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The Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology. The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London’s Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of ‘cultural cruelty’ wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss. In the harsh light of such loss is there an alternative to the market that profits from peddling ‘well-being’ and pushes prescriptions for ‘self-help’, any role for the arts that is not an apologia for injustice? What if culture were not the solution but the problem when it comes to the mitigation of grief? Creativity not the remedy but the symptom of a structural malaise called inequality? Read suggests performance is no longer a political panacea for the precarious subject but a loss adjustor measuring damages suffered, compensations due, wrongs that demand to be put right. These field notes from a fire sale are a call for angry arts of advocacy representing those abandoned as the detritus of cultural authority, second-order victims whose crime is to have appealed for help from those looking on, audiences of sorts.
"Three chilling tales. Two ghostly performers. One thrilling night. Legend has it that many years ago a book of terrifying tales was found. Now, you are invited to discover the secrets of The Book of Darkness & Lightif you dare. Join The Storyteller and The Musician for an evening of spine-tingling tales and haunting live music. Three ghostly stories to delight and horrify, accompanied by the beautiful sounds of the violin. Be thrilled, chilled and thoroughly entertained by this charming storytelling experience. But, be warned, once the pages of the book are opened, anything could happen."
Monsters are fragmentary, uncertain, frightening creatures. What happens when they enter the realm of the theatre? The Monster in Theatre History explores the cultural genealogies of monsters as they appear in the recorded history of Western theatre. From the Ancient Greeks to the most cutting-edge new media, Michael Chemers focuses on a series of ‘key’ monsters, including Frankenstein’s creature, werewolves, ghosts, and vampires, to reconsider what monsters in performance might mean to those who witness them. This volume builds a clear methodology for engaging with theatrical monsters of all kinds, providing a much-needed guidebook to this fascinating hinterland.
In Butoh Ethan Hoffman creates virtually a new genre of photographic theater and gives us an invaluable contribution to the literature of contemporary dance and theater. 100 full-color photographs.
Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre responds to a rising tide of experimentation in theatre practice that eliminates or obscures light. It brings together leading and emerging practitioners and researchers in a volume dedicated to exploring the phenomenon and showcasing a range of possible critical and theoretical approaches. This book considers the aesthetics and phenomenology of dark, gloomy and shadow-strewn theatre performances, as well as the historical and cultural significances of darkness, shadow and the night in theatre and performance contexts. It is concerned as much with the experiences elicited by darkness and obscured or diminished lighting as it is with the conditions that define, frame and at times re-shape what each might 'mean' and 'do'. Contributors provide surveys of relevant practice, interviews with practitioners, theoretical reflections and close critical analyses of work by key innovators in the aesthetics of light, shadow and darkness. The book has a particular focus on the work of contemporary theatre makers – including Sound&Fury, David Rosenberg and Glen Neath, Lundahl & Seitl, Extant, and Analogue – and seeks to deepen the engagement of theatre and performance studies with what might be called 'the sensory turn'. Theatre in the Dark explores ground-breaking areas that will appeal to researchers, practitioners and audiences alike.
Based on Sam Raimi¿s 80s cult classic films, EVIL DEAD tells the tale of 5 college kids who travel to a cabin in the woods and accidentally unleash an evil force. And although it may sound like a horror, it's not! The songs are hilariously campy and the show is bursting with more farce than a Monty Python skit. EVIL DEAD: THE MUSICAL unearths the old familiar story: boy and friends take a weekend getaway at abandoned cabin, boy expects to get lucky, boy unleashes ancient evil spirit, friends turn into Candarian Demons, boy fights until dawn to survive. As musical mayhem descends upon this sleepover in the woods, ¿camp¿ takes on a whole new meaning with uproarious numbers like ¿All the Men in my Life Keep Getting Killed by Candarian Demons,¿ ¿Look Who¿s Evil Now¿ and ¿Do the Necronomicon.¿
A tale of a hungry wolf and an equally hungry little billy goat who both takehelter in a dark cave during a thunderstorm and who try to find out who thether is. They talk about food mainly, and sigh. But thunder blots out theords "goat" and "grass" when their favourite meals are mentioned.
Beginning with his struggle with destructive forces, and his first meetings with Roy Hart, the author recounts the fantastic work of discovery and redress of the human voice which begins with the devastating experiences of Alfred Wolfsohn, a young German musician and singing teacher in the trenches of World War 1. There follows his meeting in London in 1947 with a gifted young actor, Roy Hart, on a scholarship at RADA, leading ten years later to medical and media recognition of the significance of Wolfsohn's teachings and its astounding results. After Wolfsohn's death in 1962, Hart continues both his own and the group's work of extending vocal range, singing, and personal development, while adding that of acting. In 1969 Hart emerges as a powerful, memorable, yet disturbing performer of works written for his voice by three contemporary composers, including 8 Songs for a Mad King, the founding work of music theatre. In 1969 the group also performs publicly for the first time, at a theatre festival in France. This 3rd edition retains all chapters from the 2nd, but with new front and back material, including reflections on the central role of several of C.J. Jung's concepts for Wolfsohn, Hart, and Roy Hart Theatre. Among others the notions of individuation, archetypes and opposites, came to be pivotal in their approach to voice. This book is essential for anyone interested in the expressive capacities of the human voice today and is also an inspiring book about creativity and self-realisation. Noah Pikes' narrative draws on his personal experiences, combined with his rigorously researched origins of Roy Hart Theatre. The inclusion of a greatly increased range of high-quality photos makes this 3rd edition particularly striking.
The blistering story of a young man making his Broadway debut in Henry IV just as his marriage implodes—a "witty, wise, and heartfelt novel" (Washington Post) about art and love, fame and heartbreak from the acclaimed actor/writer/director. A bracing meditation on fame and celebrity, and the redemptive, healing power of art; a portrait of the ravages of disappointment and divorce; a poignant consideration of the rites of fatherhood and manhood; a novel soaked in rage and sex, longing and despair; and a passionate love letter to the world of theater, A Bright Ray of Darkness showcases Ethan Hawke's gifts as a novelist as never before. Hawke's narrator is a young man in torment, disgusted with himself after the collapse of his marriage, still half hoping for a reconciliation that would allow him to forgive himself and move on as he clumsily, and sometimes hilariously, tries to manage the wreckage of his personal life with whiskey and sex. What saves him is theater: in particular, the challenge of performing the role of Hotspur in a production of Henry IV under the leadership of a brilliant director, helmed by one of the most electrifying—and narcissistic—Falstaff's of all time. Searing, raw, and utterly transfixing, A Bright Ray of Darkness is a novel about shame and beauty and faith, and the moral power of art.