(Limelight). "Reading like a who's who of Broadway and Hollywood... this] is a valuable piece of theatrical history...Lloyd is a self-effacing, articulate actor-director-producer whose stories are as insightful as they are warm and often humorous." Choice

Indonesian Postcolonial Theatre explores modern theatrical practices in Indonesia from a performance of Hamlet in the warehouses of Dutch Batavia to Ratna Sarumpaet's feminist Muslim Antigones. The book reveals patterns linking the colonial to the postcolonial eras that often conflict with the historical narratives of Indonesian nationalism.

"Justice Performed: Courtroom TV Shows and the Theaters of Popular Law" is the first study of the reality TV genre to trace its theatrical legacy, connecting the phenomenon of the daytime TV shows to a long history of theatrical trials staged to educate audiences in pedagogies of citizenship. It examines how judge TV fulfills part of law's performative function: that of providing a participatory spectacle the public can recognize as justice. Since it debuted in 1981 with "The People's Court," which made famous its star jurist, Judge Joseph A. Wapner, dozens of judges have made the move to television. Unlike the demographics in actual courts, most TV judges are non-white men and women hailing from diverse cultural and racial backgrounds. These judges charge their decisions with personal preferences and cultural innuendos, painting a very different picture of what justice looks like. Drawing on interviews with judge TV judges, producers and production staff, as well as the author's experience as a studio audience member, the book scrutinizes the performativity of the genre, the needs it meets and the inherent ideological biases about race, gender and civic instruction.

This book explores an under-researched body of work from the early decades of the twentieth century, connecting plays, performances and practitioners together in dynamic dialogues. Moving across national, generational and social borders, the book reads experiments in Britain during this period alongside theatrical innovations overseas.

"This catalog could assist directors, actresses, producers, and feminists who want to monitor how women are portrayed in the theater. For almost any drama or women's collection." Reference Books Bulletin

Oklahoma! opened nearly sixty years ago and instantly made musical theatre history. It was a daring ahead-of-its-time piece of dazzlingly inventive theatre that exploded every myth about what constitutes a successful musical. Revised and updated to include a special section on the Roayl National Theatre's production that Cameron Mackintosh is presenting on Broadway in spring of 2002, OK! The Story of "Oklahoma!" celebrates this watershed work that has taken its place in the pantheon of American musical theatre.

This book investigates how contemporary artistic practices engage with the body and its intersection with political, technological, and ethical issues. Departing from the relationship between corporeality and performing arts (such as theater, dance, and performance), it turns to a pluriversal understanding of embodiment that resides in the extra violent conditions of contemporary global necro-capitalism in order to conduct a thorough analysis that goes beyond arts and culture. It brings together theoretical academic texts by established and emerging scholars alike, exposing perspectives form different fields (philosophy, cultural studies, performance studies, theater studies, and dance studies) as well as from different geopolitical contexts. Through a series of thematic clusters, the study explores the reactivation of the body as a site of a new meaning-making politics.

The fat female body is a unique construction in American culture that has been understood in various ways during the twentieth and early twenty-first centuries. Analyzing post-WWII stage and screen performances, Mobley argues that the fat actress's body signals myriad cultural assumptions and suggests new ways of reading the body in performance.

"Baggy Pants Comedy takes readers inside the burlesque houses of Depression-era America to explore the role of comedy in a show remembered mostly for strip-tease. It examines how burlesque comics, straightmen, and talking women approached the craft of comedy, working in a genre that relied not on scripts but on a remembered tradition of comedy bits that circulated orally. The book opens a long-neglected area of American folklore, presenting dozens of fondly-remembered routines like "Who's On First" and "Niagara Falls (Slowly I Turned)," as well as long-forgotten classics in print for the first time"--

By examining four playwrights - George Bernard Shaw, Bertolt Brecht, Jean-Paul Sartre, and Eugene Ionesco - Politics and Theatre in Twentieth-Century Europe looks at how political theatre has unraveled in the modern era due to the 'art of separation, ' wherein political concerns have been removed from the realm of theatre. When political theorists often discuss theatre, they do so mainly within the confines of ancient Greek playwrights, overlooking the salient and meaningful political discourse within more contemporary literature. Focusing squarely on the political elements of Shaw, Brecht, Sarte, and Ionesco, Morgan reintroduces political discourse into discussions of theatre - linking playwright to political philosopher, and their literature to the greater field of political discourse.

The past decade has overflowed in a raging stream of contradictions. Old certainties have yielded to relentless insecurity over a time when much of the human experience got immeasurably better even as many things only ever seemed to get worse. As Paul du Quenoy's globetrotting criticism reveals, the arts were in a ferment that matched profound and yet totally unpredicted social and political transformations. Balanced, sometimes precariously, against the demands of an absurd and increasingly superfluous academic career, du Quenoy spent the 2010s seeking enlightenment, inspiration, and, above all, diversion, in total works of art all over the world, ranging from the traditional cultural capitals to humbler and more remote surroundings. Peering through the prism of performance, Through the Years With Prince Charming offers a unique bird's eye view of art and life in a changing world.

This annual chronicle of American theatre features a collection of essays and articles by noted theatre critics and writers that celebrates the past season, and its ten best plays. In addition, "The Best Plays Theatre Yearbook" also features a stunning array of facts and figures about everything you ever wanted to know about Broadway, Off-Broadway, and Off-Off Broadway shows for the year - all accompanied by 100 black and white photographs. This comprehensive volume is a must-have for anyone who loves American theatre - from smash musicals to one-man shows.

Este libro de coleccion que tiene usted en sus manos, es un tesoro. En sus paginas se hallan impresas las vivencias y experiencias de personas que de una manera u otra, estuvieron relacionadas con el Teatro Million Dollar. Este recinto, que fue fundado por el senor Sid Grauman en 1918, nacio como una sala cinematografica y eventos teatrales en idioma ingles. Con motivo del estallamiento de la Segunda Guerra Mundial, este teatro se mantuvo cerrado entre los anos 1941 y 1945. Al termino de aquella conflagracion belica, fue que lo reabrieron y lo convirtieron en sede de eventos latinos o hispanos, ganandose el sobrenombre de La Catedral del Espectaculo Latino en Los Angeles. Asi que este libro guarda en sus paginas, la historia veridica narrada por los protagonistas que vivieron la gloriosa epoca del Million Dollar Theatre. Quienes antes se preguntaron, como fue que este teatro se convirtio en La Catedral del Espectaculo latino en Los Angeles?, aqui encontraran la respuesta dentro de este libro.

The theatre is an essential art form that is forever evolving. A well-written play can make us laugh, cry, cringe, or reflect. It can confirm what we already know, or it can introduce us to new worlds. It can relax us, or incite us to action. Writing for the Stage - A Playwright's Handbook is a step-by-step guide to dramatic writing. Drawing on proven methods and professional insights, this book explores the mechanics of playwriting and the skills needed to create a compelling story. It aims to help readers understand the art and craft of writing for the stage and avoid some of the pitfalls. Topics covered include defining a play; starting points; the importance of structure; the first draft and rewrites; placing the work and negotiating rehearsals and, finally, the playwright in a devising context.

The contributors explore diverse contexts of performance to discuss peoples' own reflections on political subjectivities, governance and development. The volume refocuses anthropological engagement with ethics, aesthetics, and politics to examine the transformative potential of political performance, both for individuals and wider collectives.

This is an intriguing look into one of the most important periods in the illustrious history of New York's Metropolitan Opera. "Start-Up at the New Met" looks at ten years between 1966 and 1976, which saw the move from its old home in up-town New York, to the Lincoln Centre - one of the most cutting edge and technologically advanced arts complexes in the world. It also looks at the last six years of Rudolph Bing's tenure as manager, who brought in stars such as Maria Callas, Placido Domingo and Luciano Pavarotti. This fascinating volume looks at all the highs and lows, the backstage turmoil, the front of house controversy and the one hundred and forty performances of this important era in the history of, probably, the world's most revered opera company.

If the city is the theatre of urban life, how does architecture act in its many performances? This interdisciplinary book reconstructs the spatial experiments of Art et action, a theatre troupe active in 1920s Paris, that defined five distinct types of modern performance, types which mirror social institutions and events. The analysis focuses on Art et Action's designs for theatre buildings to show how the performance spaces interacted with actors and spectators according to their respective type, thus commenting on the characteristic events of urban life. For scholars of theatre, the study demonstrates the interdependence of spatial design and drama at a crucial moment in the history of contemporary performance. For architects, the work offers a model in theatre for how architecture might act in the daily drama of urban life, supporting current efforts to make our cities more vital and thus more sustainable.

Thirty-three leading American and British playwrights, from Robert Anderson to Paul Zindel, discuss their views on their own work and contemporary drama, and offer projections about theater for the 21st century. Proceeding from the premise that recent drama in various ways is a reaction to the modernism of Theater of the Absurd, the interviewer, John DiGaetani, terms the diverse responses postmodernism. This concept, while not universally accepted by the playwrights interviewed, becomes a point of departure for lively dialogue, providing insights into the particular playwrights and on contemporary theater in general. Included among the interviewees are farcists, such as Alan Ayckbourn, Tina Howe, and Michael Frayn; playwrights of ethnic and black theater, such as Amlin Gray, Ed Bullins, and August Wilson; embodiments of Chekhovian theater, such as Simon Gray and A. R. Gurney; Maximalists like David Henry Hwang; feminists like Marsha Norman and Timberlake Wertenbaker; exponents of gay theater like Mart Crowley and William Hoffman; social critics like David Storey and Israel Horovitz; and traditionalists like Horton Foote, Romulus Linney, and Robert Anderson. Despite these broadly applied labels, clearly the output of these playwrights cannot be neatly pigeonholed even individually--let alone collectively--to describe any prevailing mode. Therefore, interviewer DiGaetani has chosen to stay with the appellation postmodernism, a widely accepted critical term in the arts used to signify a reaction to what is now an old-fashioned modernism.

Following the ground-breaking Performance and the City, this new volume explores what it means to create and experience urban performance - as both an aesthetic and a political practice - in the burgeoning world cities built by globalization and neoliberal capital. Featuring work by artists as well as scholars, written from multiple disciplinary perspectives, and including dozens of photographs as well as a photo essay by Nicholas Whybrow, Performance and the Global City will appeal to readers interested in urban studies, theatre and performance, geography, sociology, and globalization studies.

Beckett's bilingual oeuvre has been approached from many angles, most of which stress its autonomy from understandings of Irishness emerging from the Irish Literary Revival. Emilie Morin shows that such autonomy is only apparent, and that Beckett's avant-garde practices remain bound to the exigencies that govern their very development.