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St. Louis Woman (Opera Biographies Ser.)
by Helen Traubel Richard G. HublerThis charming autobiography captures the life story of a fascinating woman: a Missouri girl-turned-world-class soprano who remained true to her roots through it all.Born and reared in St. Louis and proud of her origins, Helen Traubel grew up in a modest German-American family. She spent her teens and twenties singing with church choirs and quartets in the city, studying under first- rate teachers. She did not leave Missouri for New York until she was in her early thirties. Although she replaced the great Kirsten Flagstad at the Metropolitan Opera, she refused to confine herself to singing before elite crowds and prided herself on reaching a larger, more general audience via nightclubs, radio, television, and theater.St. Louis Woman is filled with candid and amusing stories as full of zest as Traubel herself. One such story details her audition for the Ford Hour, during which she suffered a terrible case of poison ivy, and the booth technicians interrupted her performance with laughter. Furious, she announced she would sing no more and started to leave. Without explanation, the technicians asked her to continue. Traubel later discovered that the higher-ups had called down to the technicians demanding they stop playing the Flagstad record and let that kid sing.The qualities that made Traubel such a notable individual are captured in this entertaining book. Her strong, independent character shines through. Outspoken and at times brutally honest, Traubel recounts her experiences at the Met, as both a popular performer and a teacher. She tells of exasperating moments when she was coaching famous pupil Margaret Truman. This is not a fact-laden examination of the singer’s Wagnerian repertory or a study of high opera; rather this engaging book introduces the reader to a nationally renowned performer who, despite her unmatched talent, retained her hometown identity and lived her life as a St. Louis woman.
St: The Q Continuum Book 2
by Greg CoxThe Q Continuum is an extradimensional domain in which Q and others of his kind exist in immortality. Although immensely powerful and intelligent, they require the stimulus of novelty to maintain their vitality hence their interaction with other species. While the Enterprise struggles to survive an alien onslaught, Captain Picard has been kidnapped by Q and taken on an astounding journey back to that immeasurably distant moment when the Continuum faced its greatest threat. But far more is at stake than simply the mysteries of the past, for an ancient menace is stirring once more, endangering the future of the galaxy, and neither Q nor Starfleet may be able to stop it.
St:the Best And The Brightest (Star Trek)
by Star Trek{\rtf1\ansi\ansicpg1252\deff0{\fonttbl{\f0\froman\fcharset0 Times New Roman;}{\f1\fnil\fcharset0 Arial;}} \viewkind4\uc1\pard\sb100\sa100\lang2057\f0\fs24 Every year, Starfleet Academy in San Francisco attracts many of the most talented and ambitious young people in the Federation. They come from all over the Alpha Quadrant, from hundreds of worlds and species, to prepare themselves for the challenges of the final frontier. \par Meet a new generation of cadets: a newly joined Trill just beginning the first of many lives; a Bajoran Vedek who finds himself torn between his vows and an unspoken love; a reckless young man fond of pushing the limits; a feline alien raised among humans; a brilliant but immature young woman with a lot to learn; and a native-born Earth woman with a talent for engineering. \par Together they will learn about courage, life, teamwork, and themselves. Their future is just beginning -- but one of them will not survive! \par \pard\f1\fs18 \par }
Stage Combat: Fisticuffs, Stunts, and Swordplay for Theater and Film
by Jenn BoughnThe most complete guide on an essential stagecraft available! Wanna fight, buddy? This comprehensive guide covers everything performers, directors, theater teachers, fight choreographers, and others need to know to stage believable, safe action for theater and other performing arts. From basic falls, rolls, and tumbling to punches, kicks, hair pulls, and head slams, to advanced handling of weapons, Stage Combat provides in-depth instruction for realistic-looking fights and physical comedy. Grappling, slapping, pushing, choking-they were forbidden on the playground, but they're needed for the play, and they're all in here. So are basic drills for the quarterstaff, European rapier, and Japanese katana-style swordplay, and much more. Complete with illustrations and step-by-step directions, this book is a must-have for any actor spoiling for a fight-or the appearance of one. Basics and more advanced techniques for the beginner and beyond Emphasis on personal safety Step-by-step directions and 200 illustrations for combat with and without weapons
Stage Designers in Early Twentieth-Century America: Artists, Activists, Cultural Critics (Palgrave Studies in Theatre and Performance History)
by Christin EssinStage Designers in Early Twentieth-Century America.
Stage Designers in Early Twentieth-Century America: Artists, Activists, Cultural Critics (Palgrave Studies in Theatre and Performance History)
by E. EssinBy casting designers as authors, cultural critics, activists, entrepreneurs, and global cartographers, Essin tells a story about scenic images on the page, stage, and beyond that helped American audiences see the everyday landscapes and exotic destinations from a modern perspective.
Stage Fright
by Ann M. MartinCan Sara overcome her shyness to perform in the school play? Sara is extremely timid—she only has two friends, and one of them is her cousin. Her mother is constantly pushing her to leave the safety of her room and be more social, but for Sara, being in public is a punishment worse than death.When Sara&’s teacher insists that everyone this year—shy or not—participate in the school play, Sara is filled with terror. To top it off, she finds out her best friend, the one person who understands her, might be moving away. More than ever, Sara wants to climb into her shell, but the play is looming and there&’s no place to hide.This ebook features an illustrated personal history of Ann M. Martin, including rare images from the author&’s collection.
Stage Fright (Allie Finkle's Rules For Girls #4)
by Meg CabotThe fourth grade puts on a play written by Mrs. Hunter! Allie is sure she will walk away with the most coveted role that of the princess, naturally -- but one of her friends gets the part! What Allie doesn't realize is that the part she does get -- that of the evil queen -- is actually the starring role. But Allie isn't content with just starring in the play. She goes full-on method and borrows some false eyelashes to wear for the play, which causes a great deal of excited controversy. Allie learns it's not the size of the part, it's the size of the heart that matters.
Stage Fright: 40 Stars Tell You How They Beat America's #1 Fear
by Mick Berry Michael EdelsteinNever before has the problem of stage fright been so eloquently examined; 40 interviews with some of the most highly-accomplished public figures shed light on this affliction, offering tips from their own experiences for overcoming it. Jason Alexander, Mose Allison, Maya Angelou, David Brenner, Peter Coyote, Olympia Dukakis, Richard Lewis, and many more sound off about their trials with stage fright, candidly discussing their fears and insecurities with life in the public eye and ultimately revealing the various paths they followed to overcoming them. Stage fright sufferers from all walks of life--whether a high school freshman nervous about an oral presentation or a professional baseball player with the eyes of the world on his bat--will find consolation by understanding the commonality of their problem, as well as helpful information to finally shed their inhibitions.
Stage Fright: Its Role In Acting
by Ann M. MartinCan Sara overcome her shyness to perform in the school play? Sara is extremely timid—she only has two friends, and one of them is her cousin. Her mother is constantly pushing her to leave the safety of her room and be more social, but for Sara, being in public is a punishment worse than death.When Sara&’s teacher insists that everyone this year—shy or not—participate in the school play, Sara is filled with terror. To top it off, she finds out her best friend, the one person who understands her, might be moving away. More than ever, Sara wants to climb into her shell, but the play is looming and there&’s no place to hide.This ebook features an illustrated personal history of Ann M. Martin, including rare images from the author&’s collection.
Stage Presence
by Jane GoodallFocusing on examples of live performance in drama, dance, opera and light entertainment, Jane Goodall explores a characteristic as compelling and enigmatic as the performers who demonstrate it. The mysterious quality of ‘presence’ in a performer has strong resonances with the uncanny. It is associated with primal, animal qualities in human individuals, but also has connotations of divinity and the supernatural, relating to figures of evil as well as heroism. Stage Presence traces these themes through theatrical history. This fascinating study also explores the blend of science and spirituality that accompanies the appreciation of human power. Performers display a magnetism of their audiences; they electrify them, exhibit mesmeric command, and develop chemistry in their communication. Case studies include: Josephine Baker, Sarah Bernhardt, Thomas Betterton, David Bowie, Maria Callas, Bob Dylan, David Garrick, Barry Humphries, Henry Irving, Vaslav Nijinsky and Paul Robeson.
Stage Writers Handbook
by Dana SingerDana Singer, Associate Director of America's foremost playwrights' association, the Dramatists Guild, gathers all the information and ideas stage writers need to conduct their careers in a businesslike manner, with all the protections the law provides. Includes chapters devoted to copyright, self-promotion, representation, production contracts, publishing and licensing agreements, underlying rights and collaboration.
Stage-Play and Screen-Play: The intermediality of theatre and cinema
by Michael InghamDialogue between film and theatre studies is frequently hampered by the lack of a shared vocabulary. Stage-Play and Screen-Play sets out to remedy this, mapping out an intermedial space in which both film and theatre might be examined. Each chapter’s evaluation of the processes and products of stage-to-screen and screen-to-stage transfer is grounded in relevant, applied contexts. Michael Ingham draws upon the growing field of adaptation studies to present case studies ranging from Martin McDonagh’s The Cripple of Inishmaan and RSC Live’s simulcast of Richard II to F.W. Murnau’s silent Tartüff, Peter Bogdanovich’s film adaptation of Michael Frayn’s Noises Off, and Akiro Kurosawa’s Ran, highlighting the multiple interfaces between media. Offering a fresh insight into the ways in which film and theatre communicate dramatic performances, this volume is a must-read for students and scholars of stage and screen.
Staged Readings: Contesting Class in Popular American Theater and Literature, 1835-75
by Michael D'AlessandroStaged Readings studies the social consequences of 19th-century America’s two most prevalent leisure forms: theater and popular literature. In the midst of watershed historical developments—including numerous waves of immigration, two financial Panics, increasing wealth disparities, and the Civil War—American theater and literature were developing at unprecedented rates. Playhouses became crowded with new spectators, best-selling novels flew off the shelves, and, all the while, distinct social classes began to emerge. While the middle and upper classes were espousing conservative literary tastes and attending family matinees and operas, laborers were reading dime novels and watching downtown spectacle melodramas like Nymphs of the Red Sea and The Pirate’s Signal or, The Bridge of Death!!! As audiences traveled from the reading parlor to the playhouse (and back again), they accumulated a vital sense of social place in the new nation. In other words, culture made class in 19th-century America. Based in the historical archive, Staged Readings presents a panoramic display of mid-century leisure and entertainment. It examines best-selling novels, such as Harriet Beecher Stowe’s Uncle Tom’s Cabin and George Lippard’s The Quaker City. But it also analyzes a series of sensational melodramas, parlor theatricals, doomsday speeches, tableaux vivant displays, curiosity museum exhibits, and fake volcano explosions. These oft-overlooked spectacles capitalized on consumers’ previous cultural encounters and directed their social identifications. The book will be particularly appealing to those interested in histories of popular theater, literature and reading, social class, and mass culture.
Stages of Reality
by Jeremy Maron André LoiselleA groundbreaking collection of original essays, Stages of Reality establishes a new paradigm for understanding the relationship between stage and screen media. This comprehensive volume explores the significance of theatricality within critical discourse about cinema and television.Stages of Reality connects the theory and practice of cinematic theatricality through conceptual analyses and close readings of films including The Matrix and There Will be Blood. Contributors illuminate how this mode of address disrupts expectations surrounding cinematic form and content, evaluating strategies such as ostentatious performances, formal stagings, fragmentary montages, and methods of dialogue delivery and movement. Detailing connections between cinematic artifice and topics such as politics, gender, and genre, Stages of Reality allows readers to develop a clear sense of the multiple purposes and uses of theatricality in film.
Stages of Reckoning: Antiracist and Decolonial Actor Training (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
by Amy Mihyang GintherStages of Reckoning is a crucial conversation about how racialized bodies and power intersect within actor training spaces. This book provokes embodied and intellectual discomfort for the reader to take risks with their ideologies, identities, and practices and to make new pedagogical choices for students with racialized identities. Centering the voices of actor trainers of color to acknowledge their personal experience and professional pedagogy as theory, this volume illuminates actionable ideas for text work, casting, voice, consent practices, and movement while offering decolonial approaches to current Eurocentric methods. These offerings invite the reader to create spaces where students can bring more of themselves, their communities, and their stories into their training and as fodder for performance making that will lead to a more just world. This book is for people in high/secondary schools, higher education, and private training studios who wish to teach and direct actors of color in ways that more fully honor their multiple identities.
Staging Age
by Valerie Barnes Lipscomb Leni MarshallThis text explores how performers offer conscious-and unconscious-portrayals of the spectrum of age to their audiences. It considers a variety of media, including theatre, film, dance, advertising, and television, and offers critical foundations for research and course design, sound pedagogical approaches, and analyses.
Staging Chinese Revolution: Theater, Film, and the Afterlives of Propaganda
by Xiaomei ChenStaging Chinese Revolution surveys fifty years of theatrical propaganda performances in China, revealing a dynamic, commercial capacity in works often dismissed as artifacts of censorship. Spanning the 1960s through the 2010s, Xiaomei Chen reads films, plays, operas, and television shows from an interdisciplinary and comparative perspective, demonstrating how, in a socialist state with "capitalist characteristics," propaganda performance turns biographies, memoirs, and war stories into mainstream ideological commodities, legitimizing the state and its right to rule. Analyzing propaganda performance also brings contradictions and inconsistencies to light that throw common understandings about propaganda's purpose into question.Chen focuses on revisionist histories that stage the lives of the "founding fathers" of the Communist Party, such as Chen Duxiu, Mao Zedong, and Deng Xiaoping, and the engaging mix of elite and ordinary characters that animate official propaganda in the private and public sphere. Taking the form of "personal" memories and representing star and youth culture and cyberspace, contemporary Chinese propaganda appeals through multiple perspectives, complicating relations among self, subject, agent, state building, and national identity. Chen treats Chinese performance as an extended form of political theater confronting critical issues of commemoration, nostalgia, state rituals, and contested history. It is through these reenactments that three generations of revolutionary leaders loom in extraordinary ways over Chinese politics and culture.
Staging Citizenship: Roma, Performance and Belonging in EU Romania (Dance and Performance Studies #11)
by Ioana SzemanBased on over a decade of fieldwork conducted with urban Roma, Staging Citizenship offers a powerful new perspective on one of the European Union’s most marginal and disenfranchised communities. Focusing on “performance” broadly conceived, it follows members of a squatter’s settlement in Transylvania as they navigate precarious circumstances in a postsocialist state. Through accounts of music and dance performances, media representations, activism, and interactions with both non-governmental organizations and state agencies, author Ioana Szeman grounds broad themes of political economy, citizenship, resistance, and neoliberalism in her subjects’ remarkably varied lives and experiences.
Staging Dance (Ballet, Dance, Opera And Music Ser.)
by Susan CooperStaging Dance is a practical handbook that covers all aspects of putting on a dance production. It highlights the current diversity of dance activities, choosing examples from working dance groups and from individual dancers.The book includes sections on choreography, music and sound, designing and making sets and costumes, lighting design and technical implementation and stage management. Funding, planning and publicity are also covered.Staging Dance will prove invaluable not only to dance artists, but also those working along side them: musicians, designers, lighting technicians, administrators and directors.
Staging Deaf and Hearing Theatre Productions: A Practical Guide
by Andy Head Jill Marie BradburyThis book explores an unacknowledged gap in theatre study and praxis, and establishes an inceptive model for transforming a playscript into a theatrical production involving deaf and hearing artists. The book stipulates that theatrical productions of this nature should strive to go beyond accessibility towards inclusivity by considering deaf perspectives at every stage of the process: When deaf actors are cast in roles assumed to be hearing, how does this change the world of the play? How does the inclusion of a visual language affect staging decisions? How can truly equal access to two different language modalities be achieved for diverse production teams and audiences? Because deaf artists should be involved in the leadership and creative decision making throughout the process, this book is co-written by a deaf and hearing team. The main topics of the book include pre-production preparation, the rehearsal process, and performance. As deaf theatre artists move increasingly into the foreground, it’s time for the hearing theatre world to learn how to undertake productions that successfully bridge the deaf and hearing worlds. By including the perspective of directors, actors, designers, and audience members, this guide lays out an ideal process towards achieving that goal.
Staging Detection: From Hawkshaw to Holmes (Routledge Advances in Theatre & Performance Studies)
by Isabel Stowell-KaplanStaging Detection reveals how the new figure of the stage detective emerged in nineteenth-century Britain. The first book to explore the productive intersections between detection and performance across a range of Victorian plays, Staging Detection foregrounds the role of the stage detective in shaping important theatrical modes of the period, from popular melodrama to society comedy. Beginning in 1863 with Tom Taylor’s blockbuster play, The Ticket-of-Leave Man, the book criss-crosses London following the earliest performances of stage detectives. Centring the work of playwrights, novelists, critics and actors, from Sarah Lane and Horace Wigan to Wilkie Collins and Oscar Wilde, Staging Detection sheds new light on Victorian acting styles, furthers our understanding of melodrama, and resituates the famous Wildean dandy as a successor to the stage detective. Drawing on histories of masculinity and gender performance as well as developing scientific theory and nineteenth-century visual culture, Staging Detection shows how the earliest stage portrayals of the detective shaped broader Victorian debates concerning fraud, omniscience and earned authority. This book will be of great interest to students and scholars of theatre history, Victorian literature and popular culture – as well as anyone with an interest in the figure of the detective.
Staging Ghana: Artistry And Nationalism In State Dance Ensembles (Ethnomusicology Multimedia)
by Paul SchauertThe Ghana Dance Ensemble takes Ghana's national culture and interprets it in performance using authentic dance forms adapted for local or foreign audiences. Often, says Paul Schauert, the aims of the ensemble and the aims of the individual performers work in opposition. Schauert discusses the history of the dance troupe and its role in Ghana's post-independence nation-building strategy and illustrates how the nation's culture makes its way onto the stage. He argues that as dancers negotiate the terrain of what is or is not authentic, they also find ways to express their personal aspirations, discovering, within the framework of nationalism or collective identity, that there is considerable room to reform national ideals through individual virtuosity.
Staging Interspaces in Contemporary British Theatre: Environment and Fluidity
by Vicky AngelakiThis open access book considers how relationships to place and spatial ecologies more broadly are becoming redefined in light of intersecting climate, health, identity and care crises. Through an interdisciplinary, intersectional discourse it investigates how spaces of liminality frame contemporary human conditions in their interactional modes with both human and non-human ecologies. The interspace grounds the discussion, indicating states of flux and transience, where the in-between is the defining characteristic. This open access monograph, then, takes up the new complexity in one’s relationship(s) to their surrounding spaces through a rigorous discussion of texts and performance contexts in cutting-edge contemporary British theatre on a national and international scale. It seeks to address how in-betweenness spatially, temporally, environmentally, geographically and socially conceived has been emerging as the primary state for the unmoored individual of our time – and how it might serve as catalyst for performing one's agency in modes more empathetic not only to other humans, but, also, and equally, to the non-human world.
Staging Loss: Performance as Commemoration
by Andrew Westerside Michael PinchbeckThis book locates and critically theorises an emerging field of twenty-first century theatre practice concerned, either thematically, methodologically, or formally, with acts of commemoration and the commemorative. With notions of memorial, celebration, temporality and remembrance at its heart, and as a timely topic for debate, this book asks how theatre and performance intersects with commemorative acts or rituals in contemporary theatre and performance practice. It considers the (re)performance of history, commemoration as a form of, or performance of, ritual, performance as memorial, performance as eulogy and eulogy as performance. It asks where personal acts of remembrance merge with public or political acts of remembrance, where the boundary between the commemorative and the performative might lie, and how it might be blurred, broken or questioned. It explores how we might remake the past in the present, to consider not just how performance commemorates but how commemoration performs.