A book on dance-making, centred on practitioners with disabilities but valuable for dancers in all situations. Aimed at the huge range of dance-makers looking to make their work accessible, inclusive and diverse. A leading book in the field on this topic, now updated and expanded to reflect current trends and debates.

This book contains an account of language and drama between 1945 and 2005, synthesizing linguistic and dramatic knowledge in order to illuminate the ways in which anxieties and attitudes toward language manifest themselves in discourses on and around English theatre of the period, and how these anxieties and attitudes reflect back through the theatre of this period.

This collection brings together studies of popular performance and politics across the nineteenth century, offering a fresh perspective from an archivally grounded research base. It works with the concept that politics is performative and performance is political. The book is organised into three parts in dialogue regarding specific approaches to popular performance and politics. Part I offers a series of conceptual studies using popular culture as an analytical category for social and political history. Part II explores the ways that performance represents and constructs contemporary ideologies of race, nation and empire. Part III investigates the performance techniques of specific politicians - including Robert Peel, Keir Hardie and Henry Hyndman - and analyses the performative elements of collective movements. -- .

From television shows like Glee and Smash to the phenomenon of the Broadway show Hamilton, musical theatre has never been more popular. In So You Want to Sing Musical Theatre, Updated and Expanded Edition, Broadway vocal coach Amanda Flynn provides an in-depth look at the skills needed to successfully sing and teach this repertoire. Fully updated to meet the current needs of the profession, this new edition covers a vast array of topics with even deeper discussion: musical theatre history; repertoire; genres used in productions; basic singing voice science; vocal health; audio equipment and microphones; vocal production of musical theatre sounds; acting, dancing, and other movement; working with kids; and auditioning at all levels. The book also includes profiles of Broadway singers that explores their training, methods of vocal upkeep, and advice for singers and teachers. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

This book seeks to bring to life the prolonged dawning of American drama, to outline America's continued quest for a national drama and theatre, and to provide a survey of the development of dramatic criticism in the United States. For more than a century, dramatists and critics alike were in search of a distinct American drama. Wolter reconstructs this search through the contemporary writing that reflected the attitudes and values of the period and attempted to define the future of the country's theatre. After a historical survey of theatrical criticism in America, Wolter provides a comprehensive anthology of representative texts on the state of America theatre prior to 1915. This is followed by a bibliography of more than 500 articles from over 150 years of American theatrical criticism. Augmented by an index of names and key terms referred to in the texts, the volume is an essential guide for scholars of American theatre and cultural history.

"Theatre and Religion on Krishna's Stage" examines the history and form of India's "ras lila" folk theatre, and discusses how this theatre functions as a mechanism of worship and spirituality among Krishna devotees in India. From analyses of performances and conversations with performers, audience, and local scholars, Mason argues that "ras lila" actors and audience alike actively assume roles that locate them together in the spiritual reality that the play represents. Correlating Krishna devotion and theories of religious experience, this book suggests that the emotional experience of theatrical fiction may arise from the propensity of audiences to play out roles of their own through which they share a performance's reality.

Japanese Robot Culture examines social robots in Japan, those in public, domestic, and artistic contexts. Unlike other studies, this book sees the robot in relation to Japanese popular culture, and argues that the Japanese 'affinity' for robots is the outcome of a complex loop of representation and social expectation in the context of Japan's continuing struggle with modernity. Considering Japanese robot culture from the critical perspectives afforded by theatre and performance studies, this book is concerned with representations of robots and their inclusion in social and cultural contexts, which science and engineering studies do not address. The robot as a performing object generates meaning in staged events and situations that make sense for its Japanese observers and participants. This book examines how specific modes of encounter with robots in carefully constructed mises en scene can trigger reflexive, culturally specific, and often ideologically-inflected responses.

In this wide-ranging book, the author weaves a tale of the Franciscan missionary theatre in early colonial Mexico and indigenous dramatizations on the theme of conquest in modern Mexico. The book tells the story of a Jewish playwright in 17th-century Spain who dramatized Christian evangelism in the New World, offering fresh readings of representations of the conquest of Mexico by Dryden and Artaud, and engages in a lively dialogue with Bakhtin's insistence that drama is a monological genre.;This study of the theatre develops into an original meditation on the ethics of cross-cultural encounter offering a new, dialogical model for human and religious encounter in a pluralistic world. By the author of "Theatre and Incarnation". Max Harris has also published articles on literature and religion in "Bulletin of the Comediantes", "Journal of the American Academy of Religion", "Medium Aevum", "Modern Drama", "Radical History Review" and "Restoration".

- A comprehensive and accessible introduction to the essential elements of choreography - practice, theory and contexts - Invaluable for any undergraduate students on Dance Studies or Dance BfA courses across the UK, US and Europe - Gives a much more current and contemporary take on the discipline than most books in this area, aimed at a younger, student audience

- A comprehensive guide to musicals that are based on musicians' existing back catalogues - how they work, why they work and why they are so successful. - Written for musical theatre students at all levels - primarily on the 150 BA degrees across the UK and North America. - The first book to address this relatively new genre of musical theatre, doing so with in-depth and wide ranging analysis.

Gertrude Stein's dramatic texts rely on the absence of many landmarks of traditional theatre, but absence is a very difficult thing to stage. Iconoclastic directors and production teams - including Virgil Thomson, the Living Theatre, the Judson Poets Theatre, the Santa Fe Opera, the Glimmerglass Opera, the Wooster Group, Robert Wilson, Anne Bogart, Frank Galati and Heiner Goebbels - have ardently roamed Stein's spare dramatic 'landscapes', but even these convention-defying artists had to fill some of her absences in order to bring the texts to life on stage. Inevitably contemporary culture infiltrates Stein's pristine topography via these extra-textual additions, transforming it in ways virtually unimaginable when the reader encounters the text on the printed page. It is only by mapping the intersections of written text, performance text, and context, that one can gain a full appreciation of what Stein's dramatic writing has meant at various historical moments, how she herself has been imagined, and how her writing has transformed the landscape of the American alternative theatre.

This collection focuses primarily on Irish playwrights and their works, both in text and on stage during the latter half of the twentieth century. The central figure is Samuel Beckett, whom the contributors use as a springboard to discuss contemporary playwrights such as Brian Friel, Frank McGuinness, Marina Carr, and Conor McPherson, amongst others.

This volume considers prewar theatre in Hitler's Germany, a previously neglected subject in theatre history. An extended introduction sets the theatre scene of 1933 and charts the major theatre regulations and organizations formed that year. The initial essay examines the unified folk community used to achieve power and served by purged and revived German art. Plays that achieved great success in Nazi Germany--"Die endlose Strasse" by Sigmund Graff and six works by Eberhard Wolfgang Moller--are considered. In essays devoted to specific theatres, the work examines how Reinhardt's Grosses Schauspielhaus fared under the Nazis and how the regional Detmold Stadttheater was obliged to observe the new politicized aesthetics.

The famous and privileged actor Werner Krauss is the subject of an essay on artistic responsibility, while a chapter on three famed directors--Grundgens, Fehling, and Hilpert--shows how artists maneuvered for artistic freedom. The Propaganda Ministry's first national festival in Dresden in 1934 is covered. The final two essays look at minority theatre--Jewish theatre in the anti-Semitic Third Reich and, as a postscript to the volume, theatre in the Nazi concentration camps.

This book examines the enactment of gendered in/equalities across diverse Cultural forms, turning to the insights produced through the specific modes of onto-epistemological enquiry of embodied performance. It builds on work from the GRACE (Gender and Cultures of Equality in Europe) project and offers both theoretical and methodological analyses of an array of activities and artworks. The performative manifestations discussed include theatre, installations, social movements, mega-events, documentaries, and literary texts from multiple geopolitical locales. Engaging with the key concepts of re-enactment and relationality, the contributions explore the ways in which in/equalities are relationally re-produced in and through individual and collective bodies. This multi- and trans-disciplinary collection of essays creates fruitful dialogues within and beyond Performance Studies, sitting at the crossroads of ethnography, event studies, social movements, visual studies, critical discourse analysis, and contemporary approaches to textualities emerging from post-colonial and feminist studies.

Milestones in Musical Theatre tracks ten of the most significant moments in musical theatre history, from some of its earliest incarnations, especially those crafted by Black creators, to its rise as a global phenomenon. Designed for weekly use in musical theatre courses, these ten chosen snapshots chart the development of this unique art form and move through its history chronologically, tracking the earliest operettas through the mid-century Golden Age classics, as well as the creative explosion in directing talent which reshaped the form, and moves toward inclusivity which have recast its creators. Each chapter explores how the musical and its history have been deeply influenced by a variety of factors, including race, gender and nationality, and examines how each milestone represents a significant turning point for this beloved art form. Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political and artistic development of foundational subject areas. This book is ideal for diverse and inclusive undergraduate musical theatre history courses.

"This wonderful, eclectic book offers both theoretical and practical insights to actors, directors, and students, while providing fascinating insights to anyone who seeks a greater understanding of the process of creating theater.-Barbara MacKenzie-Wood, head of acting/music theater, Carnegie Mellon University In this updated rich resource for actors, renowned movement teachers and directors reveal the physical skills needed for the stage and the screen. Readers will gain remarkable insights into the physical skills and techniques used in a wide variety of performance styles through ready-to-use exercises and approaches. Included in this new edition are chapters covering: Stage combat Yoga for actors Martial arts Body-mind centering Authentic movement Bartenieff fundamentals Grotowski-based movement Those who want to pursue serious training will be able to consult the appendix for listings of the best teachers and schools in the country. This inspiring collection is a must-read for all actors, directors, and teachers of theater looking for stimulation and new approaches. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Giacomo Puccini's La Boheme is one of the most frequently performed operas in the world. But how did it come to be so adored? In this book, author Alexandra Wilson traces La Boheme's rise to fame and demonstrates that its success grew steadily through stage performances, recordings, filmed versions and the endorsements of star singers. More recently, popular songs, film soundtracks and musicals that draw on the opera's music and themes added further to its immense cultural impact. This cultural history offers a fresh reading of a familiar work. Wilson argues that La Boheme's approach to realism and its flouting of conventions of the Italian operatic tradition made it strikingly modern for the 1890s. She explores how Puccini and his librettists engaged with gender, urban poverty and nostalgia-themes that grew out of the work's own time and continue to resonate with audiences more than 120 years later. Her analysis of the opera's depiction of Paris reveals that La Boheme was not only influenced by the romantic mythologies surrounding the city to this day but also helped shape them. Wilson's consideration of how directors have reinvented this opera for a new age completes this fascinating history of La Boheme, making it essential reading for anyone interested in this opera and the works it inspired.

This work is a timely contribution to the debates surrounding feminism, theatre and performance. The excellent, cross-generational mix of theatre scholars and practitioners engaging in lively, cutting-edge debates on critical topics make this essential reading for students and scholars in Theatre and Performance Studies as well as Gender Studies.

AS and A level Drama is changing, from September 2016 there will be a new A level Drama and Theatre qualification covering the revised criteria. Pearson's brand new published resources are designed to support teachers in delivering the content in a practical and engaging way and help students of all abilities prepare for the new exam. 1) Tailor-made for the new specification New resources written specifically for the new Edexcel AS and A level Drama specification, to cover all components of the new qualification. 2) Focus on exam preparation Specific guidance for students focusing on exam skills, with sample answers and commentaries and support around analysing and evaluation for the portfolio. 3) A practical focus at the heart Our course is designed to support the new Edexcel specification in its practical focus. Our new resources provide worksheets, teaching notes and practical workshop ideas to help students engage with the set texts. 4) Designed to help every student make progress Clearly structured sections help students of all abilities develop the skills needed throughout the course, with support for lower ability students with written work. The Edexcel AS and A Level Drama and Theatre Student Book focuses on supporting students throughout the course in developing the skills they need for the exam component, Theatre Makers in Practice. The Student Book includes: guidance and activities for studying and exploring all the set texts introductions to set practitioners and support on developing knowledge and understanding of their methodologies support with analysing and evaluating live theatre productions guidance on responding to unseen extracts in the exam a Preparing for your Exam section with sample answers and commentaries for both AS and A level assessments. The Edexcel AS/A Level Drama and Theatre ActiveBook is an online edition of the Student Book that can be personalised with annotations and notes, designed for independent student access anywhere, any time.

"A vivid page-turner" (NPR) detailing the rise, fall, and redemption of Broadway-its stars, its biggest shows, its producers, and all the drama, intrigue, and power plays that happened behind the scenes. "A rich, lovely, debut history of New York theater in the 1970s and eighties" (Kirkus Reviews, starred review), Razzle Dazzle is a narrative account of the people and the money and the power that turned New York's gritty back alleys and sex-shops into the glitzy, dazzling Great White Way. In the mid-1970s Times Square was the seedy symbol of New York's economic decline. Its once shining star, the renowned Shubert Organization, was losing theaters to make way for parking lots and losing money. Bernard Jacobs and Jerry Schoenfeld, two ambitious board members, saw the crumbling company was ripe for takeover and staged a coup and staved off corporate intrigue, personal betrayals and criminal investigations. Once Jacobs and Schoenfeld solidified their power, they turned a collapsed theater-owning holding company into one of the most successful entertainment empires in the world, spearheading the revitalization of Broadway and the renewal of Times Square. "For those interested in the business behind the greasepaint, at a riveting time in Broadway's and New York's history, this is the ticket" (USA TODAY). Michael Riedel tells the stories of the Shubert Organization and the shows that re-built a city in grand style-including Cats, A Chorus Line, and Mamma Mia!-revealing the backstage drama that often rivaled what transpired onstage, exposing bitter rivalries, unlikely alliances, and inside gossip. "The trouble with Razzle Dazzle is...you can't put the damn thing down" (Huffington Post).

The Family of Love charts a successful love intrigue between the cash-strapped Gerardine, and Maria, the sequestered niece of the mercenary Doctor Glister. Their romance unfolds against the dissection of two citizen marriages, the Glisters' and the Purges'. Mistress Purge attends Familist meetings independently, arousing her husband's suspicions about her marital fidelity. Two libertines, Lipsalve and Gudgeon, go in search of sex and solubility (freedom from constipation), receiving more than they bargain for in respect of the latter. This scholarly edition of Family of Love marks the first occasion on which the comedy is attributed to Lording Barry in print. It brings together literary and historical discussion with a thorough analysis of the play's disputed authorship. Tomlinson highlights Barry's rich vein of burlesque humour in a comedy that combines magic, a trunk, and a mock-court session with vigorous colloquial language. -- .

Outlines key physical and mental preparation tips and skills for students training to become performers. This book is meant to serve as a companion to live instruction in acting, musical theatre, theatre movement, physical theatre, and dance classes, encouraging a deeper analysis of studio work to ignite thoughtful in-class discussions, innovative research, and creativity in performance. Focuses on the development of the actor-dancer, instead of prioritizing one over the other.