Historical Dictionary of Contemporary American Theater presents the plays and personages, movements and institutions, and cultural developments of the American stage from 1930 to 2010, a period of vast and almost continuous change. It covers the ever-changing history of the American theater with emphasis on major movements, persons, plays, and events. This is done through a chronology, an introductory essay, an extensive bibliography, and over 1,500 cross-referenced dictionary entries. This book is an excellent access point for students, researchers, and anyone wanting to know more about the history of American theater.
Few of the higher animals have successfully invaded the polar regions and the sea; but those that have - the whales, seals and sea-birds - have made a wonderful success of it. There are only about 250 true sea-birds in the world (there are over thirty times as many others); yet among this select 250 are some of the most numerous and well-adapted of living species, ranging from the magnificent albatrosses, with their powers of sail-planing, to the curious diving petrels; from the penguins to the auks; from the cormorants to the gulls and terns.
The arctic tern makes the longest migratory journey of any known bird, travelling 20,000 miles between the two polar regions in the course of a year. Some sea-birds species probably spend the first seven or eight years of their lives without ever touching land; and one, the emperor penguin, never touches land in its life, for it incubates its egg on the Antarctic ice!
This book introduces the reader to the sea-birds of the North Atlantic, an ocean in which about half the world sea-bird species have been seen at one time or another. Sea-birds are generally more cosmopolitan and widespread than most land birds; and it is no surprise to the ornithologist to find that the communities on the American and European sides of the Atlantic are very similar, most of their member-species being common to both.
The authors of this book have spent most of their active lives in research on sea-birds, Lockley specialising in Life-histories, Fisher in distribution and numbers. Each has a long record of exploration of the remotest parts of the Atlantic coast and islands. Their felicitous collaboration brings home for the first time to the general bird-watcher and sea-going naturalist what enormous strides have been recently made in our knowledge of sea-birds. We now know the world population of several soecies, and can follow with accuracy the changes in the numbers of many.
Pass the PSAis written specifically for the exam, with one chapter dedicated to each PSA section.
Each chapter includes:The marking scheme for the PSA exam section and how to approach it. All the theory condensed into a few pages of memorable, illustrated text. Multiple worked questions covering the most common exam scenarios.
In addition:Introduces a simple, memorable and failsafe approach to prescribing (the ‘PReSCRIBER’ mnemonic). Specifies the universal basic principles of prescribing for all sections. Over 300 worked questions, structured identically to the exam. Data interpretation made memorable and simple including ECG, ABGs, chest X-rays and basic bloods. Common traps highlighted throughout.Two mock exams.
Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.
Life as Theater is organized around five substantive issues in social psychology: Social Relationships as Drama; The Dramaturgical Self; Motivation and Drama; Organizational Dramas; and Political Dramas. This classic text was revised and updated for a second edition in 1990, and includes approximately 66 percent new materials, all featuring individual introductions that provide the dramaturgical perspective and reflect the most learned thinking and work being done within this point of view. This book's sophistication will appeal to the scholar, and its clarity and conciseness to the student. Like its predecessor, it is designed to serve as a primary text or supplementary reader in classes.
This new paperback edition includes an introduction by Robert A. Stebbins that explains why, even fifteen years after its publication, Life as Theater remains the best single sourcebook on the dramaturgic perspective as applied in the social sciences.
Dennis Brissett (died 1996) was professor of behavioral science at the University of Minnesota School of Medicine in Duluth, and also taught at the State University of New York at Buffalo and Portland State University.
Charles Edgley is a professor in and head of the Department of Sociology at Oklahoma State University and has been a member of the faculty since 1972. He is coeditor of The Handbook of Thanatology and does editorial work regularly for the journal Symbolic Interaction, where he has published a portion of his research on the health and fitness movement.
Robert A. Stebbins is faculty professor and professor of sociology emeritus at the University of Calgary. He is the author of many books, including Between Work and Leisure, from Transaction Publishers.
When Groucho Marx and Charlie Chaplin were born, variety entertainment had been going on for decades in America, and like Harry Houdini, Milton Berle, Mae West, and countless others, these performers got their start on the vaudeville stage. From 1881 to 1932, vaudeville was at the heart of show business in the States. Its stars were America's first stars in the modern sense, and it utterly dominated American popular culture. Writer and modern-day vaudevillian Trav S.D. chronicles vaudeville's far-reaching impact in No Applause--Just Throw Money. He explores the many ways in which vaudeville's story is the story of show business in America and documents the rich history and cultural legacy of our country's only purely indigenous theatrical form, including its influence on everything from USO shows to Ed Sullivan to The Muppet Show and The Gong Show. More than a quaint historical curiosity, vaudeville is thriving today, and Trav S.D. pulls back the curtain on the vibrant subculture that exists across the United States--a vast grassroots network of fire-eaters, human blockheads, burlesque performers, and bad comics intent on taking vaudeville into its second century.
The first production of Oscar Wilde’s Salomé in 1918, with American exotic dancer Maud Allan dancing lead, ignited a firestorm in London spearheaded by Noel Pemberton Billing, a member of Parliament and self-appointed guardian of family values. Billing attacked Allan in the right-wing newspaper Vigilante as a member of the “Cult of the Clitoris,” a feminine version of the “Cult of the Wilde,” a catchall for the degeneracy and perversion he was convinced had infected the land. He claimed that a black book was in the hands of their enemies the Germans, a book that contained the names of thousands of the British establishment who without doubt were members of the cult. Threat of exposure was costing England the war.
Allan sued Billing for libel, and the ensuing trial, brought to life in this authoritative, spellbinding book, held the world in thrall. Was there or was there not a black book? What names did it contain? The trial was both hugely entertaining and deadly serious and raised specters of hysteria, homophobia, and paranoia that, like Oscar Wilde himself, continue to haunt us. As in Wilde’s own trial in 1895, libel was hardly the issue; the fight was for control over the country’s moral compass. In Oscar Wilde’s Last Stand, biographer and historian Philip Hoare gives us the full drama of the Billing trial, gavel to gavel, and brings to life this unique, bizarre, and fascinating event.
Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.
Through the plays of these masters, Adler discusses the arts of playwriting and script interpretation ("There are two aspects of the theater. One belongs to the author and the other to the actor. The actor thinks it all belongs to the author. . .The curtain goes up and all he knows are the lines. . .It is not enough. . .Script interpretation is your profession").
She looks into aspects of society and class, and into our cultural past, as well as the evolution of the
modern spirit ("The actor learns from Ibsen what is modern in the modern theater. There are no villains, no heroes. Ibsen understands, more than anything, there is more than one truth").
Stella Adler--daughter of Jacob Adler, who was universally acknowledged to be the greatest actor
of the Yiddish theater, and herself a disciple of Stanislavsky--examines the role of the actor and brings to life the plays from which all modern theater derives: Ibsen's Hedda Gabler, The Master Builder, An Enemy of the People, and A Doll's House; Strindberg's Miss Julie and The Father; Chekhov's The Seagull, Uncle Vanya, The Cherry Orchard, and Three Sisters ("Masha is the sister who is the mystery. You cannot reach her. You cannot reach the artist. There is no logical way. Keep her in a special pocket of feelings that are complex and different").
Adler discusses the ideas behind these plays and explores the world of the playwrights and the
history--both familial and cultural--that informed their work. She illumines not only the dramatic essence of each play but its subtext as well, continually asking questions that deepen one's understanding of the work and of the human spirit.
Adler's book, brilliantly edited by Barry Paris, puts her famous lectures into print for the first time.
From the Hardcover edition.
Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors.
The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century.
This third edition is accompanied by an all-new companion website curated by a dedicated media editor, with the following resources for instructors and students:Interactive glossary Multiple choice questions Powerpoint Slides. Videos Website links for further study Tutorials on specific skills within Performance Studies Sample Discussion Questions Exercises and Activities Sample Syllabi
The book itself has also been revised, with 25 new extracts and biographies, up-to-date coverage of global and intercultural performances, and further exploration of the growing international presence of Performance Studies as a discipline.
Performance Studies is the definitive overview for undergraduates, with primary extracts, student activities, key biographies and over 200 images of global performance.
100 Essays I Don't Have Time to Write is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life.
National Book Award Finalist
2015 Winner of the Sheridan Morley Prize for Theatre Biography
American Academy of Arts and Letters’ Harold D. Vursell Memorial Award
A Chicago Tribune 'Best Books of 2014'
USA Today: 10 Books We Loved Reading
Washington Post, 10 Best Books of 2014
The definitive biography of America's greatest playwright from the celebrated drama critic of The New Yorker. John Lahr has produced a theater biography like no other. Tennessee Williams: Mad Pilgrimage of the Flesh gives intimate access to the mind of one of the most brilliant dramatists of his century, whose plays reshaped the American theater and the nation's sense of itself. This astute, deeply researched biography sheds a light on Tennessee Williams's warring family, his guilt, his creative triumphs and failures, his sexuality and numerous affairs, his misreported death, even the shenanigans surrounding his estate.
With vivid cameos of the formative influences in Williams's life—his fierce, belittling father Cornelius; his puritanical, domineering mother Edwina; his demented sister Rose, who was lobotomized at the age of thirty-three; his beloved grandfather, the Reverend Walter Dakin—Tennessee Williams: Mad Pilgrimage of the Flesh is as much a biography of the man who created A Streetcar Named Desire, The Glass Menagerie, and Cat on a Hot Tin Roof as it is a trenchant exploration of Williams’s plays and the tortured process of bringing them to stage and screen.
The portrait of Williams himself is unforgettable: a virgin until he was twenty-six, he had serial homosexual affairs thereafter as well as long-time, bruising relationships with Pancho Gonzalez and Frank Merlo. With compassion and verve, Lahr explores how Williams's relationships informed his work and how the resulting success brought turmoil to his personal life.
Lahr captures not just Williams’s tempestuous public persona but also his backstage life, where his agent Audrey Wood and the director Elia Kazan play major roles, and Marlon Brando, Anna Magnani, Bette Davis, Maureen Stapleton, Diana Barrymore, and Tallulah Bankhead have scintillating walk-on parts. This is a biography of the highest order: a book about the major American playwright of his time written by the major American drama critic of his time.
Under the inspired leadership of founder Joseph Papp, the Public Theater and the New York Shakespeare Festival brought revolutionary performances to the public for decades. This compulsively readable history of those years—much of it told in Papp’s own words—is fascinating, ranging from a dramatic early showdown with Robert Moses over keeping Shakespeare in the Park free to the launching of such landmark productions as Hair and A Chorus Line. To bring the story to life, film critic Kenneth Turan interviewed some 160 luminaries—including George C. Scott, Meryl Streep, Mike Nichols, Kevin Kline, James Earl Jones, David Rabe, Jerry Stiller, Tommy Lee Jones, and Wallace Shawn—and masterfully weaves their voices into a dizzyingly rich tale of creativity, conflict, and achievement.
From the Trade Paperback edition.
In Introducing Bert Williams, historian Camille Forbes reveals a fascinating figure, initiating the reader into the vivid world of nineteenth- and early twentieth-century popular entertainment. Williams's long and varied career is a whirlwind of drama, glamour, and ambition—nothing less than the birth of American show business.
Theatre in Prison is a collection of thirteen international essays exploring the rich diversity of innovative drama works in prisons. The book includes an introduction that will present a contextualisation of the prison theatre field. Thereafter, leading practitioners and academics will explore key aspects of practice – problemitising, theorising and describing specific approaches to working with offenders. The book also includes extracts from prison plays, poetry and prisoners writings that offer illustrations and insights into the experience of prison life.
Born in the turbulent decade of the Depression, the Group Theatre revolutionized American arts. Wendy Smith's dramatic narrative brings the influential troupe and its founders to life once again, capturing their joys and pains, their triumphs and defeats. Filled with fresh insights into the towering personalities of Harold Clurman, Lee Strasberg, Cheryl Crawford, Elia Kazan, Clifford Odets, Stella and Luther Adler, Karl Malden, and Lee J. Cobb, among many others, Real Life Drama chronicles a passionate community of idealists as they opened a new frontier in theater.
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included - and forty more photographs - to create a stunningly comprehensive study.
The practitioners included are:
Stella Adler; Eugenio Barba; Augusto Boal; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; Joseph Chaikin; Jacques Copeau; Philippe Gaulier; Jerzy Grotowski; Maria Knebel; Jacques Lecoq; Joan Littlewood; Sanford Meisner; Vsevolod Meyerhold; Ariane Mnouchkine; Monika Pagneux; Michel Saint-Denis; W?odzimierz Staniewski; Konstantin Stanislavsky; Lee Strasberg
The historical, cultural and political context of each practitioner’s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of their training, practical exercises and key productions.
This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre.
Completely revised and renewed in color, enhancements and new material include:
a full-color text design with added timelines to each opening section
a wealth of new color illustrations to help convey the vitality of performances described
new case studies on African, Asian, and Western subjects
a new chapter on modernism, and updated and expanded chapters and part introductions
fuller definitions of terms and concepts throughout in a new glossary
a re-designed support website offering links to new audio-visual resources, expanded bibliographies, approaches to teaching theatre and performance history, discussion questions relating to case studies and an online glossary.
In What We Talk About When We Talk About Clone Club: Bioethics and Philosophy in Orphan Black, prominent bioethicist Gregory E. Pence violates Clone Club’s first rule to take us deeper into the show and its connections to the real world, including:
Widespread myths about human clones (and Orphan Black’s rejection of them)
Our ugly history of eugenics
The ethics of human experimentation, by way of Projects Castor and Leda
What we can learn about clones and identity from twin studies and tensions among Orphan Black’s clone “sisters”
Kendall Malone and other genetic anomalies
The brave new world of genetic enhancement and clonal dynasties, and how Helena and Kira Manning fit in
In the process, What We Talk About When We Talk About Clone Club reveals why Orphan Black is some of today’s most engaging and thought-provoking television.
What is good acting? How does one create believable characters? How can an actor understand a character if they do not understand themselves?
In The Science of Acting, Sam Kogan uses his theories on the relationship between neuroscience, psychology and acting to answer these questions. Practical exercises provide a step-by-step guide to developing an actor's ability, culminating in Ten Steps to Creating a Character.
He presents the reader with a groundbreaking understanding of the subconscious and how it can be applied to their acting. The author’s highly original perspective on Stanislavski's teaching gives readers a unique insight into their character’s minds.
Sam Kogan studied at the Moscow Institute of Theatre Arts (now the Russian Academy of Theatre Arts) under the tutelage of Professor Maria Knebel. He established The Science of Acting, a complete stand-alone technique.
Helen Kogan is the chair and former principal of The Academy of Science of Acting and Directing, has helped to shape her father's words and work for the publication of this book.
“Fascinating . . . Wasson has taken complete control of his subject.” — Wall Street Journal
The only person ever to win Oscar, Emmy, and Tony awards in the same year, Bob Fosse revolutionized nearly every facet of American entertainment. His signature style would influence generations of performing artists. Yet in spite of Fosse’s innumerable—including Cabaret, Pippin, All That Jazz, and Chicago, one of the longest-running Broadway musicals ever—his offstage life was shadowed by deep wounds and insatiable appetites.
To craft this richly detailed account, best-selling author Sam Wasson has drawn on a wealth of unpublished material and hundreds of sources: friends, enemies, lovers, and collaborators, many of them speaking publicly about Fosse for the first time. With propulsive energy and stylish prose, Fosse is the definitive biography of one of Broadway and Hollywood’s most complex and dynamic icons.
“Spellbinding.” —Entertainment Weekly
“Impeccably researched.” —Vanity Fair
An NPR Best Book of the Year
Childlike in his innocence but grotesque in form, Frankenstein's bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal.
Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale.
Mary Shelley's Frankenstein, adapted for the stage by Nick Dear, premiered at the National Theatre, London, in February 2011.
Keep your crown,
I swear you'll never bring me down!
I am not queen material!
Once, in opposing kingdoms lived a princess and a prince who had lost their mothers. Althea, unable to cry, became light with grief and floated, and so was locked away. Digby, so heavy-hearted that he could never smile, one day declares war. Althea, forced out of hiding, escapes, only to encounter the solemn prince on contested land and the warring heirs begin a passionate affair. But for Althea to find real love, she must first face her own deepest fears.
Using the analytical tools of literary analysis, cultural studies, performance theory, and social semiotics, AIDS and American Apocalypticism examines many kinds of discourse, including fiction, drama, performance art, demonstration graphics and brochures, biomedical publications, and journalism and shows that, while initially useful, the effects of apocalyptic rhetoric in the long term are dangerous. Among the important figures in AIDS activism and the arts discussed are David Drake, Tim Miller, Sarah Schulman, and Tony Kushner, as well as the organizations ACT UP and Lesbian Avengers.