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Select social and academic communities accord cultural status to deafness and disability, but cultural designation remains an intensely debated topic among many culture non-members and a sensitive hot potato among culture group members. As a result and with alarming speed and regularity, an increasing number of scholars now examine multiple facets of deafness and disability and how culture members intersect with mainstream society. This much needed research helps to bring into perspective and to reconcile distinct segments of our pluralistic world. Yet relatively little in-depth research investigates how dramatic literature represents deaf or disability cultures or people; more specifically, although for centuries plays have developed a myriad of disabled characters, only a handful of plays have developed deaf characters. Given these combined circumstances, the entire fields of creativity and inquiry related to deafness are badly neglected. To date, only a small sprinkling of commercially produced playscripts include deaf characters or take deaf issues as their thematic through lines. It is not surprising, then, that no existing anthology groups plays about deafness in order to p
What Is Dramaturgy?attempts to document, by way of articles, statements, and bibliographies, the dramaturg's profession, which began with Lessing in Germany in the second half of the eighteenth century and was instituted in the United States two hundred years later during the rise of the regional theatre movement. As critics-in-residence (also known as literary managers), dramaturgs perform a variety of tasks: broadly speaking, they select and prepare playtexts for performance, advise directors, and educate the audience; they are translators, theatre historians, public lecturers, even «artistic consciences.» Dramaturgy literally means «the craft or the techniques of dramatic composition considered collectively», and in a sense the dramaturg is the dramatist's representative or advocate in the theatre. That is, he is the guardian of the text - new as well as old - and therefore a person whose work is necessary for the revival of dramatic art in our time. What Is Dramaturgy?is dedicated in the end not only to promoting the dramaturg's function, but also to anticipating his creation of an intellectually illumined American theatre.
This book is a collection of Israeli plays translated into English and published for the first time. These new works covers the period of the 1990s, which is where the plays in the author's previous collections left off. These plays have now become classics. They have not only been chosen for their popularity, but for how they touch on burning issues of the day including the Israeli-Palestinian conflict, religious fanaticism and the post-Zionist ideology of current Israeli society.
This study examines the effect of the mask upon the masked performer int he Balinese Topeng and Calonarang dance dramas and Japanese Noh Theatre. It represents the first systematic study of the relationship between the actor and the mask from the performer's perspective. The approach is largely empirically based and draws upon the author's extensive field research in Bali and Japan which included interviews with performers and mask makers, study of mask carving and dance and observation of private lessons and public performances. This study will be of interest to scholars and students in many fields including Anthropology, Cultural Studies, Performance Studies, Theatre, Dance and Visual Arts. It will be also of interest to theatre and dance practitioners, especially those working with masks or intercultural performance.
You can hit, you can field, but can you make them laugh? Working from interviews and questionnaires, Bradsaw (theater, Gonzaga U.) also uses his personal experience with a ComedySportz team in describing the intensive preparation necessary to get players ready for competitive improv comedy. He describes the history of the art form, the workshops conducted to help players develop the timing of trapeze artists and the hides of rhinos, and the fine points of a sport that favors explosive mind games over protective headgear, however handy the latter may be. He includes a list of teams in the Comedy League of America, the games played in ComedySportz, and a sample questionnaire. We were amused. The text is double-spaced. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).
Includes both books and articles.
This work is an exploration into the writing, cultural and theatrical aesthetics of African writer and director, Ola Rotimi. It is a quest and search for an authentic African esthetic that has been transformed by at least two centuries of the European colonization. This work focuses on the aesthetic dimensions of the Ori Olokun theatre under the artistic direction of Ola Rotimi. It reviews Ola Rotimi's vision and impact with the Ori Olokun Company, and his quest to formulate a truly authentic African theatre, void of the imported European sensibility and colonially inherited aesthetic. The unique creative achievement of Rotimi's work at the Ori Olokun theatre, is that it evolved out of the ivory towers of the University, an 'unfriendly' territory as far as the indigenous theatre is concerned. Ola Rotimi dedicated his art to exploring the traditional/indigenous artistic expressions of the Nigeria people at a point when the African aesthetic had completely lost ground to the European value system. Three of Rotimi's historical plays are analyzed to understand and locate his historical perspective. African theatre, an issue that has dominated African theatre for the past half century. His solution is that writers must 'tamper with the English language to temper it's Englishness'. Clearly, what makes Rotimi unique, is that he brings to his plays, the linguistic characteristics and nuances that are authentic to African people.
Who's Who in Contemporary World Theatre is a lively and accessible biographical guide to the key figures in contemporary drama. All who enjoy the theatre will find their pleasure enhanced and their knowledge extended by this fascinating work of reference. Its distinctive blend of information, analysis and anecdote makes for entertaining and enlightening reading. Hugely influential innovators, household names, and a whole host of less familiar, international figures - all have their lives and careers illuminated by the clear and succinct entries. All professions associated with the theatre are represented here - actors and directors, playwrights and designers. By virtue of the broad range of its coverage, Who's Who in Contemporary World Theatre offers a unique insight into the rich diversity of international drama today.