicing Beckett uses 'voice' as a prism to investigate Samuel Beckett's work across a range of texts, genres, and performance cultures. Twenty-one contributors, all members of the Samuel Beckett Working Group of the International Federation for Theatre Research, discuss the musicality of Beckett's voices, the voice as 'absent other', the voices of the vulnerable, the cinematic voice, and enacted voices in performance and media. The volume engages not only with Beckett's history and legacy, but also with many of the central theoretical issues in theatre studies as a whole. Featuring testimonies from Beckett practitioners as well as emerging and established scholars, it is emblematic of the thriving and diverse community that is twenty-first century Beckett Studies. Contributors: Svetlana Antropova, Linda Ben-Zvi, Jonathan Bignell, Llewellyn Brown, Julie Campbell, Thirthankar Chakraborty, Laurens De Vos, Everett C. Frost, S. E. Gontarski, Mariko Hori Tanaka, Nicholas E. Johnson, Kumiko Kiuchi, Anna McMullan, Melissa Nolan, Cathal Quinn, Arthur Rose, Teresa Rosell Nicolas, Jurgen Siess, Anna Sigg, Yoshiko Takebe, Michiko Tsushima

Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges documents the bi-directional exchange of ideas and images between Williams and post-war Europe that have altered the artistic landscapes of both continents. Fifteen Williams scholars from around the world examine this artistic symbiosis and explore avenues of research mostly uncharted in Williams scholarship to date, including our understanding of the early Williams and the uses he made of various European sources in his theatre; the late Williams and the promise European theatre afforded him with his experimental plays; and the posthumous Williams and his influence on late twentieth- and early twenty-first-century European theatre and cinema. To some extent both a product of and a muse for Europe over the last half century, Williams is well positioned to become America's most famous playwright on the international stage. This book hopes to mark the beginnings of Williams' rich critical tradition within that global context.

"Replay: Classic Modern Drama Reimagined" spans over a century of great theatre to explore how iconic plays have been adapted and versioned by later writers to reflect or dissect the contemporary zeitgeist. Starting with "A Doll's House," Ibsen's much-reprised masterpiece of marital relations from 1879, Toby Zinman explores what made the play so controversial and shocking in its day before tracing how later reimaginings have reworked Ibsen's original. The spine of plays then includes such landmark works as Strindberg's "Miss Julie," Oscar Wilde's comic "The Importance of Being Earnest," Chekhov's "Three Sisters" and "Uncle Vanya," Hansberry's "A Raisin in the Sun," the Rattigan centenary revivals, Thornton Wilder's "Our Town," ultimately arriving at Beckett's "Waiting for Godot." Taking each modern play as the starting point, Zinman explores the diverse renderings and reworkings by subsequent playwrights and artists -including prominent directors and their controversial productions as well as acknowledging reworkings in film, opera and ballet.Through the course of this groundbreaking study we discover not only how theatrical styles have changed but how society's attitude towards politics, religion, money, gender, sexuality and race have radically altered over the course of the century. In turn "Replay" reveals how theatre can serve as both a reflection of our times and a provocation to them.

We're just the least lucky girls in all the world. All three of us. You and me and Ruthy have been given a big sad spoon of bad luck. A girl growing up in a battered part of Stockport in a battered time at the end of the Seventies falls in love with the man who will break her heart into a thousand pieces. Blindsided is a surprising and romantic play about warped love, jealousy, and damaged lives, spanning from the beginnings of the Thatcher Government in 1979 to the birth of New Labour in 1997. This edition features an introduction by Dr Jacqueline Bolton.

Irish theatre and its histories appear to be dominated by men and their actions. This book's socially and culturally contextualized analysis of performance over the last two decades, however reveals masculinities that are anything but hegemonic, played out in theatres and other arenas of performance all over Ireland.

Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance? The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance. Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Ranciere and others

Bertolt Brecht's reputation as a flawed, irrelevant or difficult thinker for the theatre can often go before him to such an extent that we run the risk of forgetting the achievements that made him and his company, the Berliner Ensemble, famous around the world. David Barnett examines both Brecht the theorist and Brecht the practitioner to reveal the complementary relationship between the two.This book aims to sensitize the reader to the approaches Brecht took to the world and the stage with a view to revealing just how carefully he thought about and realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of his concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with Brecht's method that sought to 'make theatre politically' in order to locate the innovations he introduced into his stagecraft. There are many examples given of how Brecht's ideas can be staged, and the final chapter takes two very different plays and asks how a Brechtian approach can enliven and illuminate their production. Ultimately, the book invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht.

"Temperamental" was code for "homosexual" in the early 1950s, part of a secret language gay men used to communicate. The Temperamentals, Jon Marans' hit off-Broadway play, tells the story of two men--the communist Harry Hay and the Viennese refugee and designer Rudi Gernreich--as they fall in love while building the Mattachine Society, the first gay rights organization in the pre-Stonewall United States. This special edition includes Marans' script and production photos from the off-Broadway production of the play, along with a foreword by actor Michael Urie; an introduction by activist David Mixner; a look at Gernreich's fashion career by journalist Joel Nikolaou; and an afterword on Harry Hay by journalist Michael Bronski.

Dorothy Parker holds a place in history as one of New York's most beloved writers. Now, for the first time in nearly a century, the public is invited to enjoy Mrs. Parker's sharp wit and biting commentary on the Jazz Age hits and flops in this first-ever published collection of her groundbreaking Broadway reviews.Starting when she was twenty-four at Vanity Fair as New York's only female theatre critic, Mrs. Parker reviewed some of the biggest names of the era: the Barrymores, George M. Cohan, W.C. Fields, Helen Hayes, Al Jolson, Eugene O'Neil, Will Rogers, and the Ziegfeld Follies. Her words of praise--and contempt--for the dramas, comedies, musicals, and revues are just as fresh and funny today as they were in the age of speakeasies and bathtub gin. Annotated with a notes section by Kevin C. Fitzpatrick, president of the Dorothy Parker Society, the volume shares Parker's outspoken opinions of a great era of live theatre in America, from a time before radio, talking pictures, and television decimated attendance. Dorothy Parker: Complete Broadway, 1918-1923 provides a fascinating glimpse of Broadway in its Golden Era and literary life in New York through the eyes of a renowned theatre critic.

Samuel Beckett's work is littered with ironic self-reflexive comments on presumed audience expectations that it should ultimately make explicable sense. An ample store of letters and anecdotes suggests Beckett's own preoccupation with and resistance to similar interpretive mindsets. Yet until now such concerns have remained the stuff of scholarly footnotes and asides. Beckett's Imagined Interpreters and the Failures of Modernism addresses these issues head-on and investigates how Beckett's ideas about who he writes for affect what he writes. What it finds speaks to current understandings not only of Beckett's techniques and ambitions, but also of modernism's experiments as fundamentally compromised challenges to enshrined ways of understanding and organizing the social world. Beckett's uniquely anxious audience-targeting brings out similarly self-doubting strategies in the work of other experimental twentieth-century writers and artists in whom he is interested: his corpus proves emblematic of a modernism that understands its inability to achieve transformative social effects all at once, but that nevertheless judiciously complicates too-neat distinctions drawn within ongoing culture wars. For its re-evaluations of four key points of orientation for understanding Beckett's artistic ambitions-his arch critical pronouncements, his postwar conflations of value and valuelessness, his often-ambiguous self-commentary, and his sardonic metatheatrical play-as well as for its running dialogue with wider debates around modernism as a social phenomenon, this book is of interest to students and researchers interested in Beckett, modernism, and the relations between modern and contemporary artistic and social developments.

In the memoirs of no other contemporary theater personality (i.e., William Dunlap, Edward Cape Everard, James Fennell, William Wood), has a figure quite like John Durang emerged. His eagerness in grasping opportunities, expanding his skills, shaping his career, and establishing a home are unique, not only in themselves, but also in his articulation of these enterprises. Looking at his life through the lens of American national development illuminates the role of the theater in this critical and ongoing process, while also revealing the forms and repertory that shaped this theater. Remarkably few significant biographies are available of American dance and theatrical figures whose lives preceded the twentieth century. A small handful of memoirs by actors of the period fill in a small part of this gap, but memoirs-like John Durang's-need context and connections to be fully appreciated. The role of dance and theater in shaping the young United States is highlighted in this biography. John Durang: Man of the American Stage by Professor Lynn Matluck Brooks serves both general and theater-educated readerships. Interested groups include readers of American studies, dance, and theater.