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While working backstage on a high school production of "A Midsummer Night's Dream," sixteen-year-old Adam develops feelings for a beautiful actress--which violates an unwritten code--and begins to overcome the grief that has controlled him since his father's death nearly two years earlier.
Alan Read asserts that there is no split between the practice and theory of theatre, but a divide between the written and the unwritten. In this revealing book, he sets out to retrieve the theatre of spontaneity and tactics, which grows out of the experience of everyday life. It is a theatre which defines itself in terms of people and places rather than the idealised empty space of avant garde performance. Read examines the relationship between an ethics of performance, a politics of place and a poetics of the urban environment. His book is a persuasive demand for a critical theory of theatre which is as mentally supple as theatre is physically versatile.
In a series of scenes we see two actors - a seasoned pofessional and a novice - backstage and onstage going through a cycle of roles and an entire wardrobe of costumes.
(Limelight). "He did what he wanted to do: with his wife Judith Malina he created the Living Theatre . . . Not an ivory tower, however: a headquarters of revolution, a guerrilla theater, though a pacifist one . . . He didn't get the kind of death he wanted . . . but . . . he had had the life he wanted . . . When such a life has been lived, who dares say theater is just a business? Who dares say it is just an art?" Eric Bentley
This book will provide valuable reading for drama therapists, theatre artists, probation workers, prison educators, psychologists, and anyone else interested in the role of the performing arts in criminal justice. --Book Jacket.
Is there a heaven? Joe says no; it's all a bunch of hokum. His wife, Roberta, has always claimed to agree. But lately she's beginning to wonder, especially when they find themselves in church a lot, having reached the age when funerals are more frequent than weddings. Their granddaughter, Ellie, doesn't have time in her own busy life to ponder the afterlife. But when mortality confronts them, her grandmother's claim to have gone to heaven and back doesn't sound so crazy after all. With thoughtful storytelling and quiet wit, Brunstetter looks at beginnings, endings--and an enigmatic angel.
Man of the Millennium' he may be but William Shakespeare is a shadowy historical figures. His writings have been analysed exhaustively but much of his life remains a mystery. This controversial biography aims to redress the balance. To his contemporaries, Shakespeare was known not as a playwright but as an actor, yet this has been largely ignored or marginalised by most modern writers. here John Southworth overturns traditional images of the Bard and his work, arguing that Shakespeare cannot be separated from his profession as a player any more than he can be separated from his works. Only by approaching Shakespeare's life from this new angle can we hope to learn or understand anything new about him. Following Shakespeare's life as an actor as he learns his craft and begins work on his own plays, Southworth presents the Bard and his plays in their proper context for the first time. Groundbreaking, contentious and a work of deep scholarship and understanding, 'Shakespeare the Player' should change the way we think about the English language's greatest artist.
While most books about Vaclav Havel are concerned with his role as dissident, activist, and then president of the Czech Republic, Rocamora's (New York University's Tisch School of the Arts) examines Havel's life as a playwright. She tells his story chronologically, from childhood in the 1940s, through presidency in the early 2000s, and addresses his work in theater in great detail, along with his relationships with other writers, and his legacy as a playwright. The book includes a chronology of plays, and photographs of productions. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).