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As the first book-length study of waterborne festivities in
Renaissance and early modern Europe, this collection of essays
draws on a rich array of sources, many previously un-researched, to
explore aspects of scenography, choreography, music, fashion,
painting, sculpture, architecture, stage-and personnel-management
and urban planning as evinced in spectacles staged on water. Bodies
of water in all their variety are explored here: seas, rivers,
fountains, lakes and canals and flooded improvised locations within
or adjacent to great buildings all provided stages for elaborate
and costly performances, utilising the particular qualities of
water to reflect light and distort sound. The volume encompasses
festivals marking a wide range of occasions from the election of
civic officials, the welcome of a monarch, an investiture or
coronation, to ambassadorial visits or the arrival of a royal or
ducal bride or bridegroom. Often taking the form of re-enactments
of naval battles or legendary seaborne quests, these festivals seek
to buttress civic and national pride, make claims to mastery over
the sea and landscape, and explore the imaginative as well as
practical life of performance space which has been a hallmark of
the research and publication of this volume's honorand, J.R.
(Ronnie) Mulryne.
As the first book-length study of waterborne festivities in
Renaissance and early modern Europe, this collection of essays
draws on a rich array of sources, many previously un-researched, to
explore aspects of scenography, choreography, music, fashion,
painting, sculpture, architecture, stage-and personnel-management
and urban planning as evinced in spectacles staged on water. Bodies
of water in all their variety are explored here: seas, rivers,
fountains, lakes and canals and flooded improvised locations within
or adjacent to great buildings all provided stages for elaborate
and costly performances, utilising the particular qualities of
water to reflect light and distort sound. The volume encompasses
festivals marking a wide range of occasions from the election of
civic officials, the welcome of a monarch, an investiture or
coronation, to ambassadorial visits or the arrival of a royal or
ducal bride or bridegroom. Often taking the form of re-enactments
of naval battles or legendary seaborne quests, these festivals seek
to buttress civic and national pride, make claims to mastery over
the sea and landscape, and explore the imaginative as well as
practical life of performance space which has been a hallmark of
the research and publication of this volume's honorand, J.R.
(Ronnie) Mulryne.
In this book, originally published in 1999, leading Shakespeare
scholars from Japan and the West broke new ground by studying the
interaction of Japanese and Western conceptions of Shakespeare, and
the assimilation of Shakespeare into richly traditional theatre
practice. The first part deals with key twentieth-century moments
in the production of Shakespeare, including the work of
world-famous Japanese directors such as Ninagawa, Suzuki and Noda,
while the second part considers parallels and differences between
Japanese and western theatre over a longer timespan, focusing on
the relationship of Shakespeare to traditional Japanese Noh,
Kabuki, Bunraku and Kyogen. Additional features include full-colour
illustrations, a comprehensive chronology of Shakespeare
performances in Japan and the English text of a celebrated Kyogen
adaptation of The Merry Wives of Windsor.
This collection of commissioned essays by established scholars,
responds to critical debate on political theatre of the turbulent
early years of the seventeenth century. Theatre is widely
interpreted. The authors discuss censorship, the social
implications of pageantry, Reformation ideals, popular theatre and
the politics of the masque throughout the period. An early chapter
discusses political theatre in the light of work by revisionist and
post-revisionist historians. The drama of Jonson, Dekker,
Middleton, Massinger, Chapman, Heywood and Rowley is given detailed
attention, while Shakespeare's plays are considered in the
introductory chapter.
In this book, originally published in 1999, leading Shakespeare
scholars from Japan and the West broke new ground by studying the
interaction of Japanese and Western conceptions of Shakespeare, and
the assimilation of Shakespeare into richly traditional theatre
practice. The first part deals with key twentieth-century moments
in the production of Shakespeare, including the work of
world-famous Japanese directors such as Ninagawa, Suzuki and Noda,
while the second part considers parallels and differences between
Japanese and western theatre over a longer timespan, focusing on
the relationship of Shakespeare to traditional Japanese Noh,
Kabuki, Bunraku and Kyogen. Additional features include full-colour
illustrations, a comprehensive chronology of Shakespeare
performances in Japan and the English text of a celebrated Kyogen
adaptation of The Merry Wives of Windsor.
The rebuilding of the Globe theater (1599-1613) on London's Bankside, a few yards from the site of the playhouse in which many of Shakespeare's plays were first performed, must rank as one of the most imaginative enterprises of recent decades. The realization of the vision of Sam Wanamaker and his architect Theo Crosby, it has aroused intense interest among scholars and the general public worldwide. In anticipation of the official opening and the first performance season, visitors have been drawn in large numbers to the auditorium and exhibition. Shakespeare's Globe Rebuilt offers a fully-illustrated account of the research that has gone into the Globe reconstruction, drawing on the work of leading scholars, theater people and craftsmen to provide an authoritative view of the twenty years of research and the hundreds of practical decisions entailed. Documents of the period, both visual and written, have been explored anew; the techniques of timber-framed building have been relearned; the archaeology of the Globe and the neighboring Rose playhouse has been further evaluated; the decorative practices of Elizabethan craftsmen have been researched; and all this reconciled with the requirements of the actors and the practical and legal restrictions of modern architectural design. The result is a book that will fascinate scholarly readers and laymen alike.
This collection of commissioned essays by established scholars,
responds to critical debate on political theatre of the turbulent
early years of the seventeenth century. Theatre is widely
interpreted. The authors discuss censorship, the social
implications of pageantry, Reformation ideals, popular theatre and
the politics of the masque throughout the period. An early chapter
discusses political theatre in the light of work by revisionist and
post-revisionist historians. The drama of Jonson, Dekker,
Middleton, Massinger, Chapman, Heywood and Rowley is given detailed
attention, while Shakespeare's plays are considered in the
introductory chapter.
In 2021, its Diamond Jubilee year, the Association of British
Theatre Technicians (ABTT) undertook to revise Theatre Buildings: a
Design Guide (Routledge, 2010). This new edition (Routledge, 2023)
has substantially re-written text with fresh images and entirely
new reference projects, providing essential guidance for all those
engaged in the design of theatre buildings. Edited by Margaret
Shewring (Emeritus Reader, University of Warwick, former director
of the postgraduate diploma and MA in theatre consultancy), with
David Hamer (consultant at Theatre Projects) as drawings editor,
this new publication is written by a team of international experts,
architects, theatre consultants, acousticians, engineers and
industry professionals led by Tim Foster (Foster Wilson Size,
architects, also editor of Section 10: Restoration and Conversion
of Existing Buildings) and Robin Townley (CEO of the ABTT). It
provides an invaluable resource for those looking to build, remodel
or conserve theatre buildings, taking into account the significant
changes which have taken place in the last twelve years in all
aspects of theatre design and technical practice. It locates those
changes in the wider context of the need for sustainability in the
theatre industry in response to the climate emergency, inclusivity,
diversity of access, placemaking and concerns for health and
wellbeing. This new edition provides guidance for anyone who seeks
inspiration and encouragement to create or improve a place of
entertainment or who seeks to understand what might be required to
accommodate an audience for the presentation of live performance
and the successful use, operation and organisation of such a venue.
Its generous format and the thirty-two new reference projects, more
than 260 high-resolution colour images, and 175 diagrams and
specially commissioned plans, make it accessible and informative
both to the general reader and the professional specialist. The new
edition has two Forewords, one by Nica Burns (OBE), Chief Executive
of Nimax Theatres, who opened the new @sohoplace in October 2022
and one by Mark Dakin, formerly Head of Production and Technical at
the Royal Opera House, London, now Managing Director of TAIT. Mark
is a Fellow of the ABTT.
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