Over the course of its seven-year run, Buffy the Vampire Slayer cultivated a loyal fandom and featured a strong, complex female lead, at a time when such a character was a rarity. Evan Ross Katz explores the show's cultural relevance through a book that is part oral history, part celebration, and part memoir of a personal fandom that has universal resonance still, decades later. Katz-with the help of the show's cast, creators, and crew-reveals that although Buffy contributed to important conversations about gender, sexuality, and feminism, it was not free of internal strife, controversy, and shortcomings. Men-both on screen and off-would taint the show's reputation as a feminist masterpiece, and changing networks, amongst other factors, would drastically alter the show's tone. Katz addresses these issues and more, including interviews with stars Sarah Michelle Gellar, Charisma Carpenter, Emma Caulfield, Amber Benson, James Marsters, Anthony Stewart Head, Seth Green, Marc Blucas, Nicholas Brendon, Danny Strong, Tom Lenk, Bianca Lawson, Julie Benz, Clare Kramer, K. Todd Freeman, Sharon Ferguson; and writers Douglas Petrie, Jane Espenson, and Drew Z. Greenberg; as well as conversations with Buffy fanatics and friends of the cast including Stacey Abrams, Cynthia Erivo, Lee Pace, Claire Saffitz, Tavi Gevinson, and Selma Blair. Into Every Generation a Slayer Is Born engages with the very notion of fandom, and the ways a show like Buffy can influence not only how we see the world but how we exist within it.

This book is a series of updates. For shows ofcourse. The Jimmy Fallon show to be exact. If I had a show at Mark Ridley's Comedy Club (which I feel I do), then I would gladly say some update. Though I'm tired. Real real tired. Is Jimmy tired I wonder to myself? I saw little bags under his eyes. I became fearful. Unfortnatly, I don't have any. Jack (my beau), my main squeeze has muscular ones. Woof! So ya, some of the update are of my poetry. Poetry that I could see Jhonny Depp singing as a song in a screenwritten play of Jack Doline. Could me, Jack Doline (my beau), Jhonny Depp and Jimmy get together in real life? Lets include another girl. Anne Bushek. Let us adapt like hooligans and meet at ROCK tomorrow at 12 to 2. If all are no shows lets just assume a quote to a rock conert. Nothing against mothers and families. "HAS ANYONE EVER BEEN RUDE TO YO MOTHA?"

This book explores the impact that high-profile and well-known translators have on audience reception of translated theatre. Using Relevance Theory as a framework, the book demonstrates how prior knowledge of a celebrity translator's contextual background can affect the spectator's cognitive state and influence their interpretation of the play. Three canonical plays adapted for the British stage are analysed: Mark Ravenhill's translation of Life of Galileo by Bertolt Brecht, Roger McGough's translation of Tartuffe by Moliere and Simon Stephens' translation of A Doll's House by Henrik Ibsen. Drawing on interviews, audience feedback, reviews, blogs and social media posts, Stock examines the extent to which audiences infer the celebrity translator's own voice from their translations. In doing so, he adds new perspectives to the long-standing debate on the visibility of the translator in both the process of translating and the reception of the translation. Celebrity Translation in British Theatre offers an original approach to theatre translation that sheds light on the culture of celebrity and its capacity to attract new audiences to plays in translation.

The Uncapturable is a wide-ranging reflection on the art of the mise en scene from the perspective of leading Argentinian theatre director Ruben Szuchmacher. It offers a timely and concise, though comprehensive, survey of the role and responsibility of the theatre director from the earliest times to the twenty-first century. Szuchmacher defines theatre as the confluence of four art forms - architecture, visual art, sound and literature - whose works only truly exist in the moment of encounter with an audience. He argues that, by taking full account of these four art forms, analysing them in detail and engaging thoughtfully with the many specialists who come together to bring a mise en scene into being, the director of today can still create work that innovates and inspires. The Uncapturable is as valuable to the apprentice director emerging from their training as it is to the veteran in need of fresh reflection. Szuchmacher draws on the unique learnings gleaned from working in Argentina, be it the impact on theatre of politics, the need for inventiveness in times of hardship, the phenomenon of Argentine 'circus theatre' or the adaptation of literary giants such as Borges, affording the Anglophone reader an alternative perspective on the ideas of theatre we often take for granted. Szuchmacher offers a unique blend of global knowledge, historical awareness and a pragmatic, resourceful and creative approach from a theatre artist working in Latin American through decades of change. The book is translated from the Spanish by William Gregory.