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An alphabetical listing of plays that have been banned throughout history with a short synopsis and reason for banning as well as profiles of the playwrights and other resource material.
A serious play about two women who run a school for girls.
Quiet, sensitive Faith starts middle school already worrying about how she will fit in. To her surprise, Amanda, a popular eighth grader, convinces her to join the school soccer team, the Bloodhounds. Having never played soccer in her life, Faith ends up on the C team, a ragtag group that’s way better at drama than at teamwork. Although they are awful at soccer, Faith and her teammates soon form a bond both on and off the soccer field that challenges their notions of loyalty, identity, friendship, and unity. The Breakaways from Cathy G. Johnson is a raw, and beautifully honest graphic novel that looks into the lives of a diverse and defiantly independent group of kids learning to make room for themselves in the world.
Winning at competitive games requires a results-oriented mindset that many players are simply not willing to adopt. This book walks players through the entire process: how to choose a game and learn basic proficiency, how to break through the mental barriers that hold most players back, and how to handle the issues that top players face. It also includes a complete analysis of Sun Tzu's book The Art of War and its applications to games of today. These foundational concepts apply to virtually all competitive games, and even have some application to "real life." Trade paperback. 142 pages.
Shortly after the establishment of the People’s Republic of China in 1949, the PRC launched a reform campaign that targeted traditional song and dance theater encompassing more than a hundred genres, collectively known as xiqu. Reformers censored or revised xiqu plays and techniques; reorganized star-based private troupes; reassigned the power to create plays from star actors to the newly created functions of playwright, director, and composer; and eliminated market-oriented functionaries such as agents. While the repertoire censorship ended in the 1980s, major reform elements have remained: many traditional scripts (or parts of them) are no longer in performance; actors whose physical memory of repertoire and acting techniques had been the center of play creation, have been superseded by directors, playwrights, and composers. The net result is significantly diminished repertoires and performance techniques, and the absence of star actors capable of creating their own performance styles through new signature plays that had traditionally been one of the hallmarks of a performance school. Transforming Tradition offers a systematic study of the effects of the comprehensive reform of traditional theater conducted in the 1950s and ’60s, and is based on a decade’s worth of exhaustive research of official archival documents, wide-ranging interviews, and contemporaneous publications, most of which have never previously been referenced in scholarly research.
What was the most influential mass medium in China before the internet reaching both literate and illiterate audiences? The answer may surprise you...it’s Jingju (Peking opera). This book traces the tradition’s increasing textualization and the changes in authorship, copyright, performance rights, and textual fixation that accompanied those changes.
The Masters of the Revels and Elizabeth I's Court Theatre places the Revels Office and Elizabeth I's court theatre in a pre-modern, patronage and gift-exchange driven-world of centralized power in which hospitality, liberality, and conspicuous display were fundamental aspects of social life. W.R. Streitberger reconsiders the relationship between the biographies of the Masters and the conduct of their duties, rethinking the organization and development of the Office, re-examining its productions, and exploring its impact on the development of the commercial theatre. The nascent capitalist economy that developed alongside and interpenetrated the gift-driven system that was in place during Elizabeth's reign became the vehicle through which the Revels Office along with the commercial theatre was transformed. Beginning in the early 1570s and stretching over a period of twenty years, this change was brought about by a small group of influential Privy Councillors. When this project began in the early 1570s the Queen's revels were principally in-house productions, devised by the Master of the Revels and funded by the Crown. When the project was completed in the late 1590s, the Revels Office had been made responsible for plays only and put on a budget so small that it was incapable of producing them. That job was left to the companies performing at court. Between 1594 and 1600, the revels consisted almost entirely of plays brought in by professional companies in the commercial theatres in London. These companies were patronized by the queen's relatives and friends and their theatres were protected by the Privy Council. Between 1594 and 1600, for example, all the plays in the revels were supplied by the Admiral's and Chamberlain's Players which included writers such as Shakespeare, and legendary actors such as Edward Alleyn, Richard Burbage, and Will Kempe. The queen's revels essentially became a commercial enterprise, paid for by the ordinary Londoners who came to see these companies perform in selected London theatres which were protected by the Council.
Restoration Theatre and Crisis is a seminal study of the drama of the Restoration, in particular that of the Popish Plot and Exclusion Crisis. This was a time of unprecedented political partisanship in the theatre. This book cosniders all the known plays of this period, including works by Dryden and Behn, in their historical context. It examines the complex ways in which the drama both reflected and intervened in the political process, at a time when the crisis fractured an already fragile post-interregnum consensus, and modern party political methods first began to develop. Susan Owen discusses the ways in which Tory and Whig playwrights engaged in dramatic dialogue, deliberately commenting on and revising each other's themes and topics. The book also explores the arena of sexual politics, examining the political significance of themes such as disharmony in the family, and the importance of rape as a dramatic signifier of monstrosity associated with rebellion by the Tories and tyranny and popery by the Whigs. Restoration Theatre and Crisis considers the use of sexuality as a political discourse, and ways in which ideas about libertinism and constructions of masculinity and femininity intersect with political concerns in the drama. Thus the book bridges the gap between `gender-blind' political accounts and studies which have focused on gender themes in the drama in isolation from party politics.
Through the great diversity of topics and methodologies the essays in this volume make a seminal contribution to an under-researched field at the intersection of literary and cultural criticism, comparative literature, and theatre as well as translation studies. The essays cover a wide range of texts from the eighteenth to the twenty-first century. From a broad variety of perspectives the exchange between drama and theatre of the Anglophone and the Germanophone worlds and their mutual influence are explored. While there is a focus on the successful or unsuccessful bridging of the cultural gaps, due consideration is given to the nexus between intercultural translation and mise en scène as well as the intricacies of intermedial reshaping. Always placing the analyses within the political and socio-historical contexts the essays make an innovative contribution to the aesthetics of Anglo-German theatrical exchange as well as to European cultural history.