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This book chronicles the child performer as part of the Chicana/o/Mexican-American theatre experience. Borderlands Children’s Theatre explores the phenomenon of the Chicana/o/Mexican-American child performer at the center of Chicana/o and Latina/o theatre culture. Drawing from historical and contemporary theatrical traditions to finally the emergence of Latina/o Youth Theatre and Latina/o Theatre for Young Audiences, it raises crucial questions about the role of the child in these performative contexts and about how childhood and adolescence was experienced and understood. Analyzing contemporary plays for Chicana/o/Mexican-American child performer, it introduces theorizations of "performing mestizaje" and "border crossing" borderlands performance, gender, and ethnic identity and investigates theatre as a site in which children and youth have the opportunity to articulate their emerging selfhoods. This book adds to the national and international dialogue in theatre and gives voice to Chicana/o/Mexican-American children and youth and will be of great interest to students and scholars of Theatre studies and Latina/o studies.
Borderland: On Reviving Culture is a most timely book that tells the story of a project for our times. It is the story of the Borderland organization, which consists of two dovetailing initiatives, an international NGO, the Borderland Foundation, and the more locally and nationally focused Borderland Centre of Arts, Culture and Nations. Borderland is based in the far northeastern corner of Poland close to the borders of Russia, Lithuania and Belarus, where it has devised an array of programs and initiatives designed to promote harmonious cultural plurality in a region of inter-ethnic and religious tensions that date back centuries. Ian Watson, Director of the Theatre Program, Director of the Urban Civic Initiative, Department of Arts, Culture and Media, Rutgers University-Newark
Through a close re-examination of Eugene O’Neill’s oeuvre, from minor plays to his Pulitzer-winning works, this study proposes that O’Neill’s vision of tragedy privileges a particular emotional response over a more “rational” one among his audience members. In addition to offering a new paradigm through which to interpret O’Neill’s work, this book argues that O’Neill’s theory of tragedy is a robust account of the value of difficult theatre as a whole, with more explanatory scope and power than its cognitivist counterparts. This paradigm reshapes our understanding of live theatrical tragedy’s impact and significance for our lives. The book enters the discussion of tragic value by way of the plays of Eugene O’Neill, and through this study, Killian makes the case that O’Neill has refused to allow Plato to define the terms of tragedy’s merit, as the cognitivists have. He argues that O’Neill’s theory of tragedy is non-cognitive and locates the value of a play in its ability to trigger certain emotional responses from the audience. This would be of great interest to students and scholars of performance studies, literature and philosophy.
Everyone already knows that. But the General of an army of Psycho Soldiers takes on this planetary hell headfirst, planning to enslave all of the Borderlands. And that General . . . is a Goddess. The General Goddess, Gynella, is a cunning maniac who uses the dark science of the vile Dr. Vialle to control a growing army of bandits and malcontents. Only four people stand in Gynella’s way. Roland. Mordecai. Brick. And . . . Daphne. Daphne?! Better known as Kuller the Killer, she was once the galaxy’s most effective assassin for organized crime—until her forced retirement on this abandoned wasteland of a world. Roland is one of the toughest fighters in the Borderlands, and Mordecai is the best shot in four solar systems—all the two really want is to get to the Crystalisks, harvest some Eridium, get rich, and leave the planet for the nearest intergalactic party. But there are nightmarish creatures to deal with: Varkids and Skags and Threshers. Worse, Gynella is still in their way. Brick—a pile of walking muscle who lives to smash his enemies, could be their ally or their enemy . . . but you’d definitely rather have him on your side. As for Daphne Kuller? Don't make her mad. Just . . . don’t. If you want to hear about the whole thing, take a ride on the bus to Fyrestone with Marcus. Because Marcus has a tale to tell you . . . an untold story of the Borderlands.
In this series of essays, Thomas Leabhart presents a thorough overview and analysis of Etienne Decroux’s artistic genealogy. After four years’ apprenticeship with Decroux, Thomas Leabhart began to research and discover how forebears and contemporaries might have influenced Decroux’s project. Decades of digging revealed striking correspondences that often led to adjacent fields—art history, philosophy, and anthropology—forays wherein Leabhart’s appreciation of Decroux and his "kinsfolk," who themselves transgressed traditional frontiers, increased. The following essays, composed over a 30-year period, find a common source in a darkened Prague cinema where people gasped at a wooden doll’s sudden reversal of fortune. These essays: investigate the source of that astonishment; continue Leabhart's examination of Decroux’s "family tree"; consider how Copeau's and Decroux's keen observation of animal movement influenced their actor training; record the challenging and paradoxical improvisations chez Decroux; and recall Decroux’s debt to sculpture, poster art, sport and masks. These essays will be of great interest to students, scholars and practitioners in theatre and performance studies.
In 1934, eleven-year-old Charlotte and her mother move to tiny Valley Junction, Missouri, where Charlotte befriends an eccentric old woman in spite of her mother's and others' warnings.
The deities of the theatre are the playwrights. These gods have their own bible - the Dramatist Sourcebook.' - Back Stage. 'The Sourcebook is a treasure trove of sound advice and practical information for the working writer. It provides a road map for beginning writers and is an essential reference for those well traveled.' - Donald Margulies, P...
This book explores the interplay between global and local influences in theatre festivals in the German-speaking border region around Lake Constance. Whilst opening up a fascinating yet under-researched theatre region to academic study, it also provides much-needed empirical grounding for often vague theories of place, globalisation and culture. Do we really live in a 'shrinking world' dominated by a homogenising global culture industry, or are we experiencing the revival of 'local particularism'? To what extent is an apparently place-dependent cultural form such as theatre affected by the processes of cultural globalisation? Through detailed analysis of theatrical case studies from Lake Constance and the application of an interdisciplinary theoretical framework, this book begins to answer such important questions. The empirical focus is on the defining features of the Lake Constance region: the beautiful and often romanticised natural landscape of lake and mountains, and the presence of the nation-state borders which make this the crossroads of the German-speaking world. The author thus examines both open-air summer theatre festivals, such as the internationally renowned Bregenzer Festspiele, and politically focused cross-border theatre festivals, such as the youth festival TRIANGEL.
The fully updated new edition of this indispensable guide.