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Theory for Theatre Studies: Emotion explores how emotion is
communicated in drama, theatre, and contemporary performance and
therefore in society. From Aristotle and Shakespeare to
Stanislavski, Brecht and Caryl Churchill, theatre reveals and,
informs but also warns about the emotions. The term ‘emotion’
encompasses the emotions, emotional feelings, affect and mood, and
the book explores how these concepts are embodied and experienced
within theatrical practice and explained in theory. Since emotion
is artistically staged, its composition and impact can be described
and analysed in relation to interdisciplinary approaches. Readers
are encouraged to consider how emotion is dramatically, aurally,
and visually developed to create innovative performance. Case
studies include: Medea, Twelfth Night, The Caucasian Chalk Circle,
Ibsen’s A Doll’s House, and performances by Mabou Mines, Robert
Lepage, Rimini Protokoll, Anna Deavere Smith, Socìetas Raffaello
Sanzio, Marina Abramovic, and The Wooster Group. By way of these
detailed case studies, readers will appreciate new methodologies
and approaches for their own exploration of ‘emotion’ as a
performance component. Online resources to accompany this book are
available at
https://www.bloomsbury.com/theory-for-theatre-studies-emotion-9781350030848/.
Sound provides a lively and engaging overview of relevant critical
theory for students and researchers in theatre and performance
studies. Addressing sound across history and through progressive
developments in relevant technologies, the volume opens up the
study of theatrical production and live performance to understand
conceptual and pragmatic concerns about the sonic. By way of
developed case studies (including Aristophanes's The Frogs,
Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini
Protokoll's Situation Rooms), readers can explore new methodologies
and approaches for their own work on sound as a performance
component. In an engagement with the burgeoning interdisciplinary
field of sound studies, this book samples exciting new thinking
relevant to theatre and performance studies. Part of the Theory for
Theatre Studies series which introduces core theoretical concepts
that underpin the discipline, Sound provides a balance of essential
background information and new scholarship, and is grounded in
detailed examples that illuminate and equip readers for their own
sonic explorations. Volumes follow a consistent three-part
structure: a historical overview of how the term has been
understood within the discipline; more recent developments
illustrated by substantive case studies; and emergent trends and
interdisciplinary connections. Volumes are supported by further
online resources including chapter overviews, illustrative material
and guiding questions. Online resources to accompany this book are
available at:
https://bloomsbury.com/uk/theory-for-theatre-studies-sound-9781474246460/
How does theatre shape the body and perceptions of it? How do
bodies on stage challenge audience assumptions about material
evidence and the truth? Theory for Theatre Studies: Bodies responds
to these questions by examining how theatre participates in and
informs theories of the body in performance, race, queer,
disability, trans, gender, and new media studies. Throughout the
20th century, theories of the body have shifted from understanding
the body as irrefutable material evidence of race, sex, and gender,
to a social construction constituted in language. In the same
period, theatre has struggled with representing ideas through live
bodies while calling into question assumptions about the body. This
volume demonstrates how theatre contributes to understanding the
historical, contemporary and burgeoning theories of the body. It
explores how theories of the body inform debates about labor
conditions and spatial configurations. Theatre allows performers to
shift an audience's understandings of the shape of the bodies on
stage, possibly producing a reflexive dynamic for consideration of
bodies offstage as well. In addition, casting choices in the
theatre, most recently and popularly in Hamilton, question how
certain bodies are "cast" in social, historical, and philosophical
roles. Through an analysis of contemporary case studies, including
The Balcony, Angels in America, and Father Comes Home from the
Wars, this volume examines how the theatre theorizes bodies. Online
resources are also available to accompany this book.
This book offers a wealth of resources, critical overviews and
detailed analysis of Ivo van Hove's internationally acclaimed work
as the foremost director of theatre, opera and musicals in our
time. Stunning production photos capture the power of van Hove's
directorial vision, his innovative use of theatrical spaces, and
the arresting stage images that have made his productions so
popular among audiences worldwide over the last 30 years. Van
Hove's own contribution to the book, which includes a foreword,
interview and his director's notes for some of his most popular
shows, makes this book a unique resource for students, scholars and
for his fans across the different art forms in which he works. An
informative introduction provides an overview of van Hove's unique
approach to directing, while five sections, individually curated by
experts in the respective fields of Shakespeare, classical theatre,
modern theatre, opera, musicals, film, and international festival
curatorship, offer readers a combination of critical insight and
short excerpts by van Hove's collaborators, the actors in the
ensemble companies van Hove works with in Amsterdam and New York,
and by arts critics and reviewers.
Research shows that literacy--the ability to listen, view, speak,
read, and write - begins developing long before children enter
elementary school. This book helps early childhood educators
nurture that development. It begins with an argument for offering
children literacy-rich activities and creating an environment for
carrying out those activities. From there, it focuses on reading
aloud, playing with words, and designing writing centers, book
nooks, dramatic play areas, and other aspects of instruction.
Loaded with photographs, student work, and straight talk about kids
and learning, Literacy and the Youngest Learner is destined to
become a classic.
Susan Bennett's highly successful Theatre Audiences is a unique
full-length study of the audience as cultural phenomenon, which
looks at both theories of spectatorship and the practice of
different theatres and their audiences.
Published here in a brand new updated edition, Theatre Audiences
now includes:
- a new preface by the author
- a stunning extra chapter on intercultural theatre
- a revised up-to-date bibliography.
Theatre Audiences is a must-buy for teachers and students
interested in spectatorship and theatre audiences, and will be
valuable reading for practitioners and others involved in the
theatre.
Susan Bennett's highly successful Theatre Audiences is a unique full-length study of the audience as cultural phenomenon, which looks at both theories of spectatorship and the practice of different theatres and their audiences. Published here in a brand new updated edition, Theatre Audiences now includes: `nBL a new preface by the author • a stunning extra chapter on intercultural theatre • a revised up-to-date bibliography Theatre Audiences is a must-buy for teachers and students interested in spectatorship and theatre audiences, and will be valuable reading for practitioners and others involved in the theatre.
Contemporary culture is obsessed with the past. And contemporary
performance is obsessed with Shakespeare. Why does Shakespeare so
often perform the nostalgic role of reviving a better past for
modern audiences? And what do radical rewritings of Shakespeare's
plays say both to and about their audiences? This is an inquiry
into how Shakespeare is reproduced today. It looks at the enduring
influence he has on present-day performance, and questions how
inter-cultural and cross-cultural productions reconfigure him for
alternative performances. An attempt is made to speak across many
divides - from literature to theatre, from theory to practice.
Contemporary culture is obsessed with the past. And contemporary
performance is obsessed with Shakespeare. Why does Shakespeare so
often perform the nostalgic role of reviving a better past for
modern audiences? And what do radical rewritings of Shakespeare's
plays say both to and about their audiences? This is an inquiry
into how Shakespeare is reproduced today. It looks at the enduring
influence he has on present-day performance, and questions how
inter-cultural and cross-cultural productions reconfigure him for
alternative performances. An attempt is made to speak across many
divides - from literature to theatre, from theory to practice.
How do we define movement in performance? Who or what is being
moved and how? And which movements are felt, observed, or studied,
in theatre? Part of the Theory for Theatre Studies series which
introduces core theoretical concepts that underpin the discipline,
Movement provides the first overview of relevant critical theory
for students and researchers in theatre and performance studies.
Exploring areas such as vitality, plasticity, gesture, effort and
rhythm, it opens up the study of theatrical production, live art,
and intercultural performance to socio-political conceptions of
movement as both practice and concept. It covers movement training
systems and considers how they have been utilized in key works of
the 20th and 21st centuries. The final section traces the
convergence of movement in theatre with other media and digital
technologies. A wide range of in-depth case studies helps to equip
readers to explore new methodologies and approaches to movement as
a performance concept. These include analysis of Satoshi Miyagi's
production of Sophocles' Antigone (2017), Thomas Ostermeier's
production of Ibsen’s Hedda Gabler (2008), the Berliner
Ensemble’s Mother Courage (1949), The Constant Prince (1965)
performed by Ryzsard Cieslak, and the National Theatre’s
production of War Horse (2007). The final section considers a suite
of concepts that shape postdramatic and intermedial theatre from
China, Germany-Bangladesh, Australia, the United States, and United
Kingdom. The volume is supported by further online resources
including video material, questions, and exercises.
Space: it's everywhere, all around, a given. It's abstract and yet
not abstract at all, because it governs all human relations, shapes
the way we understand our place on the planet, and orients us
toward others (for better and for worse). How do theatre scholars
understand space and place in performance? What tools do they use
to theorize the political work space does on - and beyond - the
stage? How can students use these tools to unpack the workings of
space and place in the performances they see, the plays they study,
and the experiences they have outside their classrooms? Theory for
Theatre Studies: Space provides a comprehensive introduction to the
'spatial turn' in modern theatre and performance theory, exploring
topics as diverse as embodied space, environmental performance
politics and urban performance studies. The book is written in
accessible prose and features in-depth case studies of Platform's
audio walk And While London Burns, Katie Mitchell's Fraulein Julie,
Young Jean Lee's The Shipment, and Evalyn Parry and Laakkuluk
Williamson Bathory's Kiinalik: These Sharp Tools. TfTS: Space
begins with fresh readings of historical dramatic theory, discusses
twentieth-century theoretical trends at length, and ends by asking
what it will take (and what work is already underway) to decolonize
the Western, settler-colonial stage. Online resources to accompany
this book are available at:
www.bloomsbury.com/uk/theory-for-theatre-studies-space-9781350006072/
Contrary to current popular opinion Prince Albert of
Saxe-Coburg-Gotha did not single-handedly organize the first Great
Exhibition in London 150 years ago. He was, however, convinced of
the great possibilities and the value of exhibitions. For this
reason he enthusiastically supported the realisation of the World
Exhibition. Prince Albert played a decisive role in getting
together politicians, scientists, entrepreneurs and foreign
governments and in convincing them of the idea of a Great
Exhibition of all nations in London. He helped to unify the forces
of tradition -- the monarchy and the aristocracy -- with
contemporary forces -- industry, technology, the middle and lower
classes -- in the idea of a World Exhibition: science and the arts
were to be brought to large parts of the population. The Great
Exhibition was conceived as the beginning of a long-term and
ambitious strategy. In this context a number of lectures were given
which were published in two volumes in 1853.
Volume 20 of the Prince Albert Studies, "The Great Exhibition
and its Legacy," takes up the underlying idea of those publications
and deals with the legacy of the Great Exhibition, particularly
with the question in how far it was possible to realise the
original intentions. In the twentieth year after its founding, the
Prince Albert Society was able to gather distinguished experts from
Great Britain, Germany and Overseas for a conference together with
the Victorian Society and the Royal Society of Arts.
The 28 essays collected in this book deal with the following
subjects: aspects of cultural history, the history of the Royal
Societay of Arts, the relationship between science and the economy,
the political andsocial context, the German contribution,
architecture and the legacy and reception. ("1851-2001").
How does theatre shape the body and perceptions of it? How do
bodies on stage challenge audience assumptions about material
evidence and the truth? Theory for Theatre Studies: Bodies responds
to these questions by examining how theatre participates in and
informs theories of the body in performance, race, queer,
disability, trans, gender, and new media studies. Throughout the
20th century, theories of the body have shifted from understanding
the body as irrefutable material evidence of race, sex, and gender,
to a social construction constituted in language. In the same
period, theatre has struggled with representing ideas through live
bodies while calling into question assumptions about the body. This
volume demonstrates how theatre contributes to understanding the
historical, contemporary and burgeoning theories of the body. It
explores how theories of the body inform debates about labor
conditions and spatial configurations. Theatre allows performers to
shift an audience's understandings of the shape of the bodies on
stage, possibly producing a reflexive dynamic for consideration of
bodies offstage as well. In addition, casting choices in the
theatre, most recently and popularly in Hamilton, question how
certain bodies are "cast" in social, historical, and philosophical
roles. Through an analysis of contemporary case studies, including
The Balcony, Angels in America, and Father Comes Home from the
Wars, this volume examines how the theatre theorizes bodies. Online
resources are also available to accompany this book.
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Women of Moray (Paperback, New)
Susan Bennett, Mary Byatt, Jenny Main, Anne Oliver, Janet Trythall
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R539
R480
Discovery Miles 4 800
Save R59 (11%)
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Ships in 12 - 19 working days
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Women have been sidelined throughout history in the rush to tell
the stories of great wars, great battles and the achievements of
great men. But in Moray - a part of Scotland encompassing both
Highland and Lowland areas btween Inverness and Aberdeen - a group
of people have begun a project to uncover the stories of the women
who lived in Moray from medieval to modern times. Discover Flaming
Janet, James IV's mistress; Elsie Watson who rode solo across South
Africa on a motorcycle in 1912; the Queen's nurse in Foula dn Fair
Isle in the 1920s; the spymaster of Albanian agents during the
Second World War; the Traveller born in the bow-tent and more. This
book captures the tales of over 70 women whose lives have made an
impact on history both in Scotland and abroad. It sheds light on
their misfortunes, prjudice and abuse, and shows how these
challenges have been overcome. Women of Moray is a unique glimpse
into the history of the region, looking at women marginalised,
forgotten and usually uncelebrated across the centuries. For the
historian, the genealogist and the general reader, this is a book
that will deepen your understanding of history.
Tackling vital issues of politics, identity and experience in
performance, this book asks what Shakespeare's plays mean when
extended beyond the English language. From April to June 2012 the
Globe to Globe Festival offered the unprecedented opportunity to
see all of Shakespeare's plays performed in many different world
languages. Thirty-eight productions from around the globe were
presented in six weeks as part of the World Shakespeare Festival,
which formed a cornerstone of the Cultural Olympics. This book
provides the only complete critical record of that event, drawing
together an internationally renowned group of scholars of
Shakespeare and world theatre with a selection of the UK's most
celebrated Shakespearean actors. Featuring a foreword by Artistic
Director Dominic Dromgoole and an interview with the Festival
Director Tom Bird, this volume highlights the energy and dedication
that was necessary to mount this extraordinary cultural experiment.
Tackling vital issues of politics, identity and experience in
performance, this book asks what Shakespeare's plays mean when
extended beyond the English language. From April to June 2012 the
Globe to Globe Festival offered the unprecedented opportunity to
see all of Shakespeare's plays performed in many different world
languages. Thirty-eight productions from around the globe were
presented in six weeks as part of the World Shakespeare Festival,
which formed a cornerstone of the Cultural Olympics. This book
provides the only complete critical record of that event, drawing
together an internationally renowned group of scholars of
Shakespeare and world theatre with a selection of the UK's most
celebrated Shakespearean actors. Featuring a foreword by Artistic
Director Dominic Dromgoole and an interview with the Festival
Director Tom Bird, this volume highlights the energy and dedication
that was necessary to mount this extraordinary cultural experiment.
How do we define movement in performance? Who or what is being
moved and how? And which movements are felt, observed, or studied,
in theatre? Part of the Theory for Theatre Studies series which
introduces core theoretical concepts that underpin the discipline,
Movement provides the first overview of relevant critical theory
for students and researchers in theatre and performance studies.
Exploring areas such as vitality, plasticity, gesture, effort and
rhythm, it opens up the study of theatrical production, live art,
and intercultural performance to socio-political conceptions of
movement as both practice and concept. It covers movement training
systems and considers how they have been utilized in key works of
the 20th and 21st centuries. The final section traces the
convergence of movement in theatre with other media and digital
technologies. A wide range of in-depth case studies helps to equip
readers to explore new methodologies and approaches to movement as
a performance concept. These include analysis of Satoshi Miyagi's
production of Sophocles' Antigone (2017), Thomas Ostermeier's
production of Ibsen’s Hedda Gabler (2008), the Berliner
Ensemble’s Mother Courage (1949), The Constant Prince (1965)
performed by Ryzsard Cieslak, and the National Theatre’s
production of War Horse (2007). The final section considers a suite
of concepts that shape postdramatic and intermedial theatre from
China, Germany-Bangladesh, Australia, the United States, and United
Kingdom. The volume is supported by further online resources
including video material, questions, and exercises.
Sound provides a lively and engaging overview of relevant critical
theory for students and researchers in theatre and performance
studies. Addressing sound across history and through progressive
developments in relevant technologies, the volume opens up the
study of theatrical production and live performance to understand
conceptual and pragmatic concerns about the sonic. By way of
developed case studies (including Aristophanes's The Frogs,
Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini
Protokoll's Situation Rooms), readers can explore new methodologies
and approaches for their own work on sound as a performance
component. In an engagement with the burgeoning interdisciplinary
field of sound studies, this book samples exciting new thinking
relevant to theatre and performance studies. Part of the Theory for
Theatre Studies series which introduces core theoretical concepts
that underpin the discipline, Sound provides a balance of essential
background information and new scholarship, and is grounded in
detailed examples that illuminate and equip readers for their own
sonic explorations. Volumes follow a consistent three-part
structure: a historical overview of how the term has been
understood within the discipline; more recent developments
illustrated by substantive case studies; and emergent trends and
interdisciplinary connections. Volumes are supported by further
online resources including chapter overviews, illustrative material
and guiding questions. Online resources to accompany this book are
available at:
https://bloomsbury.com/uk/theory-for-theatre-studies-sound-9781474246460/
Space: it's everywhere, all around, a given. It's abstract and yet
not abstract at all, because it governs all human relations, shapes
the way we understand our place on the planet, and orients us
toward others (for better and for worse). How do theatre scholars
understand space and place in performance? What tools do they use
to theorize the political work space does on - and beyond - the
stage? How can students use these tools to unpack the workings of
space and place in the performances they see, the plays they study,
and the experiences they have outside their classrooms? Theory for
Theatre Studies: Space provides a comprehensive introduction to the
'spatial turn' in modern theatre and performance theory, exploring
topics as diverse as embodied space, environmental performance
politics and urban performance studies. The book is written in
accessible prose and features in-depth case studies of Platform's
audio walk And While London Burns, Katie Mitchell's Fraulein Julie,
Young Jean Lee's The Shipment, and Evalyn Parry and Laakkuluk
Williamson Bathory's Kiinalik: These Sharp Tools. TfTS: Space
begins with fresh readings of historical dramatic theory, discusses
twentieth-century theoretical trends at length, and ends by asking
what it will take (and what work is already underway) to decolonize
the Western, settler-colonial stage. Online resources to accompany
this book are available at:
www.bloomsbury.com/uk/theory-for-theatre-studies-space-9781350006072/
Since 2014, the Patient Protection and Affordable Care Act (PPACA)
has required most individuals to maintain health insurance coverage
or potentially to pay a penalty for noncompliance. Specifically,
most individuals are required to maintain minimum essential
coverage for themselves and their dependents. Minimum essential
coverage is a term defined in the ACA and its implementing
regulations and includes most private and public coverage (e.g.,
employer-sponsored coverage, individual coverage, Medicare, and
Medicaid, among others). Some individuals are exempt from the
mandate and the penalty, and others may receive financial
assistance to help them pay for the cost of health insurance
coverage and the costs associated with using health care services.
This book describes the individual mandate as established under the
Patient Protection and Affordable Care Act. It also discusses the
ACA reporting requirements designed, in part, to assist individuals
in providing evidence of having met the mandate; describes the
eligibility criteria applicable to the premium tax credits and
cost-sharing subsidies, and the calculation method for the credit
and subsidy amounts; highlights selected issues addressed in the
final regulation and guidance on premium credits and indicates the
status of implementation, where relevant data is available;
examines IRS's implementation of these PPACA requirements; and IRS
efforts to collaborate with key external stakeholders.
Artistic accomplishment was an important social and cultural skill
for young women of the elite and aristocratic classes in the
eighteenth century. Georgiana Keate, the subject of this book, is
an example of just such an accomplished young woman. Using the
previously unknown diaries of Georgiana, and other contemporary
sources, to reconstruct her life and to illustrate her artistic
education, this book compares her experience with other young women
of her class at this time. Also considered are Georgiana's
experiences with professional and amateur artists of this period
such as Angelica Kauffman and Mary Delany, together with her
connections within the artistic and literary circles of this time.
Integral to her artistic endeavours is her father, the amateur
artist and poet George Keate. Her marriage to the amateur artist
John Henderson caused upset within the family, but Georgiana
happily swapped her artistic life for that of wife and mother. This
overview of a female amateur artist should be of interest to
students of art, social and women's history of the 18th and 19th
centuries.
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