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.
With a cultural range that encompasses Shakespeare, Bretcht, and Ibsen, Death of a Salesman and Bad Day at Black Rock, Mamet shows us how to distinguish true drama from its false variants. He considers the impossibly difficult progression between one act and the next and the mysterious function of the soliloquy. The result, in Three Uses of the Knife, is an electrifying treatise on the playwright’s art that is also a strikingly original work of moral and aesthetic philosophy.
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.
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.
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.
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.
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.
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; Włodzimierz 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.
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.
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.
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.
With his ongoing exploration into actor behavior and an ever-innovative body of work, Richard Maxwell has written a study guide to the art of making theater. This illuminating volume provides a deeper understanding of his work, aesthetic philosophy, and process for creating theater.
Richard Maxwell is a director and playwright and the artistic director of New York City Players. Maxwell's plays have been commissioned and presented in over 20 countries. He is a Doris Duke Performing Artist. Maxwell has been selected for a Guggenheim Fellowship, two OBIE Awards, a Foundation for Contemporary Arts Grant, and he was an invited artist in the Whitney Biennial (2012). Maxwell is the recipient of the 2014 Spalding Gray Award.
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.
What emerges is a nuanced understanding of Brecht's concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to 'make theatre politically', in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber's Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.
Buzz: The Life and Art of Busby Berkeley is a telling portrait of the filmmaker who revolutionized the musical and changed the world of choreography. Berkeley pioneered many conventions still in use today, including the famous "parade of faces" technique, which lends an identity to each anonymous performer in a close-up. Carefully arranging dancers in complex and beautiful formations, Berkeley captured perspectives never seen before.
Jeffrey Spivak's meticulous research magnifies the career and personal life of this beloved filmmaker. Employing personal letters, interviews, studio memoranda, and Berkeley's private memoirs, Spivak unveils the colorful life of one of cinema's greatest artists.
Ranging ambitiously across four continents and four hundred years, Worlds Elsewhere is an eye-opening account of how Shakespeare went global. Seizing inspiration from the playwright’s own fascination with travel, foreignness, and distant worlds—worlds Shakespeare never himself explored—Andrew Dickson takes us on an extraordinary journey: from Hamlet performed by English actors tramping through the Baltic states in the early sixteen hundreds to the skyscrapers of twenty-first-century Beijing and Shanghai, where “Shashibiya” survived Mao’s Cultural Revolution to become a revered Chinese author.
En route, Dickson traces Nazi Germany’s strange love affair with, and attempted nationalization of, the Bard, and delves deep into the history of Bollywood, where Shakespearean stories helped give birth to Indian cinema. In Johannesburg, we discover how Shakespeare was enlisted in the fight to end apartheid. In nineteenth-century California, we encounter shoestring performances of Richard III and Othello in the dusty mining camps and saloon bars of the Gold Rush.
No other writer’s work has been performed, translated, adapted, and altered in such a remarkable variety of cultures and languages. Both a cultural history and a literary travelogue, Worlds Elsewhere is an attempt to understand how Shakespeare has become the international phenomenon he is—and why.
In The Collected Drama of H. L. Mencken: Plays and Criticism, S. T. Joshi has assembled for the first time Mencken’s dramatic works, comprising six one-act plays and the lengthy three-act play Heliogabalus. These plays, which have never been reprinted since their original appearances in newspapers or in Mencken’s early volume A Book of Burlesques (1916), exhibit Mencken’s penchant for satire and ridicule. Several of the plays, such as In the Vestry Room and The Wedding: A Stage Direction, display Mencken’s oft-expressed cynicism about the institution of marriage. Another related play is Asepsis, a satire on exaggerated concerns about sexual health in young married couples. Other plays take aim at the cultural deficiencies of the common people, such as Death: A Philosophical Discussion, which relays the hackneyed reactions of a group of mourners over the death of a friend. Mencken’s most significant play by far is Heliogabalus, a play he co-wrote with his frequent collaborator, George Jean Nathan, in which Mencken expresses his scorn of the Christian religion.
The second half of this book features a selection of Mencken’s early writings (1905–17) on drama, most of which have never been reprinted. Various essays on Shakespeare, Shaw, Synge, Strindberg, Ibsen, and others exhibit Mencken’s keenness as a literary critic and his understanding of the aesthetic possibilities of the drama. With an introduction by the editor who provides an overview of Mencken’s work as a dramatist and drama critic, this collection will be of interest to amateur and even professional drama companies, theatre historians, and of course, anyone interested in the writings of Mencken.
Author Mel Atkey's research for Broadway North included interviews with Norman and Elaine Campbell and Don Harron, creators of Anne of Green Gables-The Musical; Mavor Moore, founder of the Charlottetown Festival and of Spring Thaw; John Gray, author of Billy Bishop Goes to War; Ray Jessel and Marian Grudeff, Spring Thaw writers who had success on Broadway with Baker Street; Dolores Claman, composer of the Hockey Night In Canada theme, who also wrote the musicals Mr. Scrooge and Timber!!; and Galt MacDermot, the composer of Hair who started out writing songs for the McGill University revue My Fur Lady. Included is the phenomenal success of The Drowsy Chaperone. Atkey also draws on his own experience as a writer and composer of musicals, and tells the story of why a show that should have starred James Doohan (Star Trek's Scotty) didn't happen.
Composer, lyricist and author, Mel Atkey is currently based in the U.K. Proud of his Canadian cultural roots, he has long been fascinated with the notion of a distinctive Canadian musical theatre.
Including The Ridiculous Precieuses, The School for Husbands, The School for Wives, Don Juan, The Versailles Impromptu, and The Critique of the School for Wives, this collection showcases the talent of perhaps the greatest and best-loved French playwright.
Translated and with an Introduction by Donald M. Frame
With a Foreword by Virginia Scott
And a New Afterword by Charles Newell
From the Paperback edition.
The fifteen essays deal with the playwrights Antón Arrufat and José Triana (Cuba); Emilio Carballido and Luisa Josefina Hernández (Mexico); Agustín Cuzzani, Osvaldo Dragún, Griselda Gambaro, and Carlos Gorostiza (Argentina); Jorge Díaz, Egon Wolff, and Luis Alberto Heiremans (Chile); René Marqués (Puerto Rico); and Jorge Andrade, Alfredo Dias Gomes, and Plínio Marcos (Brazil). These are dramatists in revolt, sometimes in a thematic sense, not only in protesting the indignities that various systems impose on modern man, but also in a dramatic configuration. They dare to experiment with techniques in the constant search for viable theatrical forms.
Each essay is written by a specialist familiar with the works of the playwright under consideration. In addition to the essays, the book includes a listing of source materials on Latin American theater.
The author describes selected significant Theatre for Development programs in diverse parts of Africa and determines the extent that these programs find congruence with the teachings of Paulo Freire. Case studies of Botswana, Zambia, Nigeria, and Kenya explore in detail the ongoing work in Zimbabwe, specifically the Zimbabwe Association of Community Theatre (ZACT). ZACT's work is analyzed in the context of Freirian pedagogy in order to highlight the development of a community-based theatre operation that is national in its scope and international in its influences.
Volume 1 consists of thirteen plays that showcase early kabuki's scintillating and boisterous styles of performance and illustrates the contrasting dramatic techniques cultivated by actors in Edo (Tokyo) and Kamigata (Osaka and Kyoto). The twelve plays translated in Volume 2 cover a brief period, but one that saw important developments in kabuki architecture, acting, dance, and the manipulation of characters and themes.
As the series title indicates, the plays were translated to capture the vivacity of performances on stage. The translations, each accompanied by a thorough introduction that contextualizes the play, are based not only on published texts, but performance scripts and the study of the plays as they are performed in theatres today. Each volume is lavishly illustrated with rare woodblock prints in full color of Tokugawa- and Meiji-period productions as well as color and black-and-white photographs of contemporary performances.
Published with the assistance of the Nippon Foundation.
Actor, director, designer and pioneering theorist, Edward Gordon Craig was one of twentieth century theatre’s great modernisers. Here, he is eloquent and entertaining in expounding his views on the theatre; a crucial and prescient contribution that retains its relevance almost a century later.
This reissue contains a wealth of new features:a specially written Introduction and notes from editor Franc Chamberlain an updated bibliography further reading.
Controversial and original, On the Art of the Theatre stands as one of the most influential books on theatre of the twentieth century.