"Gene, you are going to go places you never dreamt of seeing and you will minister to people you never could imagine you would reach. Don't be afraid. I will be your seal of approval and, as long as you yield to My will, I will be with you. " This was the word given to an unlikely recipient, a self conscious young boy who was awaiting such a word to bring direction to his future. That prophetic message would begin a journey which has spanned over forty years and taken him from storefront churches and concert halls in the sixties, as part of one of America's first integrated Gospel groups, to ministry opportunities (to this day) both in the United States and abroad. Within the pages of this book, Gene, chronicles that journey in a frank, intimate and inspiring manner. He shares as an encouragement to his readers, the way God took a willing ordinary vessel and used it in unimaginable ways.

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.

Born in a small railroad city in the far corner of Northern Vermont on a bitter cold January day, Cora and her twin sister were births number twelve and thirteen to an already over populated family that was suffering from poverty, mental, verbal, manipulation and incest abuse. At a very young age Cora learned how to become extremely loyal to disloyal people in her life. Feeling like she was always a shadow behind her twin sister, Cora grew up feeling like she did not exist even though she knew she was very much alive. Even when she had doubt, she knew she was alive by placing her hand on her chest to feel her heart beat just to reassure herself. After years of humilation Cora decides to head into Canada to escape, only to find herself so conditioned to a disloyal and abusive life that she returns back to Vermont and marries right into the life she struggled so hard to get away from. After thirty years of living with a replica of her father, Cora finally with the help of Alanon and several counselors learns that she has been addicted to addicts her whole entire life. finally breaking free she removes herself from the only life she ever knew. Today Cora still lives in that small railroad city that is once again in ression and is in a shockingly state of prescription drug abuse and is still home to some families who suffer from the same unfortunate fate as she did. Even though she does not feel like a shadow any longer, she struggles every day to stay focused in her own recovery while she fights anexity and heart ache over watching her own sibblings and loved ones who struggle to fight their own addictions and recovery.

A 1967 obituary in "The Times" labelled Stephen Joseph 'the most successful missionary to work in the English theatre since the second world war'. This radical man brought theatre-in-the-round to Britain, provoked Ayckbourn, Pinter and verbatim theatre creator Peter Cheeseman to write and direct, and democratised theatregoing. This monograph investigates his forgotten legacy.This monograph draws on largely unsorted archival material (including letters from Harold Pinter, J. B. Priestley, Peggy Ramsay and others), and on new interviews with figures including Sir Alan Ayckbourn, Trevor Griffiths and Sir Ben Kingsley, to demonstrate how the impact on theatre in Britain of manager, director and 'missionary' Stephen Joseph has been far greater than is currently acknowledged within traditional theatre history narratives. The text provides a detailed assessment of Joseph's work and ideas during his lifetime, and summarises his broadly-unrecognised posthumous legacy within contemporary theatre. Throughout the book Paul Elsam identifies Joseph's work and ideas, and illustrates and analyses how others have responded to them. Key incidents and events during Joseph's career are interrogated, and case studies that highlight Joseph's influence and working methods are provided.

This book is a true story of survival and valor that was written by William P. Chad during the second part of the 20th Century A.D. He has dedicated it to his mother Makroohi. Together they emigrated to The United States of America from Lebanon at the end of WWI after been exiled from Malatya, their homeland of Western Turkey, former Armenian territories. William spent most of his adult life writing it. He did a great job in describing the WWI Era events with the accuracy and confidence of someone who was both directly involved and afflicted by them like a war correspondent. He lived through those horrific events. In his tedious work, William strived for perfection and has achieved it. Then he passed away and the work has passed on to us. The content of this book is a time window into WWI Era when tragedy has struck not only the Armenian but also the Greek, Nestorian and Syrian Peoples for their Christian belief. Millions have perished at the hands of Ottoman Turks and their proxies, Kurd mercenaries. It is estimated that between 3.5 Million people have lost their lives during this era. These events are considered to be the first Holocaust of the 20th Century. "Is it easy to kill, to shed blood?" Hakim asked. "There is nothing to it, nothing at all. After the first kill, all the others are." Hakim interrupted him nervously, "I have robbed, but I have never killed, not even a sheep." "You will," the Chieftain said. "I will have to murder?" Hakim questioned. "To kill Armenians is not murder. It is legalized execution. We Kurds are not guilty of murdering the Giaourji. We are merely the instruments performing a service. We do not slay, we execute. Is the knife that stabs the life out of a sheep guilty of murder? Enough nonsense Now go and pass the word to our men of what we are supposed to engage in by Executive Permission: Kill, Kill, and Kill " Hakim stood up for a second then sat down again. "How will I know a Turk from an Armenian, hah? They all dress alike..." Hakim insisted. "Pull their pants down; a Christian is never circumcised." It is our hope that such tragedies can be prevented if we strive to raise the awareness of all Peoples on Earth no matter their religious belief... Amen All truth passes through three stages: First it is ridiculed; second, it is violently opposed; and third, it is accepted as self-evident." Arthur Schopenhauer (1778-1860)

NEFFE A story that doesn't justify the streets but glorifies a destiny unfolding through time. As you read this book, as you digest each portion of my poured out soul, I need you to understand that these words are not just apart of me but apart of you. No matter who you are No matter how old you are No matter your race, religion, economical status, sexuality, gender, occupation, or IQ. I challenge you to journey through these pages of broken promises, revived hopes, and countless dreams without being able to relate. I dare you to continue over looking the dysfunctional instabilities that society tends to disregard behind heavy coats of bull...and expose them for the traumatizing burdens they weigh down to be. I encourage you to read my story and deny a need to call out the counterfeit, unveil the hypocrite and assist with reconstructing the destruction of innocence. I warn you as this book is in your possession to wake up the worrier within and re-affirm that life is not about being perfect but being in position I plead that you take heed and rise above the circumstances trusting that there is a bigger promise awaiting your arrival. as I testify to you, The truth The whole truth And nothing but.....

The first monograph on the work of British choreographer Jonathan Burrows, this book examines his artistic practice and poetics as articulated through his choreographic works, his writings and his contributions to current performance debates. It considers the contexts, principles and modalities of his choreography, from his early pieces in the 1980s to his latest collaborative projects, providing detailed analyses of his dances and reflecting on his unique choreomusical partnership with composer Matteo Fargion. Known for its emphasis on gesture and humour, and characterised by compositional clarity and rhythmical patterns, Burrows' artistic work takes the language of choreography to its limits and engages in a paradoxical, and hence transformative, relationship with dance's historical and normative structures. Exploring the ways in which Burrows and Fargion's poetics articulates movement, performative presence and the collaborative process in a 'minor' register, this study conceptualises the work as a politically compelling practice that destabilises major traditions from a minoritarian position.

One of Lawrence Welk's most beloved entertainers, an Emmy Award winner and a Las Vegas headliner, Roberta Linn captured the hearts of fans nationwide. Her inspiring story unfolds in the pages of "Not Now, Lord, I've Got Too Much to Do."Born in a small Iowa town to a farmer's daughter and a minor league baseball player, Roberta discovered her talent for performing at a young age. She played in film productions and worked with big names stars like Shirley Temple, Cary Grant, and Clark Gable. At the age of thirteen, she fabricated her true age and enlisted in the Women's Army Corps, entertaining the troops of World War II.From 1950 to 1955, Roberta became Lawrence Welk's first television 'Champagne Lady," and she was displayed on magazine covers around the country. But the harshness of celebrity life finally took its toll, and Roberta's ill health led to a medicine-induced coma in 1958. Her amazing recovery reinforced her faith, and she continued to find success in her career. Both moving and uplifting, "Not Now, Lord, I've Got Too Much to Do" showcases the triumph of one of the most popular entertainers of Hollywood's golden age.

How has the work and legacy of Augusto Boal's Theatre of the Oppressed been interpreted and practised around the world? What does it look like in different working contexts? This book provides an accessible introduction to the political and artistic principles Boal's techniques are founded on, tracking exemplary practice from around the globe. Using detailed contemporary case histories, theatre artist, scholar and activist Ali Campbell demonstrates how the underlying principles of Boal's practice are today enacted in the work of - among others - an urban network (Theatre of the Oppressed NYC); a rural and developmental theatre organisation (Jana Sanskriti, West Bengal); Boal's original company CTO Rio (Brazil); and a theatre-based group led by learning-disabled adults in the UK (The Lawnmowers Independent Theatre Company). The book concludes with a series of conversations between Campbell and international exponents of the work, envisioning futures for the Theatre of the Oppressed in the shifting political, educational and artistic contexts of the twenty-first century.

No woman in the three-hundred-year history of the karyukai has ever come forward in public to tell her story -- until now.

"Many say I was the best geisha of my generation," writes Mineko Iwasaki. "And yet, it was a life that I found too constricting to continue. And one that I ultimately had to leave." Trained to become a geisha from the age of five, Iwasaki would live among the other "women of art" in Kyoto's Gion Kobu district and practice the ancient customs of Japanese entertainment. She was loved by kings, princes, military heroes, and wealthy statesmen alike. But even though she became one of the most prized geishas in Japan's history, Iwasaki wanted more: her own life. And by the time she retired at age twenty-nine, Iwasaki was finally on her way toward a new beginning.

Geisha, a Life is her story -- at times heartbreaking, always awe-inspiring, and totally true.