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„als wären wir geschichtslos“: Das Geschichtstheater bei Elfriede Jelinek (Abhandlungen zur Literaturwissenschaft)
by Anna LenzDieses Buch interpretiert die Themen Geschichte, Subjektivität und Verantwortung im Theater Elfriede Jelineks. Jelinek ergründet dramatische und historische Deutungskonventionen, greift sie aber gleichzeitig immer wieder und auch kritisch auf (Figur, Subjektivität, Geschichte). Eine Auseinandersetzung mit europäischer Geistesgeschichte (u. a. Hegel, Hölderlin, Freud) ist zentral, um sich auf sie zu beziehen, sie zu hinterfragen und sich auch von ihr abzuwenden. Die Arbeit analysiert fünf Stücke, darunter „Wolken.Heim.“ und „Am Königsweg“, und beleuchtet historische und subjekttheoretische Brüche sowie Genderaspekte in Jelineks Geschichtstheater.
Präsenzgeschichten: Virtuelle Realitäten im Theater der Frühen Neuzeit (Simulatio. Theatertechniken in Literatur, Medien und Wissenschaft)
by Jenny Augustin Johanna AbelBei einem Blick auf virtuelle Realitäten im frühneuzeitlichen Theater gilt es, unsere vom digitalen Zeitalter geprägten Konzepte der Virtualität und Präsenz zu revidieren. Auf dem Gebiet der Kulturen der Romania haben multiple Präsenz- und Virtualitätsverständnisse eine lange und kontroverse Geschichte. In der Auseinandersetzung mit der Vorgeschichte erweiterter Realitätserfahrungen am Modell des Theaters geht es vor allem um die Einbettung von Vergegenwärtigungstechniken in verflochtene Geschichten und vielschichtige Narrationen vom wirkmächtig Virtuellen. Hier werden daher Präsenzgeschichten im Plural in diversen Medien und epistemischen Erzeugungskontexten durchgespielt.
Staging the Ottoman Turk: British Drama, 1656–1792
by Esin AkalınIn the wake of the fear that gripped Europe after the fall of Constantinople in 1453, English dramatists, like their continental counterparts, began representing the Ottoman Turks in plays inspired by historical events. The Ottoman milieu as a dramatic setting provided English audiences with a common experience of fascination and fear of the Other. The stereotyping of the Turks in these plays—revolving around complex themes such as tyranny, captivity, war, and conquests—arose from their perception of Islam. The Ottomans' failure in the second siege of Vienna in 1683 led to the reversal of trends in the representation of the Turks on stage. As the ascending strength of a web of European alliances began to check Ottoman expansion, what then began to dazzle the aesthetic imagination of eighteenth century England was the sultan's seraglio with images of extravaganza and decadence. In this book, Esin Akalin draws upon a selective range of seventeenth and eighteenth century plays to reach an understanding, both from a non-European perspective and Western standpoint, how one culture represents the other through discourse, historiography, and drama. The book explores a cluster of issues revolving around identity and difference in terms of history, ideology, and the politics of representation. In contextualizing political, cultural, and intellectual roots in the ideology of representing the Ottoman/Muslim as the West's Other, the author tackles with the questions of how history serves literature and to what extent literature creates history.
Off-Broadway/Off-West End: American Influence on the Alternative Theatre Movement in Britain 1956–1980
by David WeinbergDavid Weinberg argues that American experimental theater practice was a key factor in the development of the alternative theater movement in Britain during the period 1956–1980. He covers the activities of the experimental theater groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler, and Ed Berman, four expatriate American theater practitioners living in Britain. In addition, he also examines important American-based groups—Living Theatre (1947), Open Theatre (1964), La MaMa (1960), and Bread and Puppet (1965)—which performed in Britain and which made an impact during the same period, as well as a wide range of indigenous British groups—Pip Simmons (1968), Foco Novo (1972–1989), Joint Stock (1974–1989), institutions—RSC (1961), Royal Court (1956)—and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Ann Jellicoe, and the Portable playwrights (1968–1972), which in one way or another were influenced by American exemplars. Weinberg's study is essential reading for everyone seeking a more comprehensive and dynamic understanding of the forces which shaped the alternative theatrer movement in Britain.
Beckett's Late Stage: Trauma, Language, and Subjectivity (Samuel Beckett in Company #4)
by Rhys TranterBeckett's Late Stage reexamines the Nobel laureate's postwar prose and drama in the light of contemporary trauma theory. Through a series of sustained close readings, the study demonstrates how the comings and goings of Beckett's prose unsettles the Western philosophical tradition; it reveals how Beckett's live theatrical productions are haunted by the rehearsal of traumatic repetition, and asks what his ghostly radio recordings might signal for twentieth-century modernity. Drawing from psychoanalytic and poststructuralist traditions, Beckett's Late Stage explores how the traumatic symptom allows us to rethink the relationship between language, meaning, and identity after 1945.
A Theatre of Affect: The Corporeal Turn in Samuel Beckett's Drama (Samuel Beckett in Company #3)
by Charlotta P. EinarssonCombining phenomenological analysis with dance and performance analysis and affect theory, A Theatre of Affect: The Corporeal Turn in Samuel Beckett's Drama takes stock of the various ways in which the body in Samuel Beckett's drama participates in the affective ecology of performance. Affect is here located in the materiality of the body and discussed in relation to the symbolic significance of, for instance, the effort, direction, speed, or duration of a posture, movement, or gesture. Although the meaning of the body in Beckett's stage-images cannot be mapped onto conventional discursive meanings, the significance of the body's formal modulations is affective in the sense that the import of such changes is immediately recognized and felt as significant by spectators. Beckett's theater of affect therefore is predicated on the infinitesimal stirrings of subliminal meaning-making that continuously shape and create the world in experience.
High Treason and Low Comedy: Egon Erwin Kisch’s Cabaret Plays as History and Art
by Robert T. O’KeeffeHigh Treason and Low Comedy is the first in-depth treatment in English of E. E. Kisch’s work as a playwright, a phase of his life to which he devoted considerable effort during the years 1920–1925.The translations of his two most successful works for the cabaret stages of Germany, Austria, and Czechoslovakia form the basis of discussions that fit them into several intersecting streams: biographical, historical, and cultural. The plays are Die Hetzjagd, which describes the last day on earth of the infamous traitor, Colonel Alfred Redl, and Die Himmelfahrt der Tonka Šibenice (Galgentoni), which presents the comical, coarse, and, at times, pathetic efforts of a Prague prostitute to argue her way into heaven. The plays are a portal into the world of Kisch’s youth as an enterprising journalist and into his thinking and writing just before he became “the raging reporter” and the star of international reportage. While they reflect the Prague milieu of his youth during the twilight years of the Austro-Hungarian Empire, they also illustrate Kisch’s lifelong critical attitude toward the conservative authorities of society, their derelictions of duty, and their indifference to the welfare of the common man and woman.The book also examines the long afterlife of both of these stories as they were re-created by artists in stage, film, novelistic, and television adaptations, illustrating the theme of what happens when historical materials are transformed into art.
The Dynasts
by Thomas Hardy"The Dynasts" is an English-language drama in verse by Thomas Hardy. Hardy himself described this work as "an epic-drama of the war with Napoleon, in three parts, nineteen acts and one hundred and thirty scenes". Not counting the Forescene and the Afterscene, the exact total number of scenes is 131. The three parts were published in 1904, 1906 and 1908. Because of the ambition and scale of the work, Hardy acknowledged that The Dynasts was not a work that could be conventionally staged in the theatre, and described the work as "the longest English drama in existence". Scholars have noted that Hardy remembered war stories of the veterans of the Napoleonic wars in his youth, and used them as partial inspiration for writing The Dynasts many years later in his own old age. In addition, Hardy was a distant relative of Captain Thomas Hardy, who had served with Admiral Horatio Nelson at Trafalgar. Hardy consulted a number of histories and also visited Waterloo, Belgium, as part of his research. George Orwell wrote that Hardy had "set free his genius" by writing this drama and thought its main appeal was "in the grandiose and rather evil vision of armies marching and counter-marching through the mists, and men dying by hundreds of thousands in the Russian snows, and all for absolutely nothing."
Otelo: el moro de Venecia
by William ShakespeareThis is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Otelo, El Moro De Venecia: Drama Tragico En Cuatro Actos William Shakespeare Jose Rodriguez, 1879
Dramas de familia: El Sistema Solar / El lenguaje de las sirenas / Ruido
by Maríana De Althaus"Todas mis obras parten de una incomodidad, un desacuerdo con la realidad, o una pregunta angustiante"
El sistema solar
by Maríana De AlthausUna obra de teatro de Mariana de Althaus llevada ahora al cine. Una obra de teatro donde orbita un orden conflictivo y precario, y a pesar de sus tensiones se mantienen en delicado equilibrio.
India's Foreign Policy Challenge and Strategy: भारत की विदेश नीति चुनौती और रणनीति
by Rajiv Sikri Chinmay Dharkhanपुस्तक एक रणनीतिक और नीति-उन्मुख दृष्टिकोण से भारत की वर्तमान और बढ़ती विदेशी नीति चुनौतियों की जांच करती है। यह देश के विदेश नीति निर्माण को निर्धारित करने वाले दीर्घकालिक कारकों और रुझानों का विश्लेषण करता है। यदि यह जटिल और तेजी से विकसित होने वाली 21 वीं सदी की दुनिया में एक प्रमुख खिलाड़ी बनना है, तो लेखक भारत के दृष्टिकोण का पुन: मूल्यांकन करने का आग्रह करता है।
Murder In The Cathedral
by T. S. EliotThe action occurs between 2 and 29 December 1170, chronicling the days leading up to the martyrdom of Thomas Becket following his absence of seven years in France. Becket's internal struggle is a central focus of the play.
The Complete Works of Kalidasa, Volume 2
by Chandra RajanThe second volume contains the plays of Kalidasa. His knowledge of the human heart and his understanding of the complex play of human motivation are profound. A keen observer of nature in all its varied aspects, Kalidasa is at the same time a learned writer who wears his enormous learning lightly and with grace.
Bharata: The Natyasastra
by Kapila VatsyayanThe attempt has been to review the Natyasastra as an important confluence in the perennial flow of the tradition with the twin processes of continuity and change, as also of the interplay of the sastra and the prayoga, not to speak of the integral vision which provides a unity of purpose and rigorousness of structure to the text.
Othello
by William Shakespeare Divakar Prasad VidyarthiOne of the most horrific tragedies written by Shakespeare. The play grabs and holds us in hypnosis. Iago sets traps like an spider and Othello steadily becomes his prey. Othello kills his wife and then kills himself after finding that he was at fault.
Mahadevbhai, 1892-1942, and Insomnia
by Ramu Ramanathan Ninaz KhodaijiMAHADEVBHAI (1892 - 1942) is a one-person play, which attempts to remind us of the times that were, and their devotion to truth. INSOMNIA consists of 4 Monologues by Ninaz Khodaiji.
Black with 'Equal'
by Vikram KapadiaA play which offers a sharp analysis of the seedy, selfish, and mean aspects of middle-class society in urban India.
Patkatha Lekhan Ek Parichay: पटकथा लेखन एक परिचय
by Manohar Shyam Joshiपटकथा-लेखन एक हुनर है। अंग्रेजी में पटकथा-लेखन के बारे में पचासों किताबें उपलब्ध हैं और विदेशों के, खासकर अमेरिका के, कई विश्वविद्यालयों में पटकथा- लेखन के बाक़ायदा पाठ्यक्रम चलते हैं। लेकिन भारत में इस दिशा में अभी तक कोई पहल नहीं हुई। हिन्दी में तो पटकथा-लेखन और सिनेमा से जुड़ी अन्य विधाओं के बारे में कोई अच्छी किताब छपी ही नहीं है। इसकी एक वजह यह भी है कि हिन्दी में सामान्यतः यह माना जाता रहा है कि लिखना चाहे किसी भी तरह का हो, उसे सिखाया नहीं जा सकता। कई बार तो लगता है कि शायद हम मानते हैं कि लिखना सीखना भी नहीं चाहिए। यह मान्यता भ्रामक है और इसी का नतीजा है कि हिन्दी वाले गीत-लेखन, रेडियो, रंगमंच, सिनेमा, टी.वी. और विज्ञापन आदि में ज़्यादा नहीं चल पाए। लेकिन इधर फिल्म व टी.वी. के प्रसार और पटकथा- लेखन में रोजगार की बढ़ती संभावनाओं को देखते हुए अनेक लोग पटकथा-लेखन में रुचि लेने लगे हैं, और पटकथा के शिल्प की आधारभूत जानकारी चाहते हैं। अफसोस कि हिन्दी में ऐसी जानकारी देने वाली पुस्तक अब तक उपलब्ध ही नहीं थी। ‘पटकथा-लेखन: एक परिचय’ इसी दिशा में एक बड़ी शुरुआत है, न सिर्फ इसलिए कि इसके लेखक सिद्ध पटकथाकार मनोहर श्याम जोशी हैं, बल्कि इसलिए भी कि उन्होंने इस पुस्तक की एक-एक पंक्ति लिखते हुए उस पाठक को ध्यान में रखा है जो फिल्म और टी.वी. में होने वाले लेखन का ‘क, ख, ग’ भी नहीं जानता। प्राथमिक स्तर की जानकारियों से शुरू करके यह पुस्तक हमें पटकथा-लेखन और फिल्म व टी.वी. की अनेक माध्यमगत विशेषताओं तक पहुँचाती है; और सो भी इतनी दिलचस्प और जीवन्त शैली में कि पुस्तक पढ़ने के बाद आप स्वतः ही पटकथा पर हाथ आजमाने की सोचने लगते हैं।
A History of the Jana Natya Manch
by Arjun GhoshA History of the Jana Natya Manch chronicles the birth and growth of the Jana Natya Manch (Janam), a Delhi-based radical theater group which has been active since 1973. Beginning in the early 1970s, when a group of young students in Delhi sought to continue the legacy of the Indian Peoples' Theatre Association, the book takes a close but critical look at the various phases in the four decades of the theatre collective. The author has also captured within these pages the functioning of Janam as an organization, its methods of attracting and training fresh talent, the process of scripting, interactions with mass organizations, the experience of performing almost skin-to-skin with its spectators in the grime of Indian streets, and much more. This book is not only a narration of Janam's history, development and functioning, it is also an attempt to throw fresh light on the practice of theater.
Habib Tanvir
by Anjum KatyalAnjum Katyal's work is the first comprehensive study on the life and contribution of Habib Tanvir to Indian theatre history. A playwright, director, actor, journalist and critic, Tanvir is perhaps best known for the play Charandas Chor. However, his real significance in the history of post-Independence Indian theatre is that he signposted an important path for the development of modern theatre. His productions with Naya Theatre using Chhattisgarhi folk actors established how one could do modern theatre integrated with age-old-yet equally contemporary-folk culture on a basis of equality. Habib Tanvir: Towards an Inclusive Theatre explores various important aspects of Tanvir's theatre philosophy and practice as he experimented with both content and form. Starting with his early life and work, Katyal charts his professional trajectory from Agra Bazaar to Gaon Ka Naam Sasural, when he was searching for his true form, to Charandas Chor, which portrayed the eventual maturing of his style, and beyond, to cover his entire oeuvre.
Rudali: From Fiction to Performance
by Anjum Katyal Mahasweta Devi Usha GanguliRudali means 'hired crier'. It is a Bengali short story by Mahasweta Devi. Also in this book is the Hindi play of the same name that is adapted from the short story by Usha Ganguli.
Natsamrat FYBA New NEP Syllabus - RTMNU: नटसम्राट एफ.वाय.बी.ए. नवीन एन.इ.पी. अभ्यासक्रम - राष्ट्रसंत तुकडोजी महाराज नागपूर विद्यापीठ
by V. V. Shirwadkarवि. वा. शिरवाडकर (कुसुमाग्रज) लिखित नटसम्राट हे मराठी रंगभूमीवरील सर्वकालीन श्रेष्ठ नाटकांपैकी एक मानले जाते. शेक्सपिअरच्या King Lear च्या प्रेरणेने लिहिलेल्या या नाटकाचा नायक गणपतराव बेलवलकर हा एक निवृत्त नट आहे, ज्याने आपल्या अभिनय कारकिर्दीत अफाट यश संपादन केलं आहे. निवृत्तीनंतर तो आपली संपत्ती मुलांना देतो आणि पुढे त्याच मुलांकडून उपेक्षा, अवहेलना आणि मानसिक वेदना सहन करतो. या नाटकात वृद्धत्वातील एकटेपणा, माणुसकीचा ऱ्हास, आणि कुटुंबातील संबंधातील ताणतणाव यांचे हृदयस्पर्शी चित्रण आहे. बेलवलकराच्या व्यथांची भावनिक गुंतागुंत, त्याची आत्माभिमानी वृत्ती, आणि व्यासपीठावरील त्याच्या कलावंताचे तेज – या सर्व गोष्टींनी नटसम्राट हा नाट्यकृतीचा शिखरबिंदू ठरतो. डॉ. श्रीराम लागू यांच्या प्रभावी अभिनयामुळे हे पात्र अधिक अजरामर ठरले. नटसम्राट हे केवळ एक नाटक नाही, तर ते एक मानवी भावभावनांचे दर्पण आहे, जे प्रेक्षकाच्या मनामनात खोलवर रुजते. यातून नाटककाराने व्यक्ती, समाज आणि नाटक या तिन्ही अंगांचे विलक्षण तत्त्वज्ञान मांडले आहे. आजही हे नाटक विविध रंगभूमींवर आणि चित्रपटरूपात लोकप्रिय असून मराठी साहित्य-संस्कृतीतील एक अमूल्य ठेवा म्हणून गौरवले जाते.
Samagra Ekankika FYBA - SPPU: समग्र एकांकिका एफ.वाय.बी.ए. - सावित्रीबाई फुले पुणे यूनिवर्सिटी
by Premanand Gajviया एकांकिकांविषयी कोणतेही भाष्य करणं उचित ठरणार नाही. हा कलावंतांचा, रसिकांचा अधिकार. तरीही एक सांगितलं पाहिजे. "घोटभर पाणी' ही एकच एकांकिका प्रेमानंद गज्वीनी लिहिली असती नि नंतर काहीच लिहिलं नसतं तरी गज्वीचं नाव मराठी नाटयवाङ्मयाच्या इतिहासात सन्मानानं घेतलं गेलं असतं." असं म्हटलं गेलंय. अशा या एकांकिकेचे एकूण ३००० प्रयोग झाले असून ४५७ पारितोषिकं तिला प्राप्त झाले आहेत. या एकांकिकेचा इंग्रजीसह सर्व भारतीय भाषात अनुवाद झालेला आहे. आता पर्यंत लिहिलेल्या सोळा एकांकिका या पुस्तकात समग्र स्वरुपात प्रकाशित होत आहेत.
This Is Not That Dawn Jhootha Sach
by Yashpal Translated from the Hindi AnandJhootha Sach is arguably the most outstanding piece of Hindi literature written about the Partition. Reviving life in Lahore as it was before 1947, the book opens on a nostalgic note, with vivid descriptions of the people that lived in the city’s streets and lanes like Bhola Pandhe Ki Gali. Tara, who wanted an education above marriage; Puri, whose ideology and principles often came in the way of his impoverished circumstances; Asad, who was ready to sacrifice his love for the sake of communal harmony. Their lives—and those of other memorable characters—are forever altered as the carnage that ensues on the eve of Independence shatters the beauty and peace of the land, killing millions of Hindus and Muslims, and forcing others to leave their homes forever. Published in English translation for the first time, Yashpal’s controversial novel is a politically charged, powerful tale of human suffering.