Download Free Support To Organizations Theater Book in PDF and EPUB Free Download. You can read online Support To Organizations Theater and write the review.

With advice and instruction from an experienced actor and theater director, this pragmatic, authoritative guide imparts backstage know-how for wouldbe playhouse practitioners on everything from fundraising and finding a space to selecting plays and navigating legal issues. Chronicling three seasons at Chicago's award-winning Congo Square Theatre, this journey behind the curtain reveals the nitty-gritty details--such as managing rent, parking, and safety issues; determining tax status and calculating budgets; and finding flexible day jobs--that are often overlooked amid the zeal of artistic pursuit. Inspired by Congo Square's own unique inception, the valuable how-to also speaks directly to the many underserved audiences who want to create their own companies, including African American, Asian American, Latino, physically challenged, and GLBT communities. With lists of Equity offices, legal advisers, and important organizations, this complete resource is sure to help ambitious theater lovers establish and maintain their own successful companies.
Afong Moy is fourteen years old when she’s brought to the United States from Guangzhou Province in 1834. Allegedly the first Chinese woman to set foot on U.S. soil, she has been put on display for the American public as “The Chinese Lady.” For the next half-century, she performs for curious white people, showing them how she eats, what she wears, and the highlight of the event: how she walks with bound feet. As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Inspired by the true story of Afong Moy’s life, THE CHINESE LADY is a dark, poetic, yet whimsical portrait of America through the eyes of a young Chinese woman.
An eclectic mix of art, theatre, dance, politics, experimentation, and ritual, community-based performance has become an increasingly popular art movement in the United States. Forged by the collaborative efforts of professional artists and local residents, this unique field brings performance together with a range of political, cultural, and social projects, such as community-organizing, cultural self-representation, and education. Local Acts presents a long-overdue survey of community-based performance from its early roots, through its flourishing during the politically-turbulent 1960s, to present-day popular culture. Drawing on nine case studies, including groups such as the African American Junebug Productions, the Appalachian Roadside Theater, and the Puerto Rican Teatro Pregones, Jan Cohen-Cruz provides detailed descriptions of performances and processes, first-person stories, and analysis. She shows how the ritual side of these endeavors reinforces a sense of community identification while the aesthetic side enables local residents to transgress cultural norms, to question group habits, and to incorporate a level of craft that makes the work accessible to individuals beyond any one community. The book concludes by exploring how community-based performance transcends even national boundaries, connecting the local United States with international theater and cultural movements.
Functions corresponding to those of normal theatre in this post-bourgeois epoch have been taken over by the movies. Abnormal theatre still tempts artists of talent and integrity inclined to theatre. This abnormal theatre is a director's, not a writer's, theatre. Early forms of it emerged around the time of World War I in Germany and Russia. Its most recent form arose in the sequel of the American Renaissance of painting and dance in New York City during the 1960's. Though it lasted into the 70s, the rebellious mood that animated it was deprived of new energy starting in 1968/9. Here the author offers a sympathetic observer's record of it.
Identifies and describes specific government assistance opportunities such as loans, grants, counseling, and procurement contracts available under many agencies and programs.
"An Introduction to Technical Theatre draws on the author's experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices. Introduction to Technical Theatre's accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text's modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling" -- From publisher website.
Early 1960s, Yorkshire. Farm labourer George is cast in an amateur staging of the York Mystery Plays. His world is shaken when he falls for metropolitan assistant director John and the two men embark on a clandestine affair. Peter Gill's influential play is not only a finely drawn love story; it is also a touching reflection on the rival forces of family, class, and the origins and ownership of art. The York Realist was premiered by the English Touring Theatre at The Lowry, Salford Quays in November 2001; it moved to the Bristol Old Vic that same year and, in 2002, to the Royal Court Theatre, London. The play was revived by the Donmar Warehouse, London, in February 2018. Winner of the London Critics' Circle Award for Best New Play. 'As a love story, The York Realist is riveting and heart-rendering... Gill is always terrifically perceptive about male tenderness. The personal and political are subtly united in a study of English masculinity, class and culture. Such outstanding work.' Independent on Sunday 'Sensationally fine and poignant.' Evening Standard 'It has the Lawrentian qualities of emotional intelligence, raw honesty and fascination with the intersection of class and sex... It is about the way the English, however hard they try, can never finally escape their origins. But, far from being emotionally conservative, it is adventurous, witty and fresh... The play comes like a rare blast of reality.' Guardian