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This volume explores the impact of printing on the European theatre in the period 1480-1880 and shows that the printing press played a major part in the birth of modern theatre.
NOW A BROADWAY PLAY STARRING DANIEL RADCLIFFE 'Provocative, maddening and compulsively readable' Maggie Nelson In 2003, American essayist John D'Agata wrote a piece for Harper's about Las Vegas's alarmingly high suicide rate, after a sixteen-year-old boy had thrown himself from the top of the Stratosphere Tower. The article he delivered, 'What Happens There', was rejected by the magazine for inaccuracies. But it was soon picked up by another, who assigned it a fact checker: their fresh-faced intern, and recent Harvard graduate, Jim Fingal. What resulted from that assignment, and beyond the essay's eventual publication in the magazine, was seven years of arguments, negotiations, and revisions as D'Agata and Fingal struggled to navigate the boundaries of literary nonfiction. This book includes an early draft of D'Agata's essay, along with D'Agata and Fingal's extensive discussion around the text. The Lifespan of a Fact is a brilliant and eye-opening meditation on the relationship between 'truth' and 'accuracy', and a penetrating conversation about whether it is appropriate for a writer to substitute one for the other. 'A fascinating and dramatic power struggle over the intriguing question of what nonfiction should, or can, be' Lydia Davis
Nandita Dinesh places Kipling’s "six honest serving-men" (who, what, when, where, why, how) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dinesh’s personal narrative with the public story of modern conflict, illustrating as it does, the importance of theatre as a force for ethical deliberation and social justice. In it Dinesh asks how theatre might intervene in times and places of conflict and how we might reflect on such interventions. In pursuit of answers, Theatre and War adopts the methods of auto-ethnography, positioning the theatrical practitioner at the heart of conflict zones in northern Uganda, Guatemala, Northern Ireland, Mexico, Rwanda, Kenya, Nagaland, and Kashmir. No longer a detached observer, the researcher and practitioner has to be able to meld theory with practice; to speak to ‘doing’, without undervaluing the importance of ‘thinking about doing’. Each chapter approaches the need for a synthesis of theory and practice by way of a term of inquiry―Why, Where, Who, What, When―and each is equipped with a set of unflinchingly honest field notes that are designed to reveal some of the ‘hows’ from the author’s own repertoire: questions and issues that were encountered during her own theatrical undertakings, along with first hand reflection on the complexities, potential, and challenges that attended her global work in community theatre. Within these notes are strategies that give the reader a practical insight into how the discussion might find its footing on the ground of war. The range and scope of this book make it required reading for those interested in theatre―practitioners, researchers, and students alike—as well as those seeking to understand the applications of the arts for ethics, politics, and education.
The Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology. The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London’s Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of ‘cultural cruelty’ wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss. In the harsh light of such loss is there an alternative to the market that profits from peddling ‘well-being’ and pushes prescriptions for ‘self-help’, any role for the arts that is not an apologia for injustice? What if culture were not the solution but the problem when it comes to the mitigation of grief? Creativity not the remedy but the symptom of a structural malaise called inequality? Read suggests performance is no longer a political panacea for the precarious subject but a loss adjustor measuring damages suffered, compensations due, wrongs that demand to be put right. These field notes from a fire sale are a call for angry arts of advocacy representing those abandoned as the detritus of cultural authority, second-order victims whose crime is to have appealed for help from those looking on, audiences of sorts.
"From the University of Florida College of Fine Arts, Charlie Mitchell and distinguished colleagues form across America present an introductory text for theatre and theoretical production. This book seeks to give insight into the people and processes that create theater. It does not strip away the feeling of magic but to add wonder for the artistry that make a production work well." -- Open Textbook Library.
Madeleine Levy was diagnosed with Asperger's syndrome at the age of eight. This is a book about her life growing up and the education system as she experienced it. When she was asked by her nursery school teacher what she wanted to be when she grew up, Madeleine's reply was very different to all the other children's: she wanted to be a cat. Later she was bullied for being different - for being bi-sexual, for having autism, or just for being, as she puts it, a weird goth kid. When I Grow Up I Want to Be a Cat is not just a brilliantly frank memoir but also in part a supportive guide for youngsters with autism and their parents or carers, and in part a critique of the education system whose standardised support Madeleine found lacking. It is a book that genuinely gives the perspective from someone on the autistic spectrum - and not just Madeleine's own voice but the voices of nine other individuals with autism spectrum disorder whom she has interviewed for the book. Whatever your interest in autism or whatever your reason for reading it, When I Grow Up I Want to Be a Cat is an unforgettable read in which Madeleine addresses the highs and the lows of her life with compelling honesty, and which ultimately carries a hugely positive message for anyone who is facing struggles in life just for being different.
Based on the author's thesis (Ph.D., Anglia Ruskin University).
The drive-in movie theater brought together two distinct American institutions: cars and movies. Since the earliest drive-ins of the 1930s, these entertainment complexes have been an integral part of American culture. Their appeal stretched to people from all corners of the country, offering a place for social gathering and various amusements. Take a ride down memory lane in this entertaining look at every aspect of the drive-in movie theater: the architecture, the marquees, the cars, the food, and much more. Black-and-white and color photos, along with period ads and other memorabilia, provide a highly illustrated tour from the origins of the drive-in, through its heyday in the 1950s, its decline, and its subsequent revival.
"An Introduction to Technical Theatre draws on the author's experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices. Introduction to Technical Theatre's accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text's modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling" -- From publisher website.
In the world of Fringe (or Off-Off Broadway) theatre, a strong debate has been raging for years - when you're producing a low/no-budget production, how on earth can you make it happen and still treat everyone involved in an open, honest and ethical manner? Where do you stand with profit-share productions when you can't afford to pay Union minimums? Open Book Theatre Management, along with its free online resources of instructional budget spreadsheets, is the first book ever to show you exactly how to mount a theatre production without losing either your integrity or your shirt. It is aimed at actors, directors and producers in the early stages of their careers; drama schools; and further and higher education establishments. The methodologies outlined in the book are transferable across all countries in which arts funding is difficult to secure. The time for going to the Establishment with the begging bowl is over. There need be no more excuses. The author will even show you how to start your own theatre company for only a tenner…