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Books > Arts & Architecture > Performing arts > Theatre, drama
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Olanda
(Hardcover)
Rafal Wojasiński; Translated by Charles S. Kraszewski
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R783
R688
Discovery Miles 6 880
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A Complete History of the English Stage
- Introducted by a Comparative and Comprehensive Review of the Asiatic, the Grecian, the Roman, the Spanish, the Italian, the Portuguese, the German, the French, and Other Theatres, and Involving Biographical...; 1
(Hardcover)
Charles 1745-1814 Dibdin
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R1,038
Discovery Miles 10 380
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Hansard; noun The official report of all parliamentary debates.
Hansard is an intimate domestic drama about a long and troubled
marriage. It is also a comedy about politics and identity and the
failings of the ruling class. Set around the passing of the Section
28 legislation in 1988, which banned the "promotion" of
homosexuality. It is funny, tender, brutal, and ultimately
devastating. Hansard premiered at the National Theatre, London, in
August 2019.
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Othello
(Paperback)
William Shakespeare
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R432
Discovery Miles 4 320
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Othello
(Hardcover)
William Shakespeare
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R662
Discovery Miles 6 620
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Ships in 12 - 19 working days
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Eubanks Winkler and Schoch reveal how - and why - the first
generation to stage Shakespeare after Shakespeare's lifetime
changed absolutely everything. Founder of the Duke's Company, Sir
William Davenant influenced how Shakespeare was performed in a
profound and lasting way. This open access book provides the first
performance-based account of Restoration Shakespeare, exploring the
precursors to Davenant's approach to Restoration Shakespeare, the
cultural context of Restoration theatre, the theatre spaces in
which the Duke's Company performed, Davenant's adaptations of
Shakespeare's plays, acting styles, and the lasting legacy of
Davenant's approach to staging Shakespeare. The eBook editions of
this work are available open access under a CC BY-NC-ND 4.0 licence
on bloomsburycollections.com. Open access was funded by Queens
University Belfast.
This volume responds to a renewed focus on tragedy in theatre and
literary studies to explore conceptions of tragedy in the dramatic
work of seventeen canonical American playwrights. For students of
American literature and theatre studies, the assembled essays offer
a clear framework for exploring the work of many of the most
studied and performed playwrights of the modern era. Following a
contextual introduction that offers a survey of conceptions of
tragedy, scholars examine the dramatic work of major playwrights in
chronological succession, beginning with Eugene O'Neill and ending
with Suzan-Lori Parks. A final chapter provides a study of American
drama since 1990 and its ongoing engagement with concepts of
tragedy. The chapters explore whether there is a distinctively
American vision of tragedy developed in the major works of
canonical American dramatists and how this may be seen to evolve
over the course of the twentieth century through to the present
day. Among the playwrights whose work is examined are: Susan
Glaspell, Langston Hughes, Tennessee Williams, Arthur Miller,
Edward Albee, Lorraine Hansberry, Amiri Baraka, August Wilson,
Marsha Norman and Tony Kushner. With each chapter being short
enough to be assigned for weekly classes in survey courses, the
volume will help to facilitate critical engagement with the
dramatic work and offer readers the tools to further their
independent study of this enduring theme of dramatic literature.
Dramaturgy is at the heart of any musical theatre score, proving
that song and music combined can collectively act as drama. The
Musical Theatre Composer as Dramatist: A Handbook for Collaboration
offers techniques for approaching a musical with the drama at the
centre of the music. Written by a working composer of British
musical theatre, this original and highly practical book is
intended for composers, students of musical theatre and performing
arts and their collaborators. Through detailed case studies,
conceptual frameworks and frank analysis, this book encourages the
collaboration between the languages of music and drama. It offers a
shared language for talking about music in the creation of musical
theatre, as well as practical exercises for both composers and
their collaborators and ways of analysing existing musical theatre
scores for those who are versed in musical terminology, and those
who are not. Speaking directly to the contemporary artist, working
examples are drawn from a wide range of musicals throughout Part
One, before a full case study analysis of Matilda the Musical
brings all the ideas together in Part Two. Part Three offers a
range of practical exercises for anyone creating new musicals,
particularly composers and their collaborators.
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