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.
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.
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.
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.
Lin-Manuel Miranda's groundbreaking musical Hamilton is as revolutionary as its subject, the poor kid from the Caribbean who fought the British, defended the Constitution, and helped to found the United States. Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.
HAMILTON: THE REVOLUTION gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda, along with Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--traces its development from an improbable performance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.
Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer, Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sondheim, leading political commentators, and more than 50 people involved with the production; and multiple appearances by President Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.
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.
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.
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.
“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
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.
Samuel Beckett's Waiting for Godot is not only an indisputably important and influential dramatic text -it is also one of the most significant western cultural landmarks of the twentieth century. Originally written in French, the play first amazed and appalled Parisian theatre-goers and critics before receiving a harshly dismissive initial critical response in Britain in 1955. Its influence since then on the international stage has been significant, impacting on generations of actors, directors and audiences.
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.
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.
For more than fifty years, Ernest--or "Ernie" as he's known to his friends--has been one of the most recognized, celebrated stars in Hollywood as well as a respected, talented actor, and a living legend. Stretching from his childhood as the son of Italian immigrants to a spectacular career that is still thriving in his 91st year, from the early days of live TV to the voiceovers for The Simpsons and SpongeBob SquarePants, Ernie tells of the trials and tribulations on his road to fame, the friendships he shared with some of the silver screen's biggest stars, and the glamorous leading ladies he loved.
Acclaimed for his ability to play sensitive and tough-guy roles equally well, he was also famous for squaring off against some of Hollywood's most formidable actresses--including Bette Davis in A Catered Affair and Joan Crawford in Johnny Guitar. Recalling his experiences starring in classic movies such as The Poseidon Adventure, The Wild Bunch, and Escape from New York, he reveals personal insights and irresistible stories about cinema's greatest icons--including Spencer Tracy, James Stewart, Kirk Douglas, Montgomery Clift, Gary Cooper, Janet Leigh, Raquel Welch, Gene Hackman, Rock Hudson, Sammy Davis, Jr., Tony Curtis, Alan Ladd, Glenn Ford, and Burt Lancaster. And with characteristic frankness, he also talks about his off-screen loves and passions.
A must for every film buff, Ernie: An Autobiography is a fascinating memoir--filled with secrets, well-remembered details, and never-before-told stories--of a star who has thrived in the changing world of Hollywood for more than half a century, and endeared himself to legions of fans everywhere.
"(Borgnine's) anecdotes are gleefully self-deprecating. . .he comes off as the kind of guy you'd like to have a beer with." --NY Post
"With astute observations on the Hollywood hierarchy and tales about everyone from Lee Marvin and Steve McQueen to Bette Davis and Kim Novak, (Borgnine) writes with an unassuming, no-nonsense tone. His love of filmmaking and his respect for his fellow actors permeates the pages of this engaging and satisfying memoir." --Publishers Weekly
"Modest and sweet. . .nicely boiled. Borgnine neither lashes out nor pulls punches." --Entertainment Weekly
". . .a satisfying detailed account of a decades-long career that also included memorable roles in durable blockbusters like The Wild Bunch and The Poseidon Adventure. He comes across as an unspoiled, nice guy who enjoyed his success. . .One of the finest unghosted Hollywood autobiographies." --ALA Booklist
"A super read. . .Ernie: The Autobiography by Ernest Borgnine is as nifty as he is." --Cindy Adams, NY Post
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.
In this book, Harriet Hyman Alonso unravels Sherwood's inner struggle and portrays his political journey. Relying largely on his letters, diaries, plays, films, essays, and biography of Roosevelt and Harry Hopkins, she traces Sherwood's obsession with the world of politics and its effects on his life and art, from his experience as a soldier in World War I to the Cold War. She also describes his participation in the Algonquin Round Table, his friendships and working relationships with such notables as Alfred Lunt, Lynn Fontanne, Edna Ferber, Spencer Tracy, Harry Hopkins, and Franklin D. Roosevelt, his two marriages and uneasy relationship with his daughter, and his leadership role in the Broadway community.
Alonso brings together history, theater and film studies, and peace studies in this interdisciplinary political biography. In the process, she illuminates major currents in U.S. foreign policy, society, and culture from 1896 to 1955 -- the years of the remarkable life of Robert E. Sherwood.
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.
Since its publication in 1996, Holy Land has become an American classic. In "quick, translucent prose" (Michiko Kakutani, New York Times) that is at once lyrical and unsentimental, D. J. Waldie recounts growing up in Lakewood, California, a prototypical post-World War II suburb. Laid out in 316 sections as carefully measured as a grid of tract houses, Holy Land is by turns touching, eerie, funny, and encyclopedic in its handling of what was gained and lost when thousands of blue-collar families were thrown together in the suburbs of the 1950s. An intensely realized and wholly original memoir about the way in which a place can shape a life, Holy Land is ultimately about the resonance of choices—how wide a street should be, what to name a park—and the hopes that are realized in the habits of everyday 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.
At the top of the stairs there are four secrets hidden. Blond, beautiful, innocent, and struggling to stay alive . . .
They were a perfect family, golden and carefree—until a heartbreaking tragedy shattered their happiness. Now, for the sake of an inheritance that will ensure their future, the children must be hidden away out of sight, as if they never existed. Kept on the top floor of their grandmotherds vast mansion, their loving mother assures them it will be just for a little while. But as brutal days swell into agonizing months and years, Cathy, Chris, and twins Cory and Carrie, realize their survival is at the mercy of their cruel and superstitious grandmother . . . and this cramped and helpless world may be the only one they ever know.
Book One of the Dollanganger series, the sequels include Petals in the Wind, If There Be Thorns, Seeds of Yesterday, and Garden of Shadows. Then experience the attic from Christopher’s point of view in Christopher’s Diary: Secrets of Foxworth and Christopher’s Diary: Echoes of Dollanganger.
The strains can be felt within the Hickam home, where a beleaguered HomerSr. is resorting to a daring but risky plan to keep the mine alive, and his wife Elsie is feeling increasingly isolated from both her family and the townspeople. And Sonny, despite a blossoming relationship with a local girl whose dreams are as big as his, finds his own mood repeatedly darkened by an unexplainable sadness.
Eager to rally the town's spirits and make her son's final holiday season at home a memorable one, Elsie enlists Sonny and the Rocket Boys' aid in making the Coalwood Christmas Pageant the best ever. But trouble at the mine and the arrival of a beautiful young outsider threaten to tear the community apart when it most needs to come together. And when disaster strikes at home, and Elsie's beloved pet squirrel escapes under his watch, Sonny realizes that helping his town and redeeming himself in his mother's eyes may be a bigger-and more rewarding-challenge than he has ever faced.
The result is pure storytelling magic- a tale of small-town parades and big-hearted preachers, the timeless love of families and unforgettable adventures of boyhood friends-that could only come from the man who brought the world Rocket Boys
From the Hardcover edition.
Storyville's founding was envisioned as a reform measure, an effort by the city's business elite to curb and contain prostitution -- namely, to segregate it. In 1890, the Louisiana legislature passed the Separate Car Act, which, when challenged by New Orleans's Creoles of color, led to the landmark Plessy v. Ferguson decision in 1896, constitutionally sanctioning the enactment of "separate but equal" laws. The concurrent partitioning of both prostitutes and blacks worked only to reinforce Storyville's libidinous license and turned sex across the color line into a more lucrative commodity.
By looking at prostitution through the lens of patriarchy and demonstrating how gendered racial ideologies proved crucial to the remaking of southern society in the aftermath of the Civil War, Landau reveals how Storyville's salacious and eccentric subculture played a significant role in the way New Orleans constructed itself during the New South era.
A foreign correspondent on a simple story becomes, over time and in the pages of this book, a lover of Haiti, pursuing the heart of this beautiful and confounding land into its darkest corners and brightest clearings. Farewell, Fred Voodoo is a journey into the depths of the human soul as well as a vivid portrayal of the nation’s extraordinary people and their uncanny resilience. Haiti has found in Amy Wilentz an author of astonishing wit, sympathy, and eloquence.
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.
The key to understanding how the North Korean people live, the authors argue, is to realize that their only allowed role is to support Kim Jong-un, whose grandfather founded the country in the late 1940s. Still a cypher, Kim Jong-un, as did his father before him, controls his people by keeping them isolated and banning most foreigners. North Koreans remain hungry and oppressed, yet the outside world is slowly filtering in, and the book concludes by urging the United States to flood North Korea with information so that its people can make decisions based on truth rather than their dictator's ubiquitous propaganda.
Originally published by the U.S. Army to provide an overview of the country's terrain, ethnic groups, and history for American troops and now updated and expanded for the general public, Afghanistan Declassified fills in these gaps. Historian Brian Glyn Williams, who has traveled to Afghanistan frequently over the past decade, provides essential background to the war, tracing the rise, fall, and reemergence of the Taliban. Special sections deal with topics such as the CIA's Predator drone campaign in the Pakistani tribal zones, the spread of suicide bombing from Iraq to the Afghan theater of operations, and comparisons between the Soviet and U.S. experiences in Afghanistan.
To Williams, a historian of Central Asia, Afghanistan is not merely a theater in the war on terror. It is a primeval, exciting, and beautiful land; not only a place of danger and turmoil but also one of hospitable villagers and stunning landscapes, of great cultural diversity and richness. Williams brings the country to life through his own travel experiences—from living with Northern Alliance Uzbek warlords to working on a major NATO base. National heroes are introduced, Afghanistan's varied ethnic groups are explored, key battles—both ancient and current—are retold, and this land that many see as only a frightening setting for prolonged war emerges in three dimensions.
The story of the fire, its causes, and its legal and human aftermath is one of lives put at risk by petty economic decisions--by a band, club owners, promoters, building inspectors, and product manufacturers. Any one of those decisions, made differently, might have averted the tragedy. Together, however, they reached a fatal critical mass.
Killer Show is the first comprehensive exploration of the chain of events leading up to the fire, the conflagration itself, and the painstaking search for evidence to hold the guilty to account and obtain justice for the victims.
Anyone who has entered an entertainment venue and wondered, "Could I get out of here in a hurry?" will identify with concertgoers at The Station. Fans of disaster nonfiction and forensic thrillers will find ample elements of both genres in Killer Show.
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.
Using nails and wood, fabric and paint, hardware and rigging, you create an illusion. You build the make-believe world of the play.
Now you have a scene-shop manual to help you. In The Stagecraft Handbook, Daniel A. Ionazzi, director of production for the UCLA Department of Theater, offers trap-room-to-grid guidance. Clearly written, heavily illustrated, this book covers every aspect of scenery construction.
Turn here and learn about: the four primary stage configurations–proscenium, thrust, arena and environmental flying scenery and moving floors organizing the scene shop to make good scenery quickly and inexpensively shop tools and safety scaled drawings, models and other communications tools you'll use to translate the designer's vision into a set materials commonly used in building scenery construction techniques for flats, platforms and other standard scenic units installing and rigging scenery maintaining an inventory of stock scenery Let The Stagecraft Handbook help you turn ordinary materials into extraordinary illusions.
Contributions by: Amitav Acharya, Sebastian Bersick, Nayan Chanda, Ralph A. Cossa, Michael Green, Samuel S. Kim, Edward J. Lincoln, Martha Brill Olcott, T.V. Paul, Phillip C. Saunders, David Shambaugh, Sheldon W. Simon, Scott Snyder, Robert Sutter, Hugh White, and Michael Yahuda
But like many stories of lionized athletes who rise to the status of legend, there was a fall—and in the case of Billy Cannon, also redemption. For the first time, Charles N. deGravelles reveals in full the thrilling highs and unexpected lows of Cannon’s life, in Billy Cannon: A Long, Long Run.
Through conversations with Cannon, deGravelles follows the athlete-turned-reformer from his boyhood in a working-class Baton Rouge neighborhood to his sudden rush of fame as the leading high school running back in the country. Personal and previously unpublished stories about Cannon’s glory days at LSU and his stellar but controversial career in the pros, as well as details of his indictment for counterfeiting and his post-release work as staff dentist at Louisiana State Penitentiary at Angola, unfold in a riveting biography characterized by uncanny success, deep internal struggles, and a champion’s spirit that pushed through it all.