Moscow Theatres for Young People shows how the totalitarian ideology of the Soviet period shaped the practices of Soviet theatre for youth, as exemplified by the two oldest theatres for children and youth in Moscow: the Central Children's Theatre/RAMT and the Moscow Tiuz. Weaving together politics, economics, pedagogy, and aesthetics the author paints a vivid picture of the theatrical developments in Soviet/Russian theatre for young people from its inception in 1917 up to the new millennium, revealing the complex intersections between theatre and its socio-historical conditions.

"Engaging Audiences" provides an insightful introduction to spectatorship from the perspective of cognitive studies. Using performances of several plays and a wide array of scientific evidence, McConachie examines the dynamics of conscious attention, mental concepts, empathy, emotion, and culture in theatregoing. This ground-breaking study challenges many of the current theories used to understand spectators and is a valuable resource to artists and scholars interested in how and why audiences enjoy performance.

Performing Magic on the Western Stage examines magic as a performing art and meaningful social practice. The essays in this interdisciplinary collection analyze the work of numerous western theatrical conjurers and several non-western magical performances in their historical context. Throughout, the contributors link magic to cultural arenas such as religion, finance, gender, and nationality. All of the contributors are connected to the internationally acclaimed Theory and Art of Magic program at Muhlenberg College, through which artists and scholars study the history, theory, and practice of the magical arts.

Marilyn Monroe, Vincent van Gogh or the victims of rendition flights -- the number and variety of historical and contemporary figures represented on British stages is amazing. This book develops a new theoretical framework for the representation of real life figures on stage and examines different ways in which they can be included in performances.

It is no coincidence that many of the most celebrated female performers throughout both the 19th and 20th centuries - women widely considered to represent the spirit of their times - were Jewish. Mock traces a lineage that stretches from the first international stage stars, Rachel of the Comedie-Francaise and Sarah Bernhardt, to stars of film and television such as Barbra Streisand, Bette Midler and Roseanne. In a unique enquiry, this book embraces issues of gender, sexuality, race, class and nationality through the figure of the Jewish woman to show how a very specific marginal identity has transformed mainstream cultures.

This collection of essays is impressive in its breadth, ranging over English (Shakespeare, Stoppard, Churchill, Ravenhill, Penhall), Irish (MacNamara, Johnston), American (O Neill, Stein, Kushner, Lynn), and Continental (Beckett, Weiss, Jelinek) dramatists; furthermore, many of the plays given extended treatment King Lear, The Emperor Jones, Waiting for Godot, Endgame, Rosencrantz and Guildenstern are Dead, The Investigation, Top Girls, and Angels in America are frequently anthologized and/or taught. And because each of these essays was written by a different author, the range of theorists and critics drawn upon (Lyotard, Jameson, McHale, Hutcheon, Derrida, Barthes, Baudrillard, Levinas, Hassan, etc.) is so extensive as to provide a veritable overview of postmodern theory as it might usefully be applied to the theatre.

Maureen Stapleton is recognized as a leading star of stage, screen and television. Her career spans four decades during which she has received the highest acclaim for her great emotional power and versatility. A charter member of the renowned Actors Studio, Ms. Stapleton has won the top honors granted to performing artists, including the Oscar, Emmy and Tony Awards. Few actors have been so successful in all media. Maureen Stapleton: A Bio-Bibliography is the first book dedicated to the career of this consummate actress. A biographical narrative provides information on Ms. Stapleton's artistic development and significant events in her personal and professional life. A chronological summary demonstrates how effortlessly this actress has moved back and forth between stage and screen. Three comprehensive chapters, Stage Performances, Filmography, and Television Appearances, provide production information, cast lists, script synopsis, commentary and critical response. Each listing in these chapters has a separate number for cross-referencing throughout the volume. An annotated bibliography, appendix of awards and honors, and an index complete the volume. Part of Greenwood Press' ongoing series of Bio-Bibliographies in the Performing Arts, the work is a valuable resource for anyone interested in the career of this preeminent American artist.

Modern international studies of world theatre and drama have begun to acknowledge the Arab world only after the contributions of Asia, Africa and Latin America. Within the Arab world, the contributions of Algeria, Tunisia, and Morocco to modern drama and to post-colonial expression remain especially neglected, a problem that this book addresses.

Focusing on international social justice drama in its current local, national, and international manifestation, this interdisciplinary approach explores the relationship of contemporary dramatic forms to human rights issues. Over examines the artistic styles, goals, and thematic interests of dramatists and film directors of works of social commitment. He also considers the conditions and economics of wide audience appeal that prevent Hollywood and many independent filmmakers from effectively addressing these politically explosive issues. In contrast, differing cultures and economic concerns result in third world filmmakers and playwrights producing more comprehensive expositions of social issues. Considering a selected group of film and stage movements the author concludes with an optimistic prediction for political drama in the new century. This informed discussion will appeal to film, theatre, and cultural studies scholars.

Through a collection of original essays and case studies, this innovative book explores theory as an accessible, although complex, tool for theatre practitioners and students. These chapters invite readers to (re)imagine theory as a site of possibility or framework that can shape theatre making, emerge from practice, and foster new ways of seeing, creating, and reflecting. Focusing on the productive tensions and issues that surround creative practice and intellectual processes, the contributing authors present central concepts and questions that frame the role of theory in the theatre. Ultimately, this diverse and exciting collection offers inspiring ideas, raises new questions, and introduces ways to build theoretically-minded, dynamic production work.

'Performing Contagious Bodies' explores live/body art and installation practices through theories of ritual and magic. Featuring discussion of a wide range of contemporary international practice, the book explores the intersections of performance studies, art history, anthropology and contemporary visual art practices.

"A forgotten yet award-winning playwright, Cal Yeomans was one of the founders of gay theatre whose work was fueled by gay liberation and extinguished by the AIDS epidemic. Exploring both sex and sexuality so candidly, he burst the boundaries of what was considered acceptable. His writings were not only manifestations of the sexual liberation of the times, but were also attempts to overcome what he had been raised to despise. Schanke's examination of Yeomans' life and legacy allows a rare exploration into the pivotal moment of gay American history between the Stonewall riots and the AIDS epidemic"--

Traditions of folk drama exist throughout the world, ranging from simple forms that involve few people, rudimentary texts, and crude performance practices, to complex forms involving entire towns, highly elaborated texts, and performance practices that have developed over hundreds of years. Yet folk drama lacks, to this day, a full-length study from the perspectives of either folkloristics or drama studies. This work seeks to fill that lack by undertaking a bi-disciplinary study of the idea of folk drama, drawing on examples from around the world, including Yangge (China), Ta'ziyeh (Iran), Bhavai (India), Karagoz (Turkey), Apidan (Nigeria), and the Mummers' Play (England). It examines the meanings of "folk" and "drama," the significance of ritual and performance in folk drama, the frequently encountered problem of Eurocentric bias, the conventional tripartite division of drama into elite, popular, and folk categories, the need for a methodology capable of describing all aspects of folk drama performance, and the taxonomic place of folk drama in both folkloristics and drama studies. On the basis of this examination, Rethinking Folk Drama establishes a new basis for understanding the ubiquity and variety of folk drama.

The careers, directing accomplishments, ideas, and techniques of six distinguished directors of the European stage--each considered a master of the art--are surveyed in depth by author Samuel L. Leiter in this groundbreaking study. Konstantin Stanislavsky, Vsevolod Meyerhold, Max Reinhardt, Jacques Copeau, Bertolt Brecht, and Jean-Louis Barrault, representative of the broad spectrum of directorial art as it has developed in this century, are examined in six exhaustively detailed, yet compact chapters. In Leiter's informative introduction, salient aspects of the director's art exemplified by these innovators are identified and examined: choice of repertory from the intellectually provocative to the escapist; stylistic attitudes toward production from Stanislavsky's "spiritual naturalism" to Meyerhold's biomechanics and constructivism; rehearsal methods from the dictatorial to the openly collaborative; and a continuing fascination with the shape and function of the performance space. Many of the directors emerge as multifaceted hommes de theatre--writing, directing, acting, designing sets and lighting, and producing. The theoretical writings of the majority of these great directors have become the foundation for Western theatre thought in our time. Each chapter contains capsule descriptions of the landmark productions of the individual director and the volume concludes with a section of brief chronologies for each person and a select bibliography. A single director is the subject of each of the six chapters, which are organized into numerous subsections that discuss the individual's career, his overarching conceptions of theatre art and directing, and finally his actual working methods.Almost every chapter has information on a director's repertory, major productions, theoretical concerns, techniques of working with actors, playwrights, designers, and composers, casting methods, production preparations, and rehearsal processes. Taken as a whole, these chapters reveal the wide divergence of directorial styles and techniques and the multiplicity of approaches open to exponents of the art. The separate chronologies and select bibliography are especially helpful. Students of stage directing and their teachers, active professionals in the field, and literate general readers who seek a broader understanding of twentieth century theatre and stage direction will find this a handy and invaluable resources. This work could be profitably used as a text or supplementary reading for classes in stage directing and is a companion to Leiter's From Belasco to Brook: Representative Directors of the English-Speaking Stage (Greenwood Press, 1991).

Offers access to projects of some of the top professionals working in Real-Time Content Production today like engineering teams from "The Mandalorian" & League of Legends as well as video content designers for The Foo Fighters and Back to the Future, The Musical Includes reviews of real-time content production workflow for virtual production Features discussion from the software developers about the origins of their platforms

Die trauma van die "has been" ontsnap niemand nie. Die liggaam bly die gewildste prooi van tyd. Vir die hoogste bome wat die meeste wind vang, is dit dikwels pynliker en hierdie mense se opstand daarteen is pateties en vernederend. In Jasmyn word ’n vervalle ou skoonheidsikoon, Beulah, genadeloos belig vanuit ’n ongewone invalshoek: as prooi en as begenadigde. Die verstand wat in haar vervalle liggaam gehuisves word, is egter nog naaldskerp. ’n Onverwagte erflating deur ’n eertydse miljarderminnaar word die hoogtepunt en afloop van die drama. Beulah erf R40 miljoen, mits sy ’n minnaar werf wat ten minste 20 jaar haar junior is, ’n verjongingsprogram voltooi met riglyne rakende dieet, plastiese chirurgie, sielkundige berading, hormoonmanipulasie en nuut geskepte ikoonstatus. Laasgenoemde word moontlik gemaak deurdat die oorlede minnaar geld nalaat om ’n nuwe skoonheidseep, Beulah Jasmine, internasionaal vry te stel.

The digital broadcasting of performances to cinemas, or 'livecasting', burst onto the world scene in 2006. This book explores the reasons for its rise by examining the aesthetics of filming theatre and opera performances, as well as exploring who the audiences are and what they want.

Play helps define who we are as human beings. However, many of the leisurely/ludic activities people participate in are created and governed by corporate entities with social, political, and business agendas. As such, it is critical that scholars understand and explicate the ideological underpinnings of played-through experiences and how they affect the player/performers who engage in them. This book explores how people play and why their play matters, with a particular interest in how ludic experiences are often constructed and controlled by the interests of institutions, including corporations, non-profit organizations, government agencies, religious organizations, and non-governmental organizations (NGOs). Each chapter explores diverse sites of play. From theme parks to comic conventions to massively-multiplayer online games, they probe what roles the designers of these experiences construct for players, and how such play might affect participants' identities and ideologies. Scholars of performance studies, leisure studies, media studies and sociology will find this book an essential reference when studying facets of play.

Theatre and Dictatorship in the Luso-Hispanic World explores the discourses that have linked theatrical performance and prevailing dictatorial regimes across Spain, Portugal and their former colonies. These are divided into three different approaches to theatre itself - as cultural practice, as performance, and as textual artifact - addressing topics including obedience, resistance, authoritarian policies, theatre business, exile, violence, memory, trauma, nationalism, and postcolonialism. This book draws together a diverse range of methodological approaches to foreground the effects and constraints of dictatorship on theatrical expression and how theatre responds to these impositions.

The Children's Troupes and the Transformation of English Theater 1509-1608 uncovers the role of the children's companies in transforming perceptions of authorship and publishing, performance, playing spaces, patronage, actor training, and gender politics in the sixteenth century. Jeanne McCarthy challenges entrenched narratives about popular playing in an era of revolutionary changes, revealing the importance of the children's company tradition's connection with many early plays, as well as to the spread of literacy, classicism, and literate ideals of drama, plot, textual fidelity, characterization, and acting in a still largely oral popular culture. By addressing developments from the hyper-literate school tradition, and integrating discussion of the children's troupes into the critical conversation around popular playing practices, McCarthy offers a nuanced account of the play-centered, literary performance tradition that came to define professional theater in this period. Highlighting the significant role of the children's company tradition in sixteenth-century performance culture, this volume offers a bold new narrative of the emergence of the London theater.

Modern theater is a field marked by competing, and often contradictory, impulses and developments. A critique of certain types of theatre is a productive force within modernism and a force that led to the most successful reforms of modern theatre and drama. This exciting collection of essays in Palgrave's "Performance Interventions" series rethinks the historical formations and functions of antitheatricality within modern drama, opera, literature, film, and art.

Is William Shakespeare of Stratford-Upon-Avon the true author of the poems and plays attributed to him? This book once and for all silences those critics who say he isn't. It takes particular aim at those who champion Edward de Vere, the 17th Earl of Oxford, whose crest was a wild blue boar.

Who are these heretics who would strip Shakespeare of his laurels and drape them on a "nobler" brow? Foremost are John Thomas Looney, the Charlton Ogburn family and the latter-day anti-Stratfordians Richard Whalen, John Michell, David McCullough, Lewis H. Lapham, Mark Anderson and others.

Using their own words against them, this book meticulously examines the claims of these Naysayers and destroys them.

In addition, you'll learn about Shakespeare's early decline and fall as a literary giant; why so little is known of Shakespeare's life; and why his closest colleagues, Ben Jonson and the Shakespeare Folio editors, Heminges and Condell, have been branded fools or liars.

Whether you are a teacher, student or simply someone interested in one of the foremost literary questions of the day, it's important to read "Spearing the Wild Blue Boar."

This book serves as analysis of the aesthetics of materiality in the multifaceted work of Antonin Artaud, one of Twentieth-Century France's most provocative and influential figures, spanning literature, performance, art, cinema, media and critical theory.

Theatre has often found itself at the centre of recent debates over censorship and the arts, as a result of coverage of events such as the protests against the play "Behzti" and the controversy over "Jerry Springer: The Opera." This book offers the first sustained study of censorship of the British stage from 1968 into the twenty-first century.