Download Free Farewell Performance Book in PDF and EPUB Free Download. You can read online Farewell Performance and write the review.

Two Cops Chasing a Rumor ... Sergeant Rick Valkonen, all but retired from the LAPD, is given a final no-worries assignment to carry him into his new life as a beach bum with a pension. Make sure the new chief of police's teenage twins, Justin and Justine, don't get into trouble in big, bad L.A. But Justine gives Valkonen the slip one night and that's when things start getting crazy.Detective Joan Duarte of the Santa Monica PD is fresh off a week's suspension from duty for assaulting a fellow officer. She coldcocked the guy who'd been sexually harassing her. Returning to duty, Duarte is told to go see an L.A. cop named Valkonen.Valkonen tells Duarte what happened to Justine after she ditched him. She was invited to an underground rock concert with a great new band. Only thing is, the band plans to commit suicide on stage - and the audience is supposed to follow right along into the hereafter.Has to be a gag, doesn't it? In SoCal, maybe not. When Valkonen and Duarte start to investigate, they don't like the vibe they get. The death concert begins to look more and more real. Problem is, the two cops don't know the band's name, the date, or the venue for the concert.Two cops who were supposed to debunk a hoax suddenly find themselves working the most deadly case of their careers.
Returning home to star in a movie about going home, Jan Fairchild stirs up old resentments galore. When the actress is found dead the morning after a nostalgic pajama party, several of her former high-school girlfriends become murder suspects—including amateur sleuth Ginger Barnes. Before the police can get it horribly wrong, Gin relates everything she saw and heard since her famous friend’s arrival. Unfortunately, the more she shares, the more the detective in charge believes she committed the crime. Writer's Digest award winning author
The weekly source of African American political and entertainment news.
This research project investigates the concepts of absence across the disciplines of theatre, visual art, and performance. Absence in the centre of an ideology frees the reader from the dominant meaning. The book encourages active engagement with theatre theory and performances. Reconsideration of theories and experiences changes the way we engage with performances, as well as social relations and traditions outside of theatre. Sylwia Dobkowska examines and theorises absence and presence through theatre, performance, and visual arts practices. This book will be of great interest to students and scholars of theatre, visual art, and philosophy.
A Passion for Performance: Sarah Siddons and Her Portraitists brings together three engaging essays – by Robyn Asleson, Shelley Bennett and Mark Leonard, and Shearer West – that recreate the eventful life, both on and off the stage, of the great eighteenth-century actress Sarah Siddons. Siddons was renowned for her bravura performances in tragic roles, and her fame was enhanced by the many portraits of her painted by the leading artists of the day. The greatest of these was Sir Joshua Reynolds’s Sarah Siddons as the Tragic Muse, a painting now in the Huntington Art Collections and recently studied at the Getty Center. A Passion for Performance places this magnificent portrait within the context of Siddons’s career as an actress and cultural icon. Includes a chronology of Siddons’s life by volume editor Robyn Asleson.
Performance in America demonstrates the vital importance of the performing arts to contemporary U.S. culture. Looking at a series of specific performances mounted between 1994 and 2004, well-known performance studies scholar David Román challenges the belief that theatre, dance, and live music are marginal art forms in the United States. He describes the crucial role that the performing arts play in local, regional, and national communities, emphasizing the power of live performance, particularly its immediacy and capacity to create a dialogue between artists and audiences. Román draws attention to the ways that the performing arts provide unique perspectives on many of the most pressing concerns within American studies: questions about history and politics, citizenship and society, and culture and nation. The performances that Román analyzes range from localized community-based arts events to full-scale Broadway productions and from the controversial works of established artists such as Tony Kushner to those of emerging artists. Román considers dances produced by the choreographers Bill T. Jones and Neil Greenberg in the mid-1990s as new aids treatments became available and the aids crisis was reconfigured; a production of the Asian American playwright Chay Yew’s A Beautiful Country in a high-school auditorium in Los Angeles’s Chinatown; and Latino performer John Leguizamo’s one-man Broadway show Freak. He examines the revival of theatrical legacies by female impersonators and the resurgence of cabaret in New York City. Román also looks at how the performing arts have responded to 9/11, the U.S. invasion of Afghanistan, and the second war in Iraq. Including more than eighty illustrations, Performance in America highlights the dynamic relationships among performance, history, and contemporary culture through which the past is revisited and the future reimagined.
When the second volume of de La Grange's monumental study of Mahler appeared, it was hailed in The New Yorker, The Washington Post, The Los Angeles Times, and many other publications as an indispensable portrait of the great composer. Here at last is the third volume of this magisterial work. Ranging from 1904 to 1907, it explores Mahler's final years as administrator, producer, and conductor of the Vienna Opera. It was a time of intense inner struggle, with Mahler's energy and creative powers drained by the competing demands of running the Hofoper and struggling for recognition as a composer. And they were tragic years as well, especially 1907, Mahler's last year in Vienna, when the death of his daughter and the diagnosis of heart disease forced him to leave the Opera. Throughout the book, de La Grange offers true-to-life portraits of Mahler the human being, the family man, and the composer, and he weaves in innumerable testimonies and anecdotes that throw new light on the great composer's complex personality. The product of forty years of research, here is the definitive study of a musical giant. It is, as The Wall Street Journal said of volume two, "a work of the first importance, one that nobody seriously interested in Mahler can possibly afford to skip."
Recently in the field of theatre studies there has been an increasing amount of debate and dissonance regarding the borders of its territory, its methodologies, subject matter, and scholarly perspectives. The nature of this debate could be termed "political" and, in fact, concerns "the performance of power"—the struggle over power relations embedded in texts, methodologies, and the academy itself. This striking new collection of nineteen divergent essays represents this performance of power and the way in which the recent convergence of new critical theories with historical studies has politicized the study of the theatre. Neither play text, performance, nor scholarship and teaching can safely reside any longer in the "free," politically neutral, self-signifying realm of the aesthetic. Politicizing theatrical discourse means that both the hermeneutics and the histories of theatre reveal the role of ideology and power dynamics. New strategies and concepts—and a vital new phase of awareness—appear in these illuminating essays. A variety of historical periods, from the Renaissance through the Victorian and up to the most contemporary work of the Wooster group, illustrate the ways in which contemporary strategies do not require contemporary texts and performances but can combine with historical methods and subjects to produce new theatrical discourse.