Creating Musical Theatre features interviews with the directors and choreographers that make up today's Broadway elite. From Susan Stroman and Kathleen Marshall to newcomers Andy Blankenbuehler and Christopher Gattelli, this book features twelve creative artists, mostly director/choreographers, many of whom have also crossed over into film and television, opera and ballet. To the researcher, this book will deliver specific information on how these artists work; for the performer, it will serve as insight into exactly what these artists are looking for in the audition process and the rehearsal environment; and for the director/choreographer, this book will serve as an inspiration detailing each artist's pursuit of his or her dream and the path to success, offering new insight and a deeper understanding of Broadway today. Creating Musical Theatre includes a foreword by four-time Tony nominee Kelli O'Hara, one of the most elegant and talented leading ladies gracing the Broadway and concert stage today, as well as interviews with award-winning directors and choreographers, including: Rob Ashford (How to Succeed in Business Without Really Trying); Andy Blankenbuehler (In the Heights); Jeff Calhoun (Newsies); Warren Carlyle (Follies); Christopher Gattelli (Newsies); Kathleen Marshall (Anything Goes); Jerry Mitchell (Legally Blonde); Casey Nicholaw (The Book of Mormon); Randy Skinner (White Christmas); Susan Stroman (The Scottsboro Boys); Sergio Trujillo (Jersey Boys); and Anthony Van Laast (Sister Act).

After fifteen years of marriage, Daniel and Sylvia find themselves drifting further apart with each passing day. Until one morning, they find themselves abruptly united by every parent's worst nightmare... The shoes have been polished, the vases are full and the phone is ringing off the hook, but there's one thing they're still missing...answers. Forced into a confrontation, years of resentment and things long left unsaid rise to the surface as they question the circumstances that brought them to this point, and what happens to your relationship when the only thing holding you together, threatens to tear you apart. A timely spotlight on love and loss, Til Death Do Us Part is the debut play of Safaa Benson-Effiom, and was a finalist in the 2020 Theatre503 International Playwriting Award and Soho Theatre's 2019 Tony Craze award. Originally presented as a Theatre503 and Darcy Dobson Productions co-production.

Provides a comprehensive survey of approaches to genre in Shakespeare's work. Contributors probe deeply into genre theory and genre history by relating Renaissance conceptions. In this sense, the volume proposes to read Shakespeare through genre and, just as importantly, read genre through Shakespeare.

George Frederick Cooke was a member of that select company of legendary actors -- Garrick, Kemble, Henderson, Kean -- who dominated the English stage during the late 18th and early 19th centuries. He was the first important actor to cross the Atlantic and to play the theatres of the new United States. Don B. Wilmeth's extensive research in Cooke's journal and in many other contemporary sources provides us with a new appreciation of the actor's importance.

This 11-volume collection contains titles originally published between 1931 and 1992. It examines the genre of comedy, from its roots in ancient Greece, through the centuries, to the relatively modern stand-up variety. The individual titles include the theory of comedy; perspectives on women and comedy; comedy in film; European comedy; Restoration comedy and more. This set will be a valuable resource for those students interested in comedy in both literature and drama.

Designed to aid the student, librarian, teacher, or professional singer, this annotated bibliography provides access to more than 500 books, journals, and electronic resources. Included as well are chapters listing dictionaries and encyclopedias for opera and musical theater, biographical sources, guides to vocal literature and repertoire, and resources for vocal pedagogy and for the stage. Equally helpful are sources that list plots and synopses, translations, diction, travel and education.

Providing ready access to a variety of topics and resources necessary for vocal study, this important reference will introduce music students to reliable, essential sources for their study, assist teachers and coaches in finding reference tools, and assist reference librarians in locating sources for patrons. The alphabetical organization within subject makes this reference easy to understand and easy to access. Three indexes allow for convenient cross-referencing.

This set gathers together a collection of previously out-of-print titles that examine China's great heritage in literature, poetry, theatre and performance, painting and crafts. This reference resource spans Chinese traditions and artforms to provide in-depth analysis of some of China's great cultural treasures from many different periods in the country's long history.

Like many western boomtowns at the turn of the twentieth century, Spokane, Washington, enjoyed a lively theatrical scene, ranging from plays, concerts, and operas to salacious variety and vaudeville shows. Yet even as Spokanites took pride in their city's reputation as a ""good show town,"" the more genteel among them worried about its ""Wild West"" atmosphere. In Show Town, historian Holly George correlates the clash of tastes and sensibilities among Spokane's theater patrons with a larger shift in values occurring throughout the Inland West - and the nation - during a period of rapid social change. George begins this multifaceted story in 1890, when two Spokane developers built the lavish Auditorium Theater as a kind of advertisement for the young city. The new venue catered to a class of people made wealthy by speculation, railroads, and mining. Yet the refined entertainment the Auditorium offered conflicted with the rollicking shows that played in the town's variety theaters, designed to draw in the migratory workers - primarily single men - who provided labor for the same industries that made the fortunes of Spokane's elite. As well-to-do Spokanites attempted to clamp down on the variety theaters, performances at even the city's more respectable, ""legitimate"" playhouses began to reflect a movement away from Victorian sensibilities to a more modern desire for self-fulfillment - particularly among women. Theaters joined the debate over modern femininity by presenting plays on issues ranging from woman's suffrage to shifting marital expectations. At the same time, national theater monopolies transmitted to the people of Spokane new styles and tastes that mirrored larger cultural trends. Lucidly written and meticulously researched, Show Town is a groundbreaking work of cultural history. By examining one city's theatrical scene in all its complex dimensions, this book expands our understanding of the forces that shaped the urban American West.

This unique text is both an accessible introduction and specialist review of contemporary dramatherapy practice today. The collected chapters introduce critical and cohesive perspectives on dramatherapy as it is being practiced, developed and advanced in diverse contexts, and also investigate the connections between the discipline of dramatherapy both as an allied health profession, a form of psychotherapy and a traditional form of theatre and healing. In so doing, the volume unpicks the relationship between drama and therapy, exploring some of its key philosophies and practices, and examining its efficacy. Edited by two experienced lecturers and dramatherapists, the book stands as a timely and crucial resource for students and practitioners alike in this growing field. It is essential reading for students on dramatherapy, arts therapy and applied theatre degree programmes, and useful background reading for students of theatre and performance, counselling and psychotherapy.

There is no fourth wall in popular performance. The show is firmly rooted in the here and now, and the performers address the audience directly, while the audience answer back with laughter, applause or heckling. Performer and role are interlaced, so that we are left uncertain about just how the persona we see onstage might relate to the private person who presents it to us. Popular Performance defines and surveys varieties of performance where the main purpose is to entertain, and where there is no shame in being trivial, frivolous or nonsensical as long as people go home happy at the end of the show. Contributions by new and established scholars focus particularly on how it is made, explaining the techniques of performance and production that make it so appealing to audiences. With sections examining how popular performance works in a range of historical and contemporary examples, readers will gain insights into: * performance forms associated with the variety tradition: music hall, vaudeville, cabaret, variety * performance forms associated with circus: wild west shows, clowning * issues relating to the identity of the performer in relation to magic, burlesque, pantomime in contemporary performance * issues relating to venue and audience in relation to contemporary street theatre, stand-up, and live sketch comedy.

Intimacy Across Visceral and Digital Performance is an edited collection designed to address a diverse set of critical responses to and practical interrogations of the notion of being intimate in emergent and hybrid performance practices, aiming to elicit connectivity and provoke debate about the potency, nature and agency of intimacy in contemporary performance.Lauren Berlant suggests that 'intimacy (...) involves an aspiration for a narrative about something shared' (2000, p. 1). Sensing intimacy in performance relocates registers of affect from the private experience to the public sphere. Within the current climate of intense global political, social and financial insecurity and unrest, at a time infused with both hope and fear, artists appear to be demonstrating a desire for intimacy and closeness with the Other. Those public figurings of intimacy - staged through contemporary performance, visual culture and digital art practices - become the cultural fuel which, when placed alongside political potentialities, can ignite debates and provocations such as those contained herein.

Following an outline history of the monologue as an independent genre in the theater of Latin America, this bibliography incorporates all published and unpublished, staged and unstaged monologue pieces written in Latin America. The bibliographical entries are grouped in three chronological periods reflecting the fundamentally distinct nature of the monolgue during each of its periods of development. Within each grouping, the plays are listed alphabetically by author under an alphabetical roster of country headings. Each playwright's years of birth and death are given, if known, as well as the country of origin if that differs from the geographical category into which the dramatist has been placed. All known editions of the monologues are included. For unpublished works, an abbreviated reference source is given. Each title is followed by the generic description applied to the work by the author or publisher, or by reviewers or historians in the case of unpublished pieces. The secondary bibliography lists works which deal with the monologue as a literary genre.

Based on her award-winning blog, "The Feminist Spectator," Jill Dolan presents a lively feminist perspective in reviews and essays on a variety of theatre productions, films and television series--from The Social Network and Homeland to Split Britches' Lost Lounge.
Demonstrating the importance of critiquing mainstream culture through a feminist lens, Dolan also offers invaluable advice on how to develop feminist critical thinking and writing skills. This is an essential read for budding critics and any avid spectator of the stage and screen.

This text proposes a new way to consider theatre and performance that claims a special relationship to reality, truth and authenticity. It documents innovations in devising and staging theatre and performance that takes reality as its subject, cultural shifts that have generated theatre of the real, some of its problems and some possibilities.

The crafts of governance and diplomacy are spectacular, theatrical, and performative. Performing Statecraft investigates the performances of states, their leaders, and their citizens on an expanded field of the global arts of statecraft to consider the role of performance in the domestic and international affairs of states, and the interventions into global politics by artists, scholars, and activists. Treating theatre as both an art form and a practice of political actors, this book draws together scholarship on the embodied dimensions of governance, the stagecraft of revolution, arts activism on the world stage, sports performance by heads of state, the performativity of national dress, speechmaking and colonialism, war and medicine, singing diplomats, indigenous sovereignties, and performed nationalisms. It brings the perspective and methods of performance studies to bear on global politics, offering exciting new insights into encounters between states, sovereigns, and people. Whether one is watching a campaign speech, a nightly news broadcast, a sacred dance, or a play about global conflict, these chapters make clear the importance of performance as a tool wielded by amateurs and professionals to articulate the nation in global spaces.

From ca. 1300 a new genre developed in European literature, Neo-Latin drama. Building on medieval drama, vernacular theatre and classical drama, it spread around Europe. It was often used as a means to educate young boys in Latin, in acting and in moral issues. Comedies, tragedies and mixed forms were written. The Societas Jesu employed Latin drama in their education and public relations on a large scale. They had borrowed the concept of this drama from the humanist and Protestant gymnasia, and perfected it to a multi media show. However, the genre does not receive the attention that it deserves. In this volume, a historical overview of this genre is given, as well as analyses of separate plays. Contributors include: Jan Bloemendal, Jean-Frederic Chevalier, Cora Dietl, Mathieu Ferrand, Howard Norland, Joaquin Pascual Barea, Fidel Radle, and Raija Sarasti Willenius.

This book investigates the implications of technology on identity in embodied performance; the discussion within it forms a forum of debate exploring the interrelationship of and between identities in performance practices, informed by new technologies. This collection considers how identity is formed, de-formed, constructed, deconstructed, blurred and celebrated within diverse approaches to technological performance practices.Digital practices as experimental artworks and performances both serve as critique and have an indirect affect on the social and political. The discussions included in this collection highlight how a redefinition of the latter term comes about in as much as they question the very nature of our accepted ideas and belief systems regarding new technologies. These essays demonstrate how embodied technological practice, as with all avant-garde art, presents itself and any analysis applied to it as an experimental extension of the socio-political and cultural experience of an epoch.

This study looks at nineteenth - and early twentieth-century opera as part of a culture which produced fascism as a crisis-state, and threatened to extinguish the genre as an influential and contemporary high form of art altogether. Jeremy Tambling highlights the themes of the cultural crisis through a detailed discussion of some dozen operas and a general overview of the works of Wagner, Verdi, Puccini, Strauss, and others, drawing on the writings of Nietzsche, Adorno, Benjamin, and Heidegger, for an understanding of the ideological background. Reading fascism as a political, intellectual, and psychological phenomenon, the author draws on the works of Bataille, Theweleit, and Kristeva, for discussion of proto-fascist and fascist thought, and for its relation to gender-politics. Resisting the cliches about Wagner or Strauss's relationship to the Third Reich, Tambling takes the opera out the hermetically sealed-off state in which it is normally discussed, and presents it as both complicit in, and in opposition to, the reactionary and regressive pressures that made up the `culture of fascism', and those that tried to make opera part of the `fascism of culture'.

Ethical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre. In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.

Theatre and Aural Attention investigates what it is to attend theatre by means of listening. Focusing on four core aural phenomena in theatre - noise, designed sound, silence, and immersion - George Home-Cook concludes that theatrical listening involves paying attention to atmospheres.