Download Free Festive Revolutions Book in PDF and EPUB Free Download. You can read online Festive Revolutions and write the review.

Are traditions of popular theatre still alive in politically-engaged theatre today? In San Francisco they are. The San Francisco Mime Troupe is a modern link in the long history of public performances that have a merry air but have a voice of political protest and social comment. Every summer since 1962 the Troupe has taken free outdoor performances to public parks in the Bay Area. In a style that is festive and a spirit that is revolutionary the Mime Troupe has relied on popular theatre forms to address timely political and social issues. Their productions maintain a contemporary political edge, while showing their origins to be the popular traditions of the commedia dell'arte, circus clowning, vaudeville, puppetry, and minstrel shows. With The Minstrel Show or Civil Rights in a Cracker Barrel (1965) they expressed support of the civil rights movement. With L'Amant Militaire (1967) they voiced support of Vietnam War protests. To discover what makes these apparently frivolous theatrical traditions effective for contemporary political theatre, Festive Revolutions explores the historical origins of the popular forms the Mime Troupe draws on. In old Europe, where performance traditions began, political turmoil blended with festive celebration. The lineage of the Mime Troupe's Punch the Red can be traced back to the Italian puppet figure Pulcinella through its English and Russian counterparts Punch and Petrushka. In the Mime Troupe the use of stereotypes and reliance upon colorful festivity are diverse strategies for dodging censorship. Productions like Ripped Van Winkle continue today to rekindle the radicalism the Troupe inherited from the culture of the 1960s. Festive Revolutions shows that such forms have inspired political theatre for centuries.
Holidays of the Revolution explores a little-known chapter in the history of Mandatory Palestine and the State of Israel: the Israeli Communist Party and its youth movement, which posed a radical challenge to Zionism. Amir Locker-Biletzki examines the development of this movement from 1919 to 1965, concentrating on how Communists built a distinctive identity through myth and ritual. He addresses three key themes: identity construction through Jewish holidays (Hanukkah and Passover), through civic holidays (Holocaust Remembrance Day and Israeli Independence Day), and through Soviet and working-class myths and ceremonies (May Day and the October Revolution). He also shows how Jewish Communists viewed, interacted, and celebrated with their Palestinian comrades. Using extensive archival and newspaper sources, Locker-Biletzki argues that Jewish-Israeli Communists created a unique, dissident subculture. Simultaneously negating and absorbing the culture of Socialist-Zionism and Israeli Republicanism—as well as Soviet and left-wing–European traditions—Jewish Communists forged an Israeli identity beyond the bounds of Zionism.
Festivals and the French Revolution--the subject conjures up visions of goddesses of Liberty, strange celebrations of Reason, and the oddly pretentious cult of the Supreme Being. Every history of the period includes some mention of festivals; Ozouf shows us that they were much more than bizarre marginalia to the revolutionary process.
A dynamic exploration of eight radical theater collectives from the 1960s and 70s, and their influence on contemporary performance
In the early years of the USSR, socialist festivals--events entailing enormous expense and the deployment of thousands of people--were inaugurated by the Bolsheviks. Avant-garde canvases decorated the streets, workers marched, and elaborate mass spectacles were staged. Why, with a civil war raging and an economy in ruins, did the regime sponsor such spectacles? In this first comprehensive investigation of the way festivals helped build a new political culture, James von Geldern examines the mass spectacles that captured the Bolsheviks' historical vision. Spectacle directors borrowed from a tradition that included tsarist pomp, avant-garde theater, and popular celebrations. They transformed the ideology of revolution into a mythologized sequence of events that provided new foundations for the Bolsheviks' claim to power. In the early years of the USSR, socialist festivals--events entailing enormous expense and the deployment of thousands of people--were inaugurated by the Bolsheviks. Avant-garde canvases decorated the streets, workers marched, and elaborate mass spectacles were staged. Why, with a civil war raging and an economy in ruins, did the regime sponsor such spectacles? In this first comprehensive investigation of the way festivals helped build a new political culture, James von Geldern examines the mass spectacles that captured the Bolsheviks' historical vision. Spectacle directors borrowed from a tradition that included tsarist pomp, avant-garde theater, and popular celebrations. They transformed the ideology of revolution into a mythologized sequence of events that provided new foundations for the Bolsheviks' claim to power.
This book is an English translation of a study of the highly organized public mass celebrations to glorify the state/party/leader of authoritarian regimes in the 20th century, which originated in and enjoyed their longest run in the Soviet Union.
Pulcinella, a Neapolitan clown born of the commedia dell’arte tradition, went viral in Europe in the seventeenth and eighteenth centuries. He was an unlikely hero, grotesque in his mannerisms, with a bulging belly, occasional hunchback, and an insatiable desire for macaroni. Still, this bulbous misfit took his place next to kings, caliphs, and intellectual heavyweights. Pulcinella’s Brood traces the transnational arc of the Enlightenment-era Pulcinella, from his native Naples to Paris, from Rome to London. The book explores how Pulcinella was inserted into discourses about social order, aesthetics, and politics – how he became a revolutionary, a critic of the Catholic Church, and a champion of education. It examines how Pulcinella, along with his transnational brood, was a constant, pervasive presence during the Enlightenment and a squeaky-voiced participant in the ideological and theoretical debates that defined the era. Exploring the diffusion of Italian popular comedy throughout Europe, Pulcinella’s Brood proposes that Pulcinella, a grotesque, food-obsessed clown, can be wielded as a historical disruptor and a rich and dynamic source for casting both the Enlightenment and our contemporary world in a different light.
In this significant and very timely book, the author of The Technological Society, The Political Illusion, and Propaganda asks a tremendous question and shows that the answer we give it is decisive for the future of our society: Can we learn from history what revolution really is necessary for our survival? That is, can we distinguish between senseless, ineffectual revolt or rebellion and a genuine revolution that can alter fundamentals? In his basic, closely reasoned way, Jacques Ellul examines past and recent history in light of the current overwhelming preoccupation with revolution, which seems to have become the daily bread of Western man's thoughts and actions, the immediate explanation for every historical movement. Ellul insists on examining the possibility that today we are projecting onto past events a fairly recent and distorted image of revolution. The new image was created by Marx in the nineteenth century, and Ellul questions how long we can continue to live on his legacy. More important, he suggests that Marx may have brought about an abrupt deviation of the necessary revolutionary current and given a false meaning to the word revolution. Is all our talk about Marxian revolution talk about reality, or a way of filling a void with words? Finally, among so many social eddies and agitations, are we today caught up in a really revolutionary movement--or are we being led into blind combat by false lights that in reality are reflections in distorting mirrors? Are we capable of discerning the real Revolution, the needed Revolution? Ellul does not map out a route in detail: he clears paths into the future, making it possible for a route to be found. His masterly book should help to change our thinking, and therefore our future.
With contributions from provocative art and architectural historians, this book is a unique exposition of the temporary architecture erected for festivals and the role it has played in developing Western architectural and urban theory. Festival Architecture is arranged in historical periods – from Antiquity to the modern era – and divided between analyses of specific festivals, set in relation to contemporary architecture and urban design ideas and theories. Illustrated with a wealth of unusual and rarely-seen images from the European festival tradition, this is a fascinating outline of the history of festival architecture ideal for postgraduate architecture and urban design students.