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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
Through the use of dialogue, music, chant, dance, pantomime, and image, the play satirizes attitudes toward the Vietnam war. It attempts to present the very complicated, tragic, and helplessly divided atmosphere that prevailed in America, and to look at hapless emotions in a hopelessly complex mythology of war. With the technique of "transformations" the play unfolds. People change from flowers to individuals to machines, from one character to another, from character into actor into bystander and back to character or abstract image or comment; women change to men and back to women again. Americans change into Vietnamese into Viet Cong and back to American soldiers. The line of the play follows several soldiers from birth, to induction, to indoctrination, to overseas, to battle, to fraternization, and to death. Along the way we meet their mothers, their instructors, their superiors, their elected officials, their friends and their enemies, their tormentors and finally their ghosts. A strong ensemble spirit emerges via the actors' technique and interaction with one another and with the audience. The form of the play is constructed so as to manifest the reality of theatre--not as a replica of or comment upon life but as a part of life--and thus restore its urgency and relevance. ..".the best new play since THE BRIG and THE CONNECTION...the theme and scope the variety and density of VIET ROCK would have excited Brecht." Richard Schechner, T D R "VIET ROCK vividly expressed is a breakthrough...extraordinary on at least two counts. It is the first realized theatrical statement about the Vietnam war...and a rare instance of theater confronting issues broader than individual psychology...I would like to assert my admiration." Michael Smith, Village Voice "Wild...an acid indictment...ensemble acting effects that have to be seen to be believed...VIET ROCK has been brilliantly staged, these Open Theater types are contributing something new to the concept and technique of stagecraft." Tomo., Variety
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…
Eugenio Barba is one of Europe's leading theatre directors, at the forefront of experimental and group theatre for more than twenty years. Ian Watson provides the most comprehensive and systematic study of Barba's work, including his training methods, dramaturgy, productions and theories, as well as his work at the International School of Theatre Anthropology.
Afong Moy is fourteen years old when she’s brought to the United States from Guangzhou Province in 1834. Allegedly the first Chinese woman to set foot on U.S. soil, she has been put on display for the American public as “The Chinese Lady.” For the next half-century, she performs for curious white people, showing them how she eats, what she wears, and the highlight of the event: how she walks with bound feet. As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Inspired by the true story of Afong Moy’s life, THE CHINESE LADY is a dark, poetic, yet whimsical portrait of America through the eyes of a young Chinese woman.
Feminist Theaters in the USA is a fresh, informative portrait of a key era in feminist and theater history It is vital reading for feminist students, theater historians and theater practitioners. Their continued movement forward will be challenged and enriched by this timely look back at the trials and accomplishments of their predecessors. Canning interviews over thirty women who took part in the dynamic feminist theater of the 1970s and 1980s. They provide first-hand accounts of the excitement, struggles and innovations which formed their experience. From this foundation Cannning constructs a compelling combination of historical survey, critique and celebration which explores: * The history of the groups and their formation * The politics which shaped their work * Their methods and creative processes * The productions they brought to the stage * The reception from critics and audiences
What is a stalker? And what kind of life can a woman lead when she knows she is being followed, obsessively and perhaps dangerously, by one? This is the dilemma facing Theresa Bedell, a reporter in New York, in Rebecca Gilman's tensely fascinating new play. When Theresa goes on an awkward blind date with a friend of a friend, she sees no reason to continue the relationship--but the man, an attractive fellow named Tony, thinks otherwise. While Theresa is at first annoyed yet flattered by his continuing attention, her attitude gradually changes to one of fear and fury when he starts violently to menace her and those around her. In brilliantly delineating the kind of terror a woman in full control of her life feels when everything around her suddenly seems to be a threat, Gilman probes the dark side of relationships in the 1990s with the rich insight and compelling characterizations that have distinguished her earlier plays and made her one of the most exciting young playwrights working today.
An annotated world theatre bibliography documenting significant theatre materials published world wide since 1945, plus an index to key names throughout the six volumes of the series.
THE STORIES: INTERVIEW. As Norman Nadel describes: Four masked, smiling interviewers interview a scrubwoman, a house painter, a banker and a lady's maid. It is commonplace and familiar enough, except that suddenly, the most innocent statements are
This book analyses representations of death and dying in modern Western theatre from the late nineteenth century onward, examining how and why historically informed conceptions of mortality are dramatized and staged.