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Pioneer Performances draws from a diverse cast of relevant historical figures, ultimately revealing the frontier as a set of complex performative practices imbued with a sense of trenchant social critique.
Whether you are a professional, volunteer or student prop master for a play production, this book reviews what a demanding theatre tech position this is. There is a lot more to propping a show than many theatre people realise. The twelve chapters of this book provide clear definitions of the job in action. They tell how to build a props department, how to create props and how to work with the technical crew, designers, supervisors and performers. Until now there has been no comprehensive manual or guidebook like this to lead a prop master through the entire process. No prop master should work without this guide as a ready reference to solve many unexpected problems. The book is divided into twelve chapters: What Are Props?; The Prop Master; Interacting with Other People; A Successful Work Environment; The Prop Shop; Collections and Files; The First Steps of the Building Process; Start "Propping"; Rehearsals and Performances; Safety; Timeless Tips and Techniques; Basic Theatre Terminology. Amy Mussman has over ten years of experience working as prop master for professional theatre companies.
Do you know a teen that's been bitten by the acting bug? Aimed at teens and tweens, this book lets kids hone their skills and develop their craft. It begins with the five W's: WHO am I? WHAT do I want? WHY do I want it? WHERE am I? WHEN does this event take place? Sounds basic--but many young child actors are told simply to "get up there and act." This book explores each of these questions, using helpful exercises to allow young actors to work through problems of character identity and motivation. With comprehensive chapters on auditioning, rehearsal, and improvisation, plus a primer on how young actors can break into film, theater, and television.--From publisher description.
This is the first book length study of performance activism. While Performance Studies recognizes the universality of human performance in daily life, what is specifically under investigation here is performance as an activity intentionally entered into as a means of engaging social issues and conflicts, that is, as an ensemble activity by which we re-construct/transform social reality. Performance Activism: Precursors and Contemporary Pioneers provides a global overview of the growing interface of performance with education, therapy, conflict resolution, civic engagement, community development and social justice activism. It combines an historical study of the processes by which, over the course of the 20th Century, performance has been loosened from the institutional constraints of the theatre with a mosaic-like overview of the diverse work/play of contemporary performance activists around the world. Performance Activism will be of interest to theatre and cultural historians, performance practitioners and researchers, psychologists and sociologists, educators and youth workers, community organizers and political activists.
British Theatre and the Great War examines how theatre in its various forms adapted itself to the new conditions of 1914-1918. Contributors discuss the roles played by the theatre industry. They draw on a range of source materials to show the different kinds of theatrical provision and performance cultures in operation not only in London but across parts of Britain and also in Australia and at the Front. As well as recovering lost works and highlighting new areas for investigation (regional theatre, prison camp theatre, troop entertainment, the threat from film, suburban theatre) the book offers revisionist analysis of how the conflict and its challenges were represented on stage at the time and the controversies it provoked. The volume offers new models for exploring the topic in an accessible, jargon-free way, and it shows how theatrical entertainment of the time can be seen as the `missing link’ in the study of First World War writing.
Women’s Amateur Theatre in Rural Britain is the first book-length study of the National Federation of Women’s Institutes’ amateur drama groups, which served as an umbrella organisation for women’s amateur drama. This work addresses a key historical gap by covering the activities, lives, and labour of women in rural England, Wales, and Scotland. It challenges gender-based assumptions about the value of women’s amateur theatre, highlighting the need for leisure opportunities and social connections in rural villages. The rapid expansion of women’s amateur drama groups is assessed in conjunction with major developments of the period, including the effect of post-1918 reconstruction efforts in rural regions, the revaluation of informal adult education schemes, the law’s influences and restrictions on amateur performances, and the impact of the Second World War on the ability of the Women’s Institutes to carve out a space for all-women’s drama groups that empowered women through education and skill-building programmes to aid in personal and community development. The broad scope of this research will appeal to undergraduates, postgraduates, scholars, and non-specialists interested in cultural history and the lives of rural women after the First World War.
Twenty-two one-act plays and sketches demonstrating comedy techniques. Comedy relies upon exaggeration incongruity, automatism, character inconsistency, surprise and derision. Now a book that defines and demonstrates each of these devices with twenty-two short sketches and one-act plays.
An Illustrated History of British Theatre and Performance chronicles the history and development of theatre from the Roman era to the present day. As the most public of arts, theatre constantly interacted with changing social, political and intellectual movements and ideas, and Robert Leach’s masterful work restores to the foreground of this evolution the contributions of women, gay people and ethnic minorities, as well as the theatres of the English regions, and of Wales and Scotland. Highly illustrated chapters trace the development of theatre through major plays from each period; evaluations of playwrights; contemporary dramatic theory; acting and acting companies; dance and music; the theatre buildings themselves; and the audience, while also highlighting enduring features of British theatre, from comic gags to the use of props. Continuing on from the Enlightenment, Volume Two of An Illustrated History of British Theatre and Performance leads its readers from the drama and performances of the Industrial Revolution to the latest digital theatre. Moving from Punch and Judy, castle spectres and penny showmen to Modernism and Postdramatic Theatre, Leach’s second volume triumphantly completes a collated account of all the British Theatre History knowledge anyone could ever need.
Phil, an average nice guy, is madly in love with the beautiful Sophia. The only problem is that she's unaware of his existence. He tries to introduce himself but she looks right through him. When Phil discovers Sophia has a glass eye, he thinks that might be the problem, but soon realizes that she really can't see him. Perhaps he is caught in a philosophical hyperspace or dualistic reality or perhaps beautiful women are just unaware of nice guys. Armed only with a B.A. in philosophy, Phil sets out to prove his existence and win Sophia's heart. This fast moving farce is the winner of the HotCity Theatre's GreenHouse New Play Festival. The St. Louis Post-Dispatch called Cockeyed a clever romantic comedy, Talkin' Broadway called it "hilarious," while Playback Magazine said that it was "fresh and invigorating."