Download Free Theatre Of Fire Book in PDF and EPUB Free Download. You can read online Theatre Of Fire and write the review.

A blow-by-blow account of the deadliest fire in American history retraces the final days of the Iroquois Theatre in Chicago, a supposedly indestructible building that burned killing more than six hundred people.
The Iroquois Theater in Chicago, boasting every modern convenience, advertised itself proudly as “absolutely fireproof” when it opened in November, 1903. Mr. Bluebeard, a fairy tale musical imported from the Drury Lane Theatre in London was the opening production. And leading the troupe of nearly 400 was one of the most popular comedians of the time, Eddie Foy. None of the many socialites and journalists who flocked to the shows were aware that city building inspectors and others had been bribed to certify that the theater was in good shape. In fact, the building was without a sprinkler system or even basic fire fighting equipment; there was no backstage telephone, fire alarm box, exit signs, a real asbestos curtain or ushers trained for emergencies. A month later, at a Christmas week matinee, the theater was illegally overcrowded with a standing room only crowd of mostly women and children. During the second act, a short circuit exploded a back stage spotlight touching off a small fire which spread in minutes throughout the theater. Panic set in as people clawed at each other to get out, but they could not find the exits, which were draped. The doorways, locked against gate-crashers, were designed to open in instead of out, creating almost impossible egress. The tragedy, which claimed more than 600 lives, became a massive scandal and it remains the worst theater fire in the history of the country.
On the day after Christmas in 1811, the state of Virginia lost its governor and almost one hundred citizens in a devastating nighttime fire that consumed a Richmond playhouse. During the second act of a melodramatic tale of bandits, ghosts, and murder, a small fire kindled behind the backdrop. Within minutes, it raced to the ceiling timbers and enveloped the audience in flames. The tragic Richmond Theater fire would inspire a national commemoration and become its generation's defining disaster. A vibrant and bustling city, Richmond was synonymous with horse races, gambling, and frivolity. The gruesome fire amplified the capital's reputation for vice and led to an upsurge in antitheater criticism that spread throughout the country and across the Atlantic. Clerics in both America and abroad urged national repentance and denounced the stage, a sentiment that nearly destroyed theatrical entertainment in Richmond for decades. Local churches, by contrast, experienced a rise in attendance and became increasingly evangelical. In The Richmond Theater Fire, the first book about the event and its aftermath, Meredith Henne Baker explores a forgotten catastrophe and its wide societal impact. The story of transformation comes alive through survivor accounts of slaves, actresses, ministers, and statesmen. Investigating private letters, diaries, and sermons, among other rare or unpublished documents, Baker views the event and its outcomes through the fascinating lenses of early nineteenth-century theater, architecture, and faith, and reveals a rich and vital untold story from America's past.
This volume explores the impact of printing on the European theatre in the period 1480-1880 and shows that the printing press played a major part in the birth of modern theatre.
Derived from interviews with a wide range of people who experienced or observed New York's 1991 Crown Heights racial riots, Fires In The Mirror is as distinguished a work of commentary on black-white tensions as it is a work of drama. In August 1991 simmering tensions in the racially polarized Brooklyn, New York, neighborhood of Crown Heights exploded into riots after a black boy was killed by a car in a rabbi's motorcade and a Jewish student was slain by blacks in retaliation. Fires in the Mirror is dramatist Anna Deavere Smith's stunning exploration of the events and emotions leading up to and following the Crown Heights conflict. Through her portrayals of more than two dozen Crown eights adversaries, victims, and eyewitnesses, using verbatim excerpts from their observations derived from interviews she conducted, Smith provides a brilliant, Rashoman-like documentary portrait of contemporary ethnic turmoil.
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.
A Cruel Theatre of Self-Immolations investigates contemporary protest self-burnings and their echoes across culture. The book provides a conceptual frame for the phenomenon and an annotated, comprehensive timeline of suicide protests by fire, supplemented with notes on artworks inspired by or devoted to individual cases. The core of the publication consists of six case studies of these ultimate acts, augmented with analyses and interpretations hailing from the visual arts, film, theatre, architecture, and literature. By examining responses to these events within an interdisciplinary frame, Ziółkowski highlights the phenomenon’s global reach and creates a broad, yet in-depth, exploration of the problems that most often prompt these self-burnings, such as religious discrimination and harassment, war and its horrors, the brutality and indoctrination of authoritarian regimes and the apathy they produce, as well as the exploitation of the so-called "subalterns" and their exclusion from mainstream economic systems. Of interest to scholars from an array of fields, from theatre and performance, to visual art, to religion and politics, A Cruel Theatre of Self-Immolations offers a unique look at voluntary, demonstrative, and radical performances of shock and subversion.
Follow the tragic story of a fishing trip gone wrong and its impact on the community of Brockton, Massachusetts. On May 13, 1928, ten prominent men of Brockton, Massachusetts, headed off on a fishing trip to Moosehead Lake in Maine. After traveling fourteen hours, the group met Maine guide Samuel Budden and boarded the Mac II for the final voyage to their destination. Approximately six miles from the Tomhegan sporting camp, the boat took on water in rough seas and sank, taking Budden and all but one of the adventurers to a watery grave. Jim Benson and Nicole Casper chronicle this horrific tragedy and its legacy in two New England communities.
Equally entertaining and doubly informative is Rebeck's tour-de-force Free Fire Zone... is edgy and fearless, in no small part because Rebeck so viscerally describes the experience of being a woman in a man's business-a place where one should "never look weak" and where one must take false statements as true. - American Theatre Journal, March 2008