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Pulp and other Plays by Tasha Fairbanks is an anthology of plays which were written for the British group Siren Theatre Company, a lesbian theatre collective founded in 1979 by women from the punk music scene and worked with their unorthodox performance skills to challenge mainstream traditions of 'straight' acting. This anthology of three of the company’s plays brings together long overdue recognition to the company which was Britain's foremost lesbian collective in the 1980s. This collection indicated the diversity of te Siren's theater work: their radical feminist critique of heterosexuality and male violence in 'Curfew', their celebration of lesbian glamour and desire in 'Pulp' and a scathing attack on Thatcherite Britain in ' Now Wash Your Hands, Please'.
First published in 1997. ‘Anthropocosmic Theater is a name which covers a deep theatrical proposition which gives back to dramatic space its participatory capacity. The research, design and production of participatory theatre offers the spectator a cultural dynamic which, with five minutes of instruction, trains him and sustains him so that he can have his own experience because at this stage of evolution we cannot ignore the fact that the vitality and internal spell of any artist manifestation is no longer the heritage of any particular group or clan, but rests beneath the skin of any human being. The participatory dynamics contained in this book are the fruit of fifteen years wok at the UNAM's Taller de Investigacion Teatral’- Nicolas Nunez. This text traces Nunez's research with Grotowski and Strasberg, at the Old Vic in London and in Nahuatlan and Tibetan theatre, to arrive at his design for a unique participatory theatre form. A textbook for students of theatre in Mexico, this volume provides a practical guide to Nunez's ritual/theatrical 'actions' as well as supplying a philosophical context for a work which has resounding implication for theatre in contemporary life.
"Classical scholar James C. Hogan provides a general introduction to Aeschylean theater and drama, followed by a line-by-line commentary on each of the seven plays. He draws on a vast range of scholarship and criticism to give modern readers the most accurate picture possible of what ancient audiences saw and understood in the spectacle of Greek tragedy. Hogan places Aeschylus in the historical, cultural, and religious context of fifth-century Athens, showing how the action and metaphor of Aeschylean theater can be illuminated by information on Athenian law, athletic contests, relations with neighboring states, beliefs about the underworld, demons, omens, and divination, and countless other details of Hellenic life. He clarifies terms that might puzzle modern readers, such as place names and mythological references, and gives special attention to textual and linguistic issues: controversial questions of interpretation; difficult or significant Greek words; use of style, rhetoric, and commonplaces in Greek poetry; and Aeschylus's place in the poetic tradition of Homer, Hesiod, and the elegiac poets. Practical information on staging and production is also included, as the author has kept in mind the need of modern readers to visualize the drama in order to understand the text. Though little is known about Greek choreography and music, Hogan stresses their central role and provides notes on entrances and exits, the use of extras, costuming, tableaux, masks, the use of a stage, the interaction of chorus and actors, tone, gesture, style of acting, and spectacle."--Back cover
Study of the British playwright, Howard Barker which arose from Lamb's idea that current performance theories and production techniques do not work with Barker's plays. Lamb sets Barker's work against those ideas expounded by Edward Bond and the world of deconstruction and postmodern thought. Nine of Barker's drawings are also reproduced.
"Documents the work of three leading feminist theatre companies... through a combination of interviews with theatre practitioners and detailed descriptions of productions in performance."--Back cover.
A remarkable collection of ten contemporary plays covering a wide range of topics and themes. It is a rousing resource for those wanting to use drama to stimulate discussion on issues such as marriage, work, poverty, and fair trade. Some of the plays are challenging, some an invitation to laugh, some to take risks, and some an invitation to just have fun - but all of them are full of a great vitality.
The Feminist Spectator as Criticbroke new ground as one of the pioneering books on feminist spectatorship, encouraging resistant readings to generate feminist meanings in performance. Approaching live spectatorship through a range of interdisciplinary methods, the book has been foundational in theater studies, performance studies, and gender/sexuality/women's studies. This updated and enlarged second edition celebrates the book's twenty-fifth anniversary with a substantial new introduction and up-to-the-moment bibliography, detailing the progress to date in gender equity in theater and the arts, and suggesting how far we have yet to go.
Edward Gordon Craig's ideas regarding set and lighting have had an enormous impact on the development of the theatre we know today. In this new and updated edition of his well-known study of Edward Gordon Craig, Professor Christopher Innes shows how Craig's stage work and theoretical writings were crucial to the development of modern theatre. This book contains extensive documentation and re-evaluates his significance as an artist, actor, director and writer. Craig is placed in historical context, and his productions are reconstituted from unpublished prompt-books, sketches, journals and correspondence. Most of the designs and photographs, and many of Craig's writings cited, are not available elsewhere in print. Readers will gain insight into a key period of theatrical history, the life of one of its most fascinating individuals, the nature of stage performance, and into revolutionary ideas that are still challenging today.
First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Cecil Davies' The Adelphi Players: The Theatre of Persons represents a uniquely interesting contribution to our understanding of touring British theatre in the mid-twentieth-century, post-war period. This book will interest everyone - whether student, academic or general reader - who wants to know more about issues concerning the recent history of British theatre. In their values and aims, the Adelphi Players pre-empted many of the post-war developments that we associate with the non-commercial, fringe and community theatre movement. In Richard Heron Ward founder of the Adelphi-Players, we encounter a dramatist, novelist, essayist and poet who has been unusually neglected in terms of our appreciation of the English literature of the broad left in the 1930s, `40s and `50s. The Adelphi Players has been edited by Peter Billingham, who has also provided an introduction placing Ward and the Adelphi players in the wider social, cultural and ideological context.