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Nineteenth-Century Theatre and the Imperial Encounter (Routledge Advances in Theatre & Performance Studies)
by Marty GouldIn this study, Gould argues that it was in the imperial capital’s theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public’s interest in Britain’s Empire by producing a wide variety of plays set in colonial locales: India, Australia, and—to a lesser extent—Africa. These plays recreated the battles that consolidated Britain’s hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.
No Applause—Just Throw Money: The Book That Made Vaudeville Famous
by S. D. TravA seriously funny look at the roots of American EntertainmentWhen Groucho Marx and Charlie Chaplin were born, variety entertainment had been going on for decades in America, and like Harry Houdini, Milton Berle, Mae West, and countless others, these performers got their start on the vaudeville stage. From 1881 to 1932, vaudeville was at the heart of show business in the States. Its stars were America's first stars in the modern sense, and it utterly dominated American popular culture. Writer and modern-day vaudevillian Trav S.D. chronicles vaudeville's far-reaching impact in No Applause--Just Throw Money. He explores the many ways in which vaudeville's story is the story of show business in America and documents the rich history and cultural legacy of our country's only purely indigenous theatrical form, including its influence on everything from USO shows to Ed Sullivan to The Muppet Show and The Gong Show. More than a quaint historical curiosity, vaudeville is thriving today, and Trav S.D. pulls back the curtain on the vibrant subculture that exists across the United States--a vast grassroots network of fire-eaters, human blockheads, burlesque performers, and bad comics intent on taking vaudeville into its second century.
No Biz Like Show Biz (Katie Kazoo Switcheroo #24)
by Nancy KrulikWhen Miriam gets Suzanne's role in the school play, Katie knows there will be trouble. But she certainly doesn't plan on being involved in it! Unfortunately, the magic wind has plans of its own it turns Katie into Miriam just before the show!
No Exit and Three Other Plays
by Albert Camus Jean-Paul Sartre4 plays about an existential portrayal of Hell, the reworking of the Electra-Orestes story, the conflict of a young intellectual torn between theory and conflict and an arresting attack on American racism.
No Exit and Three Other Plays
by Jean-Paul SartreFour plays about an existential portrayal of Hell, the reworking of the Electra-Orestes story, the conflict of a young intellectual torn between theory and conflict and an arresting attack on American racism.
No Fear Shakespeare: A Companion
by Daniel O. WilliamsLet's face it. Hearing people talk about Shakespeare can be pretty annoying. Particularly if you feel like you don't understand him. When people talk about which of Shakespeare's plays they like best, or what they thought of so-and-so's performance, they often treat Shakespeare like membership in some exclusive club. If you don't "get" him, if you don't go to see his plays, you're not truly educated or literate. You might be tempted to ask whether the millions of people who say they love Shakespeare actually know what they're talking about, or are they just sheep?No Fear Shakespeare: A Companion gives you the straight scoop on everything you really need to know about Shakespeare, including: What's so great about Shakespeare? How did Shakespeare get so smart? Five mysteries of Shakespeare's life - and why they matter Did someone else write Shakespeare's plays? Where did Shakespeare get his ideas? Shakespeare's world Shakespeare's theater Shakespeare's language The five greatest Shakespeare Characters.
No Fear Shakespeare: As You Like It
by William ShakespeareThe complete text of the original play. <P><P>A line-by-line translation that puts the words into everyday language. <P><P>A complete list of characters, with descriptions. Plenty of helpful commentary.
No Fixed Points: Dance In The Twentieth Century
by Nancy Reynolds Malcolm McCormickThis book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century.
No Man's Land
by David W. RobinsonThe political events of "annus mirabilis" 1989 marked a rare turning point in world history, but the significance of the year for German literary history is unique. As the 40-year-old German Democratic Republic ceased to exist, so too did the special circumstances which had fostered a literature separate from and in competition with that of the Federal Republic of Germany. A new period of literary history was delimited almost overnight: Germany Democratic Republic literature now was something to be examined as a whole, cultural movement. At the same time, the literary traditions of the German Democratic Republic have continued to influence the contemporary cultural scene, often in ways that are only gradually becoming clear.The essays, memoirs, and plays collected in this special issue of Contemporary Theatre Review represent an early attempt to assess and reassess one of the German Democratic Republic's richest cultural domains: its theatre. Contributors include David W. Robinson, C
No More Dead Dogs
by Gordon KormanFootball hero Wallace Wallace is sentenced to detention attending rehearsals of the school play where, in spite of himself, he becomes wrapped up in the production and begins to suggest changes that improve not only the play but his life as well.
No More Wars but the Moon
by E. P. ConkleComedy / 6f / The women's club finds a solution for settling wars. The women are making a quilt for the marriage of one of them with a young man. Mrs. Tansey comes in with her unique plan for world peace and eventually gets the quilt and the young man.
No Safe Spaces: Re-casting Race, Ethnicity, and Nationality in American Theater
by Angela C. Pao"No Safe Spaces opens up a conversation beyond narrow polemics . . . Although cross-racial casting has been the topic of heated discussion, little sustained scholarship addresses both the historical precedents and theoretical dimensions. Pao illustrates the tensions and contradictions inherent not only in stage representations, but also in the performance of race in everyday life. A wonderful book whose potential readership goes well beyond theater and performance scholars. " ---Josephine Lee, University of Minnesota "Non-traditional casting, increasingly practiced in American theater, is both deeply connected to our country's racial self-image(s) and woefully under-theorized. Pao takes on the practice in its entirety to disentangle the various strands of this vitally important issue. " ---Karen Shimakawa, New York University. No Safe Spaces looks at one of the most radical and enduring changes introduced during the Civil Rights era---multiracial and cross-racial casting practices in American theater. The move to cast Latino/a, African American, and Asian American actors in classic stage works by and about white Europeans and Americans is viewed as both social and political gesture and artistic innovation. Nontraditionally cast productions are shown to have participated in the national dialogue about race relations and ethnic identity and served as a source of renewed creativity for the staging of the canonical repertory. Multiracial casting is explored first through its history, then through its artistic, political, and pragmatic dimensions. Next, the book focuses on case studies from the dominant genres of contemporary American theater: classical tragedy and comedy, modern domestic drama, anti-realist drama, and the Broadway musical, using a broad array of archival source materials to enhance and illuminate its arguments. Angela C. Pao is Associate Professor of Comparative Literature at Indiana University. A volume in the series Theater: Theory/Text/Performance
Noah Centineo: Issue #1 (Scoop! The Unauthorized Biography #1)
by C. H. MitfordIntroducing a new series of unauthorized biographies on the world's biggest names and rising stars in entertainment, sports, and pop culture! Complete with quizzes, listicles, trivia, and a full-color pull-out poster, this is the definitive collection to get the full Scoop! and more on your favorite celebrities.Is there anything Noah Centineo can't do? • He acts... • He sings... • He-Man???That's right! The former Disney star will make his big-screen debut for Marvel Universe as He-Man in 2021.Get the full Scoop! and more on Noah Centineo: Hollywood's next superstar.
Noah McNichol and the Backstage Ghost
by Martha Freeman&“Will make a theater lover of any young reader.&” —Booklist Perfect for fans of The Wednesday Wars, this raucous and delightful middle grade mystery from Edgar Award–nominated author Martha Freeman is filled with backstage fun, relatable family drama, and maybe even a ghost.Break a leg! That&’s what you say to actors when what you mean is Have a good show!. Anything else is bad luck. When Miss Magnus literally breaks her leg, eleven-year-old Noah McNichol and the rest of the Plattsfield Winklebottom Memorial Sixth-Grade Players are left without a director for their production of Hamlet. Coach Fig comes to the rescue—sort of. He&’ll direct, even though he is clearly more interested in whatever is happening on his phone than in directing. He doesn&’t even know upstage from downstage! But then something weird happens: out of nowhere appears a strangely dressed old guy named Mike. He tells Noah he has theater experience, before disappearing—poof. Noah has some investigating to do and some decisions to make. Like, does he care more that their new director might be a ghost or about getting to make his stage debut? And who is Mike and why has he decided to help? As things get weirder and weirder, one thing becomes clear: The show must go on, and Noah will do whatever it takes to make sure that happens.
Nobody Don't Like Yogi
by Tom LysaghtBiographical Comedy / 1m / Interior / In 1985, 16 games into the season, George Steinbrenner fired Yankee manager Yogi Berra, and he insulted the Berra family. Yogi never told anyone what was said, but he vowed not to enter Yankee Stadium as long as Steinbrenner owned the team. And he didn't until 1999 when the ghosts of Yankee greats tugged at his heart and he returned to throw out the first pitch of the season, replacing the recently deceased Joe DiMaggio. Set in the clubhouse of the cathedral of baseball, this play recreates that day and shows why Yogi Berra is a national treasure and a New York icon. Ben Gazzara starred in New York. / "A home run.''-New York Post
Noel Coward: A Biography of Noel Coward
by Philip HoareThe definitive biography of one of the 20th century&’s most celebrated and controversial dramatists.To several generations, actor, playwright, songwriter, and filmmaker Noël Coward (1899–1973) was the very personification of wit, glamour, and elegance. Given unprecedented access to the private papers and correspondence of Coward family members, compatriots, and numerous lovers, Samuel Johnson Prize–winning biographer Philip Hoare has produced an illuminating and sophisticated biography of Coward, whose relentless drive for success and approval fueled the stunning bursts of creativity that launched the once-painfully middle class boy from the suburbs of London into a pantheon of theatrical deities that includes Gilbert and Sullivan, Oscar Wilde, and George Bernard Shaw. As much the embodiment of a lifestyle as an actual inhabitant of it, Coward&’s carefully cultivated image defined the aspirations of untold numbers of actors, artists, and writers who succeeded him, and Hoare&’s meticulously researched biography peels away the layers of this complex persona to reveal the man underneath it all, whom The Times (London) decreed upon his death to be the most versatile of all the great figures of the English theater.
Noir Suspicions
by David Landau Nikki SternMystery / 4m, 3f / In this hard boiled comic mystery sequel to the ever-popular Murder at Cafe Noir, ex-private eye Nick Archer is now the confused manager of Cafe Noir on the island of Mustique. He is confronted with a corpse on the dock, a mysterious femme fatale, a French blackmailer and a businessman who wants both the cafe and the woman. Rick is arrested after the blackmailer is murdered in his club. It is up to the audience to convince the magistrate that he is innocence. A tribute to Casablanca with many references to the classic movie, Noir Suspicions is guaranteed to delight audiences whether or not they are familiar with Murder at Cafe Noir
Noises Off: A Play in Three Acts
by Michael FraynNoises Off is not one play but two - simultaneously a traditional sex farce, Nothing On, and the backstage farce that develops during Nothing On's final rehearsal and tour. The two farces begin to interlock, as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage, and exit from that only to make their entrances back into Nothing On. In the end, at the disastrous final performance in Stockton-on-Tees, the two farces can be kept separate no longer, and coalesce into one single collective nervous breakdown. Noises Off won both the Evening Standard and the Olivier Awards for Best Comedy when it was first produced, and ran in the West End for nearly five years. Michael Frayn's most recent play, Copenhagen, won both the Evening Standard Best Play Award in London and the Tony Best Play Award in New York.
None But Witches: Poems on Shakespeare's Women
by Elizabeth SylviaAccording to the author, Shakespeare was unable to create fully realized female characters. "It doesn't matter, finally, if they are witty or can solve a vexing problem," she writes in her introductory poem. "All they do is orbit, casting here and there reflected light...." In this collection she gives new voices to Shakespeare's queens, daughters, lovers, and witches.
Nonsense and Meaning in Ancient Greek Comedy
by Stephen E. KiddThis book examines the concept of 'nonsense' in ancient Greek thought and uses it to explore the comedies of the fifth and fourth centuries BCE. If 'nonsense' (phluaria, lēros) is a type of language felt to be unworthy of interpretation, it can help to define certain aspects of comedy that have proved difficult to grasp. Not least is the recurrent perception that although the comic genre can be meaningful (i. e. contain political opinions, moral sentiments and aesthetic tastes), some of it is just 'foolery' or 'fun'. But what exactly is this 'foolery', this part of comedy which allegedly lies beyond the scope of serious interpretation? The answer is to be found in the concept of 'nonsense': by examining the ways in which comedy does not mean, the genre's relationship to serious meaning (whether it be political, aesthetic, or moral) can be viewed in a clearer light.
Nora Em Auschwitz
by Lázaro Droznes Anabela Alves Lopes Afonso Romão PintoEste drama ficcional relata o processo de ensaios da CASA DE BONECAS de Ibsen, para ser representada em junho de 1944, quando uma delegação da Cruz Vermelha Internacional visitou o campo de concentração de Tezerin, a fim de verificar em que condições viviam os judeus. A atriz que antes fazia o papel de Nora foi transferida para Este e a obra reflete as dificuldades que a sua substituta, recém-chegada a Tezerin, enfrenta. Durante a visita da Cruz Vermelha, o campo transformou-se num grande palco de teatro no qual milhares de pessoas representaram diversas cenas para impressionar favoravelmente os delegados.
Nora in Auschwitz
by Lázaro Droznes Luigia Pantalea RovitoQuesta finzione drammatica racconta le prove per CASA DI BAMBOLA di Ibsen, la cui rappresentazione fu organizzata quando, nel mese di luglio del 1944, una delegazione della Croce Rossa Internazionale si recò in visita al campo di concentramento di Terezin con lo scopo di verificare le condizioni di vita degli ebrei. L'attrice inizialmente impegnata nel ruolo di Nora era stata deportata all'Est, e l'opera riflette le difficoltà incontrate dalla sua sostituta, arrivata di recente a Terezin. Durante la visita della Croce Rossa, il campo venne trasformato in un enorme palcoscenico, sul quale migliaia di persone diedero vita a numerosi spettacoli per impressionare favorevolmente i delegati.
Norma Jeane Baker of Troy (Oberon Modern Plays Ser.)
by Anne CarsonAnne Carson’s new work that reconsiders the stories of two iconic women—Marilyn Monroe and Helen of Troy—from their point of view Norma Jeane Baker of Troy is a meditation on the destabilizing and destructive power of beauty, drawing together Helen of Troy and Marilyn Monroe, twin avatars of female fascination separated by millennia but united in mythopoeic force. Norma Jeane Baker was staged in the spring of 2019 at The Shed’s Griffin Theater in New York, starring actor Ben Whishaw and soprano Renée Fleming and directed by Katie Mitchell.
Normal People: The Scripts
by Sally RooneyDelve deeper into the Emmy- and Golden Globe–nominated Hulu series based on Sally Rooney's bestselling novel with this must-have collection of the Normal People scripts, featuring behind-the-scenes photos and an introduction by director Lenny Abrahamson.&“You know, I did used to think that I could read your mind at times.&”&“In bed you mean.&”&“Yeah. And afterwards but I dunno maybe that's normal.&”&“It&’s not.&”Connell and Marianne grow up in the same small town in the west of Ireland, but the similarities end there. In school, Connell is popular. Marianne is a loner. But when the two strike up a conversation, something life-changing begins.With an introduction by director Lenny Abrahamson and featuring iconic images from the show, Normal People: The Scripts contains the complete screenplays of the acclaimed Emmy- and Golden Globe–nominated television drama that The New York Times called &“an unusually thoughtful and moving depiction of young people&’s emotional lives.&”
North by Shakespeare: A Rogue Scholar's Quest for the Truth Behind the Bard's Work
by Michael BlandingThe true story of a self-taught Shakespeare sleuth&’s quest to prove his eye-opening theory about the source of the world&’s most famous plays, taking readers inside the vibrant era of Elizabethan England as well as the contemporary scene of Shakespeare scholars and obsessives.Acclaimed author of The Map Thief, Michael Blanding presents the twinning narratives of renegade scholar Dennis McCarthy, called &“the Steve Jobs of the Shakespeare community,&” and Sir Thomas North, an Elizabethan courtier whom McCarthy believes to be the undiscovered source for Shakespeare&’s plays. For the last fifteen years, McCarthy has obsessively pursued the true origins of Shakespeare&’s works. Using plagiarism software, he has found direct links between Hamlet, Macbeth, Romeo and Juliet, and other plays and North&’s published and unpublished writings—as well as Shakespearean plotlines seemingly lifted straight from North&’s colorful life.Unlike those who believe someone else secretly wrote Shakespeare, McCarthy&’s wholly original conclusion is this: Shakespeare wrote the plays, but he adapted them from source plays written by North decades before. Many of them, he believes, were penned on behalf of North&’s patron Robert Dudley, in his efforts to woo Queen Elizabeth. That bold theory addresses many lingering mysteries about the Bard with compelling new evidence, including a newly discovered journal of North&’s travels through France and Italy, filled with locations and details appearing in Shakespeare&’s plays.North by Shakespeare alternates between the enigmatic life of Thomas North, the intrigues of the Tudor court, the rivalries of English Renaissance theater, and academic outsider Dennis McCarthy&’s attempts to air his provocative ideas in the clubby world of Shakespearean scholarship. Through it all, Blanding employs his keen journalistic eye to craft a captivating drama, upending our understanding of the beloved playwright and his &“singular genius.&”