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Books > Arts & Architecture > Performing arts
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Dear Baby Journal
(Hardcover)
Jacqueline Regano; Illustrated by Pearly L
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R450
R417
Discovery Miles 4 170
Save R33 (7%)
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From the Largest Theatre Group in the World to The Oldest Stage in
England and the Future of the Theatre Michael Wheatley-Ward has had
invaluable experience of the theatre management business as the
pages of this book will reveal. Here is a colourful entertainment
all of its own of the risks involved in production management from
the wings as well as front of house. A wealth of knowledge which
has been gained through knowing and working with some leading
actors, directors and producers in the theatre business over fifty
years. From some of London's West End play houses, cinemas and
provincial picture houses to the second oldest theatre in England,
the Theatre Royal Margate. This centre was one of local controversy
in 2007, which led to the creation of the Sarah Thorne Theatre in
Broadstairs. For the reader the second purpose of this book, will
be to gain an objective account of the events which actually took
place, through the reports of some of those involved in the
experience.
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.
This book examines the dynamics of the relational and spatial
politics of contemporary French theatrical production, with a focus
on four theatres in the Greater Paris region. It situates these
dynamics within the intersection of the histories of the public
theatre and theatre decentralization in France, and the dialogues
between live performances and the larger frameworks of artistic
direction and programming as well as various imaginations of the
"public". Understanding these phenomena, as well as the politics
that underscore them, is key to understanding not only the present
status of the public theatre in France, but also how theatre as a
publicly funded institution interacts with the notion of the
plurality, rather than the homogeneity, of its publics.
InkShard is a compendium of articles and social commentary, written
by author Eric Muss-Barnes, between 2004 and 2018. Revised and
expanded, this volume assembles various topics culled from posts on
social media websites to the scripts of video essays. Carefully
compiled from the finest of his journalistic work, InkShard
represents the definitive collection of Eric's most compelling
dissertations and beloved editorials.
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