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"A compilation of selected pieces intended for performance in the theatrical sense."--Notes.
Readers and acolytes of the vital early 1950s-mid 1960s writers known as the Beat Generation tend to be familiar with the prose and poetry by the seminal authors of this period: Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, Diane Di Prima, and many others. Yet all of these authors, as well as other less well-known Beat figures, also wrote plays-and these, together with their countercultural approaches to what could or should happen in the theatre-shaped the dramatic experiments of the playwrights who came after them, from Sam Shepard to Maria Irene Fornes, to the many vanguard performance artists of the seventies. This volume, the first of its kind, gathers essays about the exciting work in drama and performance by and about the Beat Generation, ranging from the well-known Beat figures such as Kerouac, Ginsberg and Burroughs, to the “Afro-Beats” - LeRoi Jones (Amiri Baraka), Bob Kaufman, and others. It offers original studies of the women Beats - Di Prima, Bunny Lang - as well as groups like the Living Theater who in this era first challenged the literal and physical boundaries of the performance space itself.
In this trenchant work, Susan Bennett examines the authority of the past in modern cultural experience and the parameters for the reproduction of the plays. She addresses these issues from both the viewpoints of literary theory and theatre studies, shifting Shakespeare out of straightforward performance studies in order to address questions about his plays and to consider them in the context of current theoretical debates on historiography, post-colonialism and canonicity.
For more than four decades, Twyla Tharp has been a phenomenon in American dance, a choreographer who not only broke the rules but refused to repeat her own successes. At the conclusion of Howling Near Heaven, Marcia Siegel writes about the thrill of watching Tharp choreograph in 1991: "Tharp's movement can be planned or spontaneous, personal, funny, hard as hell, precise enough to look thrown away. She doesn't so much invent or create it, she prepares for it. Crusty, driven, demanding, and admiring, she hurls challenges at the dancers. Brave, virtuosic, and cheerful, they volley back what she gives them and more. She watches them. They watch her. It's the most subtle form of competition and cooperation, a process so intuitive, so intimate, that no one can say whose dance it is in the end, and none of the parties to that dance can be removed without endangering its identity. The same is true for all theatrical dance making, all over the world, only most of it isn't so inspired or obsessed." Starting in the rebellious 1960s, Tharp tried her creative wings on minimalism, pedestrianism, and Dada, then abandoned both the avant-garde and the established modern dance. She thrilled a new audience with her witty version of jazz in Eight Jelly Rolls, then merged her dancers with the Joffrey Ballet for the sensational Deuce Coupe, to the music of the Beach Boys. She explored the classical world in Push Comes to Shove, for the American Ballet Theater and the celebrated Russian virtuoso Mikhail Baryshnikov. For her touring company in the 1970s and 1980s, an unprecedented fusion of modern dancers and ballet dancers, she created a superb repertory that included the theatrical full-length work The Catherine Wheel, the ballroom duets Nine Sinatra Songs, and the company showcase Baker's Dozen. Tharp has made movies, television specials, and nearly one hundred riveting dance works. Movin' Out, the dance show that reflected on the Vietnam era using the music of Billy Joel, ran on Broadway for three years and won Tharp a Tony award for Best Choreography. Howling Near Heaven is the first in-depth study of Twyla Tharp's unique, restless creativity, the story of a choreographer who refused to be pigeonholed and the dancers who accompanied her as she sped across the frontiers of dance.
"A comprehensive look at how the arts (broadly conceived) can improve teaching, learning, and curriculum for all students, written in accessible language for non-academics and non-experts. It contains many evocative examples to illustrate the power of the arts to change education"--
"Kathryn Bigelow is one of Hollywood's most significant female film-makers, well known in popular terms for films such as 'Near dark', 'Blue steel' and 'Point break', yet remaining relatively unexplored in academia... Placing particular emphasis on 'Strange days', her most ambitious and controversial picture to date, this collection explores Bigelow's role within New Hollywood as a film-maker that blurs genre conventions, reinscribes gender identities and produces a breathless cinema of attractions." -- Back cover.
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