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Scripted and Staged: Behind the scenes of China's forced televised confessions is a groundbreaking study that gives the reader a backstage pass to China's production and broadcast of coerced confessions by human rights lawyers, journalists, activists and even foreigners. These forced confessions, more high-profile since Chinese President Xi Jinping came to power, are reminiscent of Mao-era public struggle sessions and represent such a transgression of human rights that they are only practiced today by regimes such as North Korea and Iran. Using in-depth interviews, first person testimonies, and analysis of hours of broadcast confessions, Scripted and Staged exposes how the Chinese state uses threats and torture to force victims into confessing, how China's media collaborates in their recording, production, and broadcast across the nation and around the globe. The testimonies in this report expose how the Chinese police carefully choreograph the whole process, from dressing the victim in "costume," to writing the "script," to directing how the confession is delivered, and demanding retake after retake until the propaganda message is ready for airing, all with the collaboration of the media-mostly China's state broadcaster CCTV. And for the many foreign victims, their confessions are often exploited as a tool of Chinese foreign policy.
Starring David Tennant and Michael Sheen, along with A-list guests, the award-winning and critically acclaimed British television comedy series Staged was an instant hit. Launched during the global coronavirus pandemic, the show follows the two thespians playing fictionalised versions of themselves as they try to rehearse a play during lockdown... over Zoom. Completely Staged presents the complete text of the BBC screenplays from Staged’s writer and director Simon Evans and co-creator Phin Glynn, illustrated throughout in full colour with stills from the show, original drawings, sheet music for the theme tune, Georgia Tennant's carrot cake recipe, tips on how to draw a pineapple and much more. This treasure trove is a must-have for every fan of Staged, a show which perfectly combines comedy and poignancy to encapsulate the collective feelings of a reluctantly virtual world.
Playing Real: Mimesis, Media, and Mischief explores the integration and interaction of mimetic theatricality and representational media in twentieth- and twenty‐first-century performance. It brings together carefully chosen sites of performance—including live broadcasts of theatrical productions, reality television, and alternate-reality gaming—in which mediatization and mimesis compete and collude to represent the real to audiences. Lindsay Brandon Hunter reads such performances as forcing confrontation between notions of authenticity, sincerity, and spontaneity and their various others: the fake, the feigned, the staged, or the rehearsed. Each site examined in Playing Real purports to show audiences something real—real theater, real housewives, real alternative scenarios—which is simultaneously visible as overtly constructed, adulterated by artifice and artificiality. The integration of mediatization and theatricality in these performances, Hunter argues, exploits the proclivities of both to conjure the real even as they risk corrupting the perception of authenticity by imbricating it with artifice and overt manipulation. Although the performances analyzed obscure boundaries separating actual from virtual, genuine from artificial, and truth from fiction, Hunter rejects the notion that these productions imperil the “real.” She insists on uncertainty as a fertile site for productive and pleasurable mischief—including relationships to realness and authenticity among both audience and participants.
In the olden days.... Roman Emperors threw Christians to the lions! Gladiators battled to the death! Mayans sacrificed virgins! Witches were burned at the stake! Today? We’ve got REALITY TV! The hot, new genre that suddenly snuck up and captured our imagination as: • Cops put us in prowl cars to pursue loonies, thugs and druggies! • Survivor trapped us on an island with naked, flaming fattie Richard Hatch! • American Idol gobbled up American TV—and spat out the bones! How did reality programming “hijack” TV? Read the eye-popping exposé that takes you straight to Reality Hell. Sex…Drugs…Dirty Tricks…and Scandals! Giggle as Paris Hilton & Nicole Richie get barf-y in the sticks and hump-y with the hicks…. Boggle at never-before-revealed secrets behind Simon Cowell’s manly man-boobs…. Gasp as wee Mini-Me takes a public pee…. And much, much more. REALITY TV! The Super Bowl of Voyeurism…. But JENNIFER ANISTON hates it! “I have no interest in that ‘Idol’ shit,” snarls Jen—who sneers that “humiliation and degradation” make contestants look like monkeys playing in poop. Jennifer’s disgust is a touchstone for this book—which is actually dedicated to her by the author. REALITY TV! Love it or hate it…. You know you want to watch!
In the “post-truth” era, the question of how people perceive things to be real, even when they are not based in fact, preoccupies us. Lessons learned in the theatre – about how emotion and affect produce an experience of realness – are more relevant than ever. Real-ish draws on extensive interviews with audience members about their perceptions of realness in documentary, participatory, historical, and immersive performances. In studying these forms that make up the theatre of the real, Kelsey Jacobson considers how theatrical experiences of realness not only exist as a product of their real-world source material but can also unfurl as real products in their own right. Using the concept of real-ish-ness – which captures the complex feeling that is generated by engaging with elements of reality – the book examines how audiences experience the apparently real within the time and space of a performance, and how it is closely tied to the immediacy and intimacy experienced in relation to others. When feeling – rather than fact –becomes a way of knowing truths about the world, understanding the cultivation and circulation of such feelings of realness is paramount. In exploring this process, Real-ish centres audience voices and, perhaps most importantly, audience feelings during performance.
This book proposes a new way to consider theatre and performance that claims a special relationship to reality, truth and authenticity. It documents innovations in devising and staging theatre and performance that takes reality as its subject, cultural shifts that have generated theatre of the real, some of its problems and some possibilities.
Although there are many studies on linguistic variation as it relates to both "traditional" and "new" media such as film, TV, newspapers, and online behavior, little has been written about spoken performance in overt but face-to-face conversations. This book bridges that gap, and focuses on an "in between" zone between casual face-to-face conversations and the type of heavily scripted language of most traditional spoken media. The book draws upon a substantial amount of empirical data in its investigation of the role played by performance texts in creating, maintaining and challenging imagined communities and focuses upon the ways in which performance contributes to people's sense of the kinds of use for which dialect/variational use is appropriate and those for which it is not. It sheds light on how such stylization intersects with multiple social indexes and how performers and other creative artists challenge and mock hegemonic practices through enregistering a defined set of linguistic variables in the context of their performance and other associated written texts.
Following the triumph of his Booker Prize–winning True History of the Kelly Gang, Peter Carey ventures into the Far East with a novel shot through with mysteries at once historical, literary, and personal. Sarah Wode-Douglass, the editor of a London poetry magazine, had grown up knowing the famous and infamous John Slater. And because he figured prominently in the disaster that was her parents’ marriage, when Slater proposes that she accompany him to Malaysia, Sarah embarks out of curiosity on a journey that becomes, instead, a lifelong obsession. Her discoveries spiral outward from Christopher Chubb, a destitute Australian she meets by chance in the steamy, fetid city of Kuala Lumpur. He is mad, Slater warns her, explaining the ruinous hoax Chubb had committed decades earlier. But lurking behind the man’s peculiarity and arrogance, Sarah senses, is artistic genius, in the form of a manuscript he teases her with and which she soon would do anything to acquire. The provenance of this work, she gradually learns, is marked by kidnapping, exile, and death — a relentless saga that reaches from Melbourne to Bali, Sumatra, and Java, and that more than once compels her back to Malaysia without ever disclosing all of its secrets, only the power of the imagination and the price it can exact from those who would wield it. Astonishing, mesmerizing, and ultimately shocking, My Life as a Fake is the most audacious novel yet in Peter Carey’s extraordinary career.
This book is a compilation of articles published in 2022 with the purpose of making real estate a safe, transparent, secure, and profitable asset. From the experts, we learn about Investing, trends, the future, the potential markets, and diversified asset classes and their drivers. We learn about sustainability, risks of climate change, greenhouse financing, the impact of technology, Drivers of Real Estate Investments, Second Home Investments, and much, much more.
Despite the popular myth that plays arrive at the theater fully formed and ready for production, the truth is that for centuries, most scripts have been developed through a collaborative process in rehearsal and in concert with other theater artists. David Kahn and Donna Breed provide the first codified approach to this time-honored method of play development, with a flexible methodology that takes into account differing environments and various stages of formation. Directors can use this unique guidebook for new play development from the beginning to the end of the process. Kahn and Breed explore ways of choosing new projects, talk about where to find new scripts, and explore the legal aspects of script development. They present a detailed system for theatrical analysis of the new script and show how to continue exploration and development of the script within the laboratory of the theater. Most importantly, they delineate the parameters of the relationship between the director and the playwright, offering proven methods to help the playwright and help facilitate the healthy development of the script. Breed and Kahn offer suggestions on casting, incorporating rewrites, and script handling plus how and when to use audience response and how to decide what step to take next. They also include extended interviews with developmental directors, dramaturgs, and playwrights, who give credence to the new script development process. In short, Kahn and Breed demystify a common, though often convoluted, theater process, providing a unique codification of ways to work on new plays.