RIVERS OF WOMEN, THE PLAY by poet and oral performer Shirley Bradley LeFlore is a stage-play of poems accompanied with photographs by award-winning, Chicago-based photographer Michael J. Bracey. Bracey matches his images with LeFlore's poetry, adding a visual dimension that succeeds in endowing every poem with an added sense of depth and emotionality through his unique mode of multilayered conceptualization. RIVERS OF WOMEN is LeFlore's most prolific work of poetry rooted in the stories and voices of womanhood. Readers will hear the music and see the dance as they flip through the pages.

This is the first complete edition of the letters and notebooks of actress Mary Devlin, Edwin Booth's first wife, and is the first reference of its kind in nineteenth-century American theatre scholarship. These documents provide a fascinating perspective on Booth, his life, and the development of his career, and include new materials recently uncovered through the editor's research. The volume is also a valuable guide to biograhical information about Booth's father and brother (John Wilkes Booth), and to studies of Mary Devlin Booth and her influence on her husband. In addition, it identifies sources that reflect certain mid-nineteenth-century attitudes and provides a clearer picture of the conventional role wives had in their husband's careers during that period.

This new study explores the history of cross-cultural performative encounters in the Pacific from the Eighteenth century to the present. It examines Western theatrical representations of Pacific cultures and investigates how Pacific Islanders used their own cultural performances to negotiate the colonial situation.

Following the ground-breaking Performance and the City, this new volume explores what it means to create and experience urban performance - as both an aesthetic and a political practice - in the burgeoning world cities built by globalization and neoliberal capital. Featuring work by artists as well as scholars, written from multiple disciplinary perspectives, and including dozens of photographs as well as a photo essay by Nicholas Whybrow, Performance and the Global City will appeal to readers interested in urban studies, theatre and performance, geography, sociology, and globalization studies.

This is the published version of Christopher Cook's celebrated play based on Washington Irving's haunting tale Available for the first time, this handsomely bound edition of The Legend of Sleepy Hollow presents all the splendor and mystery of Washington Irving's lyrical prose in dramatic form. Beautifully adapted by award-winning playwright, Christopher Cook, this stage version brings to life the eccentric characters and pastoral landscapes of Irving's timeless masterpiece. In the peaceful little hamlet of Sleepy Hollow, all is not as it appears. For behind its genteel facade lies a secret that has long loomed over the bucolic community since the Revolutionary War. The year is 1795. Our story revolves around Christian souls who share cautionary tales of ghosts and goblins, a favorite being that of a Hessian soldier who was beheaded by cannon fire. A stranger's arrival presages unusual events when Ichabod Crane, a journeyman schoolmaster, takes up residence in the quaint village. Fate plays a dark role as his relations with Katrina, heiress apparent to the Van Tassel fortune, disintegrate. Courted by another suitor, the rough-edged Brom Bones, Katrina rebuffs the teacher's advances, opting instead for his formidable rival. Enter the infamous headless horseman, wielding a razor-sharp scythe in one hand and a pumpkin in the other. Galloping wildly through brush and bramble, the goblin tears through the woodlands on a quest of revenge. An unforeseen encounter between Crane and horseman ultimately results in the pedagogue's mysterious disappearance. With a host of Irvian characters as colorful as they are authentic, and a veritable tapestry of words painted in rich images, magic and suspense abound in this tale of dark humor and gothic horror. This play and its subsequent productions is certain to secure Cook's theatrical treatment as a bona fide Halloween classic in the annals of the American stage

Beckett's bilingual oeuvre has been approached from many angles, most of which stress its autonomy from understandings of Irishness emerging from the Irish Literary Revival. Emilie Morin shows that such autonomy is only apparent, and that Beckett's avant-garde practices remain bound to the exigencies that govern their very development.

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.

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.

A ground-floor guide to the practice and philosophy of directing that is open to all, including newcomers to the field. Through a series of concise and engaging essays, Directing Your Heart Out will inspire the next generation of theatre directors by encouraging them to approach the craft through instinct, compassion and the uninhibited expression of their own voice and vision. Each of the book's essays deals with a core principle of directing, such as strategies for directing text; facilitating productive discussion in rehearsals; absorbing criticism; and maintaining a positive work environment. Taken together, they serve as an effective introduction to the fundamentals of directing, or as provocative supplementary readings alongside traditional directing textbooks. En route, it references: > more than 20 directors and choreographers > major contemporary ensembles such as The Wooster Group, SITI Company and Back to Back Theatre > key terminology, such as objective, action, obstacle, realism and absurdism > over 12 plays, including a close-reading of a scene from The Seagull Encouraging an approach to directing that is grounded in self-empowerment and set out accessibly, this book opens up directing to the first-time director or student from a range of backgrounds, as well as the seasoned professional, who will benefit from the many revisionary, fresh perspectives.

'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

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.

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.