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Scripts, interviews, photos, and critical commentary documenting the riotous beginnings of this long-lived experimental theater space for women
A visual and oral history of the past twenty years of theater, On Broadway pulls back the curtain to reveal the creative process involved in bringing a Broadway show to the stage and into the public consciousness through the words of Broadway’s most famous personalities and the art of SpotCo. The art created for a show provides audiences with a tangible, visual, and emotional connection with the theatrical experience. This collection of hundreds of behind-the-scenes photos, concept art, and posters, as well as personal anecdotes by and with some of Broadway’s most beloved stars, including John Leguizamo, Berry Gordy, Alison Bechdel, Lin-Manuel Miranda, Mark Ruffalo, Patrick Stewart, Bernadette Peters, Joel Grey, Harvey Fierstein, Sting, Dolly Parton, Neil LaBute, Cherry Jones, and more serves as the document of record of the shows and performers that have graced New York stages for the past two decades. Stories and art cover working with Jonathan Larson’s family and the producers on the campaign for Rent; Nicole Kidman on her decision to bare all during her photo shoot for The Blue Room; selling the hip-hop Hamilton; and collaborating with the legendary Kander and Ebb on their revival of Chicago, in addition to stories about shows such as Annie Get Your Gun, Young Frankenstein, Freak, Avenue Q, Shrek, Pippin, Elaine Stritch: At Liberty, Gypsy, and Kinky Boots.
"The Playful Revolution is an entertaining journal.... exemplary... " -- Illusions "The Playful Revolution breaks new ground by documenting developmental theatre in Asia in its current socio-political and economic ethos... " -- New Theatre Quarterly "[T]his book is the account of a personal journey through Asia, a written documentary of a quest to find political theatre that really works and that possesses a vitality and passion that the contemporary Western theatre seems to have lost." -- from the book In this groundbreaking book, van Erven reports on the liberation theatre movements throughout Asia, which include a diverse collection of creative artists whose politics range from liberal to revolutionary but who all share a common goal of using grass-roots theatre as an agent of liberation.
Smoothly blending performance theory, literary analysis, and historical insights, Cecilia Feilla explores the mutually dependent discourses of feeling and politics and their impact on the theatre and theatre audiences during the French Revolution. Remarkably, the most frequently performed and popular plays from 1789 to 1799 were not the political action pieces that have been the subject of much literary and historical criticism, but rather sentimental dramas and comedies, many of which originated on the stages of the Old Regime. Feilla suggests that theatre provided an important bridge from affective communities of sentimentality to active political communities of the nation, arguing that the performance of virtue on stage served to foster the passage from private emotion to public virtue and allowed groups such as women, children, and the poor who were excluded from direct political participation to imagine a new and inclusive social and political structure. Providing close readings of texts by, among others, Denis Diderot, Collot d'Herbois, and Voltaire, Feilla maps the ways in which continuities and innovations in the theatre from 1760 to 1800 set the stage for the nineteenth century. Her book revitalizes and enriches our understanding of the significance of sentimental drama, showing that it was central to the way that drama both shaped and was shaped by political culture.
The first study of French theater and war at a time of global revolutions, colonial violence, and radical social transformation.
Laura Mason examines the shifting fortunes of singing as a political gesture to highlight the importance of popular culture to revolutionary politics. Arguing that scholars have overstated the uniformity of revolutionary political culture, Mason uses songwriting and singing practices to reveal its diverse nature. Song performances in the streets, theaters, and clubs of Paris showed how popular culture was invested with new political meaning after 1789, becoming one of the most important means for engaging in revolutionary debate.Throughout the 1790s, French citizens came to recognize the importance of anthems for promoting their interpretations of revolutionary events, and for championing their aspirations for the Revolution. By opening new arenas of cultural activity and demolishing Old Regime aesthetic hierarchies, revolutionaries permitted a larger and infinitely more diverse population to participate in cultural production and exchange, Mason contends. The resulting activism helps explain the urgency with which successive governments sought to impose an official political culture on a heterogeneous and mobilized population. After 1793, song culture was gradually depoliticized as popular classes retreated from public arenas, middle brow culture turned to the strictly entertaining, and official culture became increasingly rigid. At the same time, however, singing practices were invented which formed the foundation for new, activist singing practices in the next century. The legacy of the Revolution, according to Mason, was to bestow new respectability on popular singing, reshaping it from an essentially conservative means of complaint to an instrument of social and political resistance.
This 2003 book examines the growth and influence of the theatre in the development of the young American Republic.
Martin Puchner tells the story of political and artistic upheavals through the political manifestos of the 19th and 20th centuries. He argues that the manifesto was the genre through which modern culture articulated its revolutionary ambitions and desires.