- Table View
- List View
The Reasonable Audience: Theatre Etiquette, Behaviour Policing, And The Live Performance Experience
by Kirsty SedgmanAudiences are not what they used to be. Munching crisps or snapping selfies, chatting loudly or charging phones onstage – bad behaviour in theatre is apparently on the rise. And lately some spectators have begun to fight back…The Reasonable Audience explores the recent trend of ‘theatre etiquette’: an audience-led crusade to bring ‘manners and respect’ back to the auditorium. This comes at a time when, around the world, arts institutions are working to balance the traditional pleasures of receptive quietness with the need to foster more inclusive experiences. Through investigating the rhetorics of morality underpinning both sides of the argument, this book examines how models of 'good' and 'bad' spectatorship are constructed and legitimised. Is theatre etiquette actually snobbish? Are audiences really more selfish? Who gets to decide what counts as ‘reasonable’ within public space?Using theatre etiquette to explore wider issues of social participation, cultural exclusion, and the politics of identity, Kirsty Sedgman asks what it means to police the behaviour of others.
If God Wanted Us to Fly He Would Have Given Us Wings!
by Kitty BurnsThree Short Comedies / 3m, 3f / InteriorsIf God Wanted Us to Fly He Would Have Given Us Wings! is a set of 3 one-act plays, all spoofing the airlines. Plays include: Terminal Terror; On Hold at 30,000 Feet; Identity Crisis
Psycho Night at the Paradise Lounge
by Kitty BurnsMystery / 9m, 7f / Interior / Four customers and their friends are at the Paradise Lounge to murder the singer. They do not know each other and are unaware of each other's evolving plots. As Cindy sings, the villains discuss with their accomplices the reasons and methods they've devised for her demise. One by one, four traps are set in Cindy's dressing room. At the end of Act I, Cindy leaves the stage and a commotion is followed by a scream from the direction of the dressing room. The police arrive to investigate and instruct the customers to remain in the lounge while they question staff in the office. With the police out of sight, each potential murderer returns to the dressing room to remove evidence. Each springs a fiendish trap set by another and dies, leaving the police with four bodies, a variety of unusual murder weapons and a room full of "silent partners" who are no help in unraveling the mystery.
Triplet
by Kitty JohnsonComedy \ 3 f. \ Int. \ This insightful look at growing up female takes place on a wedding day. As the bride gets ready for the big event, she converses with herself as a 13-year-old princess and as a 21-year-old virgin. The "three" reveal various truths about themselves, their lives as they thought they would be and as they actually are. This is a wonderful play by a distinct and clever voice.
The Dramatic Society: Essays on Contemporary Performance and Political Theory
by Klaas TindemansAll societies are, by their very nature, dramatic. They present themselves, especially for those who want to look back in time, as a fascinating and confusing whole of theatrical events and constructions. Sometimes the theatre itself succeeds in capturing that fascination and confusion. This book describes the dramatic society in the form of case studies that link politics, history and culture. The Dramatic Society uses selected plays to examine specific moments in history. Its range of subjects are extremely diverse, including Medea as an icon of terrorism, a choreography based upon Shakespeare’s As You Like It, horror movies about the German unification, a truth commission dealing with "human zoos", and the reconstruction of Ai Weiwei’s troubles with the tax authorities. This collection of insightful essays deals with theatrical performances – including happenings, installations and movies – of the past fifty years, with every chapter attempting to link artistic events with politics and political theory, from Hannah Arendt to Slavoj Žižek. This is a revealing assessment of the ways in which drama and politics become intertwined, offering crucial insights for scholars and students of theatre studies, performance studies, contemporary politics and cultural studies.
Process of the Soviet/British: Conference On Soviet-british Puppet Theatre : Selected Papers
by KnightFirst Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Science, Women and Revolution in Russia
by KoblitzWhile the women's movement might seem like a relatively new concept, Russian women of the 1860s deserve to be acknowledged as individuals who changed the direction of science and opened the doors of higher education to women throughout Europe. The 1860's and 1870's witnessed a rise in women's consciousness and the beginnings of the Russian revolutionary movement that saw women pursue and receive doctorates in many areas of science. These same women went on to become some of the brightest in their fields. This book provides a look at Russian women scientists of the 1860's, their personal independence, and technical and literary achievements that made science the popular social movement of the time and changed the face of the Russian intellectual culture.
The Dramaturgy of Senecan Tragedy
by Thomas D. KohnThe first-century Roman tragedies of Seneca, like all ancient drama, do not contain the sort of external stage directions that we are accustomed to today; nevertheless, a careful reading of the plays reveals such stage business as entrances, exits, setting, sound effects, emotions of the characters, etc. The Dramaturgy of Senecan Tragedy teases out these dramaturgical elements in Seneca's work and uses them both to aid in the interpretation of the plays and to show the playwright's artistry. Thomas D. Kohn provides a detailed overview of the corpus, laying the groundwork for appreciating Seneca's techniques in the individual dramas. Each of the chapters explores an individual tragedy in detail, discussing the dramatis personae and examining how the roles would be distributed among a limited number of actors, as well as the identity of the Chorus. The Dramaturgy of Senecan Tragedy makes a compelling argument for Seneca as an artist and a dramaturg in the true sense of the word: "a maker of drama. " Regardless of whether Seneca composed his plays for full-blown theatrical staging, a fictive theater of the mind, or something in between, Kohn demonstrates that he displays a consistency and a careful attentiveness to details of performance. While other scholars have applied this type of performance criticism to individual tragedies or scenes, this is the first comprehensive study of all the plays in twenty-five years, and the first ever to consider not just stagecraft, but also metatheatrical issues such as the significant distribution of roles among a limited number of actors, in addition to the emotional states of the characters. Scholars of classics and theater, along with those looking to stage the plays, will find much of interest in this study.
Schonberg and Kandinsky: An Historic Encounter (Contemporary Music Studies)
by Konrad BoehmerFirst Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
An Actor's Work on a Role
by Konstantin StanislavskiAn Actor’s Work on a Role is Konstantin Stanislavski’s exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing truth to one’s chosen role. Originally published over half a century ago as Creating a Role, this book was the third in a planned trilogy – after An Actor Prepares and Building a Character, now combined in An Actor’s Work – in which Stanislavski sets out his psychological, physical and practical vision of actor training. This new translation from renowned scholar Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming 'The System' as the cornerstone of actor training.
An Actor's Work: A Student's Diary
by Konstantin StanislavskiStanislavski’s ‘system’ has dominated actor-training in the West since his writings were first translated into English in the 1920s and 30s. His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre. Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century.
An Actor's Work: A Student's Diary (Routledge Classics)
by Konstantin StanislavskiStanislavski’s ‘system’ has dominated actor-training in the West since his writings were first translated into English in the 1920s and 30s. His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre. Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century. This Routledge Classics edition includes a new Foreword by the director Richard Eyre.
My Life in Art
by Konstantin StanislavskiKonstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov's The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin's Soviet Union. Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to 'impossible' lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926. Now, for the first time, translator Jean Benedetti brings us Stanislavski's complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished.
Time and Performer Training
by Mark Evans Libby Worth Konstantinos ThomaidisTime and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the ‘right’ time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance.
The Conspiracy of Feelings and The Little Theatre of the Green Goose
by Yurii Olesha Konstanty Ildefons GałczyńskiTwo outstanding examples of socialist-themed plays are combined in this remarkable volume. The Conspiracy of Feelings by Yurii Olesha (1899-1960) is based on his highly respected short novel Envy about the struggle between the old and new in Soviet society. The play, called The Conspiracy of Feelings, is not a simple adaptation, but an original work that reconceived the novel. The play explores the precarious position of the intelligentsia in the new collective state. The Little Theatre of The Green Goose was written by Konstanty Ildefons Galczynski (1905-53) who was one of Poland's most beloved poets. After World War II, he began work as a playwright, inventing a colorful theatre troupe of performers (animal and human) and contributing a new instalment of The Little Theatre of the Green Goose each week to Przekroj, the Cracow literary magazine. Intended for reading only, The Green Goose went unperformed in Galczynski's life and was finally staged in 1955 and gained a permanent place in the theatre and became a force for the creation of the new Polish drama that flourished in the 1960s.
Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890-1930
by Koritha MitchellLiving with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890-1930 demonstrates that popular lynching plays were mechanisms through which African American communities survived actual and photographic mob violence. Often available in periodicals, lynching plays were read aloud or acted out by black church members, schoolchildren, and families. Koritha Mitchell shows that African Americans performed and read the scripts in community settings to certify to each other that lynch victims were not the isolated brutes that dominant discourses made them out to be. Instead, the play scripts often described victims as honorable heads of household being torn from model domestic units by white violence. In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens.
The Actor's Book Of Contemporary Stage Monologues: More Than 150 Monologues From More Than 70 Playwrights
by Nina Shengold Smith Kraus Inc. StaffThis is the only book that offers a comprehensive collection of contemporary stage monologues for a complete range of roles. An invaluable tool for actors looking for new audition material or for anyone interested in theater.
Film Lighting: Talks with Hollywood's Cinematographers and Gaffer
by Kris MalkiewiczNewly revised and updated, Film Lighting is an indispensible sourcebook for the aspiring and practicing cinematographer, based on extensive interviews with leading cinematographers and gaffers in the film industry.Film lighting is a living, dynamic art influenced by new technologies and the changing styles of leading cinematographers. A combination of state-of-the-art technology and in-depth interviews with industry experts, Film Lighting provides an inside look at how cinematographers and film directors establish the visual concept of the film and use the lighting to create a certain atmosphere.Kris Malkiewicz uses firsthand material from the experts he interviewed while researching this book. Among these are leading cinematographers Dion Beebe, Russell Carpenter, Caleb Deschanel, Robert Elswit, Mauro Fiore, Adam Holender, Janusz Kaminski, Matthew Libatique, Rodrigo Prieto, Harris Savides, Dante Spinotti, and Vilmos Zsigmond. This updated version of Film Lighting fills a growing need in the industry and will be a perennial, invaluable resource.
Acting after Grotowski: Theatre’s Carnal Prayer
by Kris SalataFor whom does the actor perform? To answer this foundational question of the actor’s art, Grotowski scholar Kris Salata explores acting as a self-revelatory action, introduces Grotowski’s concept of "carnal prayer," and develops an interdisciplinary theory of acting and spectating. Acting after Grotowski: Theatre’s Carnal Prayer attempts to overcome the religious/secular binary by treating "prayer" as a pre-religious, originary deed, and ultimately situates theatre along with ritual in their shared territory of play. Grounded in theatre practice, Salata’s narrative moves through postmodern philosophy, critical theory, theatre, performance, ritual, and religious studies, concluding that the fundamental structure of prayer, which underpins the actor’s deed, can be found in any self-revelatory creative act.
The Unwritten Grotowski: Theory and Practice of the Encounter (Routledge Advances in Theatre & Performance Studies)
by Kris SalataThis book gives a new view on the legacy of Jerzy Grotowski (1933-1999), one of the central, and yet misunderstood, figures who shaped 20th-century theatre, focusing on his least known last phase of work on ancient songs and the craft of the performer. Salata posits Grotowski’s work as philosophical practice, and more particularly, as practical research in the phenomenology of being, arguing that Grotowski’s departure from theatrical productions (and thus critical consideration) resulted from his uncompromising pursuit of one central problem, "What does it mean to reveal oneself?" — the very question that drove his stage directing work. The book demonstrates that the answer led him through the path of gradually stripping the theatrical phenomenon down to its most elemental aspect, which shows itself through the craft of the performer as a non-representational event. This particular quality released at the heights of the art of the performer is referred to as aliveness, or true liveness in this study in order to shift scholarly focus onto something that has always fascinated great theatre practitioners, including Stanislavski and Grotowski, and of which academic scholarship has limited grasp. Salata’s theoretical analysis of aliveness reaches out to phenomenology and a broad range of post-structural philosophy and critical theory, through which Grotowski’s project is portrayed as philosophical practice.
我的名是张欣恩 (Gimme chance leh)
by Kris Vanessa Teo Xin-EnKris, a young diasporic Chinese woman, attempts to reconcile her upbringing between Canada and Singapore. In doing so, she comes face to face with herself as she pulls apart the tactics she uses in an attempt to fit into two wildly different cultures. Weaving in and out of English, Mandarin, and Singlish, Kris uses storytelling to navigate beauty standards, body image, family, food, and an unexpected friendship with a Chicken Rice Uncle.Deftly unravelling stereotypes and addressing the universal through Kris’s determined persistence and heartwarming sense of humour, 我的名是张欣恩 (Gimme chance leh) is about celebrating difference and existing in the in-between.
The Three Goats Gruff Go to the Greener Side
by Krista Lundgren Len GatdulaWelcome to the world of Playbooks® and the beginning of a wonderful role-play reading adventure! Playbook® stories are presented in a unique and colorful format and are read out loud by several readers like a play, without memorization, props, or a stage. <p><p>When you read a Playbook®, you and other readers bring the story to life and become the characters. As you read your part out loud, you will have fun expressing and acting like your character. You and the other readers will explore the story plot together and learn what will happen next. It's an exciting journey of discovery that pulls you into the story, and you'll want to read it out loud again and again!
Reading Richard III and the Tower of London (21st Century Perspectives on British Literature and Society)
by Kristen DeiterThis is the first book on Richard III and the Tower of London, shedding new light on the King’s reputation, the Castle’s lore, and early modern literature’s role in building associations between them. It is also one of the first books to integrate conceptual blending theory and spatial literary studies, empowering scholars and students to analyze literature and locations in new ways. This book fills gaps in the existing knowledge about both Richard III and the Tower of London. Neither literary nor historical scholarship has treated the process through which Richard III and the Tower became associated in the cultural and historical imagination and how such representations have shaped the King’s reputation and the Castle’s lore. This study analyzes this process while offering new understandings of Richard III as a literary character in prose, drama, and poetry and extending knowledge about the Tower as an iconic literary and cultural symbol.
The Tower of London in English Renaissance Drama: Icon of Opposition (Literary Criticism and Cultural Theory)
by Kristen DeiterThe Tower of London in English Renaissance Drama historicizes the Tower of London's evolving meanings in English culture alongside its representations in twenty-four English history plays, 1579-c.1634, by William Shakespeare, Christopher Marlowe and others. While Elizabeth I, James I, and Charles I fashioned the Tower as a showplace of royal authority, magnificence, and entertainment, many playwrights of the time revealed the Tower's instability as a royal symbol and represented it, instead, as an emblem of opposition to the crown and as a bodily and spiritual icon of non-royal English identity.
Supernatural Environments in Shakespeare's England: Spaces of Demonism, Divinity, and Drama
by Kristen PooleBringing together recent scholarship on religion and the spatial imagination, Kristen Poole examines how changing religious beliefs and transforming conceptions of space were mutually informative in the decades around 1600. Supernatural Environments in Shakespeare's England explores a series of cultural spaces that focused attention on interactions between the human and the demonic or divine: the deathbed, purgatory, demonic contracts and their spatial surround, Reformation cosmologies and a landscape newly subject to cartographic surveying. It examines the seemingly incongruous coexistence of traditional religious beliefs and new mathematical, geometrical ways of perceiving the environment. Arguing that the late sixteenth- and early seventeenth-century stage dramatized the phenomenological tension that resulted from this uneasy confluence, this groundbreaking study considers the complex nature of supernatural environments in Marlowe's Doctor Faustus and Shakespeare's Othello, Hamlet, Macbeth and The Tempest.