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Theatre and Ghosts brings theatre and performance history into dialogue with the flourishing field of spectrality studies. Essays examine the histories and economies of the material operations of theatre, and the spectrality of performance and performer.
Pizzato focuses on the staging of Self and Other as phantom characters inside the brain (in the 'mind's eye', as Hamlet says). He explores the brain's anatomical evolution from animal drives to human consciousness to divine aspirations, through distinctive cultural expressions in stage and screen technologies.
Haunted Theaters comprises more than two dozen suspenseful stories of spooky happenings and ghostly tales in historic theaters, opera houses, and other stages in the United States (Broadway and beyond), Canada, and England.
Edgar Award Winner Dori Hillestad Butler gives us the ninth title in her not-too-scary chapter book mystery series, The Haunted Library. Kaz are Claire are on the case again—this time, they're looking for Kaz's long-lost uncle! Their search takes them to a bakery and a movie theater. Along the way, they meet another kid ghost detective. Will Kaz and Claire be able to figure out what's going on?
Pronouncements such as “the avant-garde is dead,” argues James M. Harding, have suggested a unified history or theory of the avant-garde. His book examines the diversity and plurality of avant-garde gestures and expressions to suggest “avant-garde pluralities” and how an appreciation of these pluralities enables a more dynamic and increasingly global understanding of vanguardism in the performing arts. In pursuing this goal, the book not only surveys a wide variety of canonical and noncanonical examples of avant-garde performance, but also develops a range of theoretical paradigms that defend the haunting cultural and political significance of avant-garde expressions beyond what critics have presumed to be the death of the avant-garde. The Ghosts of the Avant-Garde(s) offers a strikingly new perspective not only on key controversies and debates within avant-garde studies but also on contemporary forms of avant-garde expression within a global political economy.
Resisting Spirits is a reconsideration of the significance and periodization of literary production in the high socialist era, roughly 1953 through 1966, specifically focused on Mao-era culture workers’ experiments with ghosts and ghost plays. Maggie Greene combines rare manuscript materials—such as theatre troupes’ annotated practice scripts—with archival documents, memoirs, newspapers, and films to track key debates over the direction of socialist aesthetics. Through arguments over the role of ghosts in literature, Greene illuminates the ways in which culture workers were able to make space for aesthetic innovation and contestation both despite and because of the constantly shifting political demands of the Mao era. Ghosts were caught up in the broader discourse of superstition, modernization, and China’s social and cultural future. Yet, as Greene demonstrates, the ramifications of those concerns as manifested in the actual craft of writing and performing plays led to further debates in the realm of literature itself: If we remove the ghost from a ghost play, does it remain a ghost play? Does it lose its artistic value, its didactic value, or both? At the heart of Greene’s intervention is “just reading”: the book regards literature first as literature, rather than searching immediately for its political subtext, and the voices of dramatists themselves finally upstage those of Mao’s inner circle. Ironically, this surface reading reveals layers of history that scholars of the Mao era have often ignored, including the ways in which social relations and artistic commitments continued to inform the world of art. Resisting Spirits thus illuminates the origins of more famous literary inquisitions, showing how the arguments surrounding ghost plays and the fates of their authors place the origins of the Cultural Revolution several years earlier, with a radical new shift in the discourse of theatre.
Uncovers the ways in which the spectator's memory informs theatrical reception
The first of six Jeffrey ghost story books centers on Jeffrey's favorite 13 ghostly tales set in Alabama.
Theatre and Ghosts brings theatre and performance history into dialogue with the flourishing field of spectrality studies. Essays examine the histories and economies of the material operations of theatre, and the spectrality of performance and performer.
Ten timid ghosts are visited by Santa Claus and learn what Christmas feels like.