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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.
El Niño del Nunca
by Federico RomanoEl gran viaje que hará Frederik Jonson en el reino celestial abrirá el camino hacia el origen y la verdad de su vida. A través de una variada galería de personajes y situaciones: fauna humana de víctimas indefensas o verdugos implacables, asesinos siniestros o inocentes, hombres devotos de los excesos y perdiciones o inocentes inconscientes, se logrará una extraordinaria epifanía de grandeza: la revelación del destino de Frederik y el pasaje escatológico. de un "niño del nunca" a un hombre de una existencia generosa hasta el heroísmo.
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: 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 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 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
Noël Coward on (and in) Theatre
by Noël CowardNoël Coward on theatre was as dazzling and entertaining as his masterful plays and lyrics. Here his ideas and opinions on the subject are brilliantly brought together in an extraordinary collection of commentary, lyrics, essays, and asides on everything having to do with the theatre and Coward's dazzling life in it.The book Noël Coward wanted, promised, threatened to write—and never did. Including essays, interviews, diary entries, verse, his views on his fellow playwrights: "My Colleague Will," Shaw, Wilde, Chekhov, Barrie, Maugham, Eliot, Osborne, Albee, Beckett, Miller, Williams, Rattigan, Pinter, and Shaffer. Coward on the critics—many of whom irritated him over the years but came to admire him: James Agate, Alexander Woollcott, Graham Greene, Kenneth Tynan among them. And on the plays he wrote, among them: The Vortex; Hay Fever; Private Lives; Design For Living; Blithe Spirit.Here is the Master on the producers who crossed his path: André Charlot, C. B. Cochran, Binkie Beaumont. And the actors in the Coward galaxy: John Gielgud, Laurence Olivier, Gertrude Lawrence, the Lunts, etc. . . . His views on the art of acting: auditions, rehearsals, learning the lines, clarity of delivery, timing, control, range, stage fright, fans, theater audiences, revivals, comedy, "the Method," plays with a "message," taste, construction, "Star Quality," etc. . . . And last, but Noël Coward least, his experience in, and thoughts on: revue, cabaret, television, and musical theater, Bitter Sweet, Conversation Piece, Pacific 1860, After the Ball, Ace of Clubs, Sail Away, The Girl Who Came to Supper, Words and Music, This Year of Grace, London Calling! . . . and much more. Ingeniously, deftly compiled, edited, and annotated by Barry Day, Coward authority and editor of The Noёl Coward Reader and The Letters of Noёl Coward.
The Noh Drama: Ten Plays from the Japanese (Unesco collection of representative works)
by Noh CommitteeThis classic of Japanese studies presents extensive information about the history, culture and practice of Noh drama--one of Japan's most treasured dramatic art forms.<P><P>Noh as an independent and original art form--ultimately destined to supersede the earlier Dengaku, Sarugaku and other song dances--incorporates the most significant elements of the former and especially of the Kusemai (tune dance).With it a new literary form may be said to have been created.The invention of Noh is attributed to Kwannami Kiyotsugu (1333-1384), a distinguished actor and writer of Sarugaku and to his son Zeami Motokiyo (1363-1443), who developed and refined the art under the patronage of Yoshimitsu, the third Ashikaga shogun. In addition to his dramatic activities, Zeami composed a number of works, the most important of which is called the Kwadensho (the Book of the Flower), or more properly, Fushi-kwadensho which he explained the nature and aesthetic principles governing Noh plays, and gave detailed instructions concerning the manner of composition, acting, direction, and production of these dramas.Combining the elements of dance, miming, music, and chants, Noh plays may be described as lyrico-dramatic tone-poems, in which the text has a function somewhat similar to that of the libretto in a Wagner or Debussy opera.
The Noh Plays of Japan
by Arthur WaleyFirst published in 1921, The Noh Plays of Japan has been justly famous for more than three-quarters of a century and established the Noh play for the Western reader as beautiful literature. It contains translations of nineteen plays and summaries of sixteen more.
The Noh Plays of Japan
by Arthur WaleyFirst published in 1921, The Noh Plays of Japan has been justly famous for more than three-quarters of a century and established the Noh play for the Western reader as beautiful literature. It contains translations of nineteen plays and summaries of sixteen more.
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.
The Non-Cycle Mystery Plays: Together with 'The Croxton Play of the Sacrament' and 'The Pride of Life' (Routledge Revivals)
by Osborn WaterhouseBetween the beginning of the tenth and the end of the sixteenth centuries, in all parts of Great Britain from Aberdeen to Cornwall, performances of liturgical and mystery plays are on record. This book, first published in 1909, is a collection of early-English religious plays with a detailed introduction written by the editor Osborn Waterhouse. The Non-Cycle Mystery Plays will be of interest to students of drama, performance and theatre studies.
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 Luigia Pantalea Rovito Lázaro DroznesQuesta 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.