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The collection, edited by Annalisa Castaldo and Rhonda Knight, features essays by scholars interested in exploring how the material culture of sixteenth and early seventeenth English theatrical culture influenced the creation and presentation of drama and how understanding this culture can enrich scholars' current interactions with these plays as well as offer insights to actors and directors. The essays include discussions of plays by Shakespeare, Marlowe, and Middleton as well as lesser known works and playwrights. This collection is unique in that it includes the body of the actor as a material object that is encountered and manipulated by other actors on the stage. These essays demonstrate how props, bodies and the architectural dimensions of early modern stages have both practical and symbolic registers.
Latinx Theater in the Times of Neoliberalism traces how Latinx theater in the United States has engaged with the policies, procedures, and outcomes of neoliberal economics in the Americas from the 1970s to the present. Patricia A. Ybarra examines IMF interventions, NAFTA, shifts in immigration policy, the escalation of border industrialization initiatives, and austerity programs. She demonstrates how these policies have created the conditions for many of the most tumultuous events in the Americas in the last forty years, including dictatorships in the Southern Co≠ the 1994 Cuban Rafter Crisis; femicides in Juárez, Mexico; the Zapatista uprising in Chiapas, Mexico; and the rise of narcotrafficking as a violent and vigorous global business throughout the Americas. Latinx artists have responded to these crises by writing and developing innovative theatrical modes of representation about neoliberalism.
'Actors always talk about what the audience does. I don't understand, we are just sitting here.' Audience as Performer proposes that in the theatre, there are two troupes of performers: the actors and the audience. Although academics have scrutinised how audiences respond, make meaning and co-create while watching a performance, little research has considered the behaviour of the theatre audience as a performance in and of itself. This insightful book describes how an audience performs through its myriad gestural, vocal and paralingual actions, and considers the following questions: If the audience are performers, who are their audiences? How have audiences' roles changed throughout history? How do talkbacks and technology influence the audience's role as critics? What influence does the audience have on the creation of community in theatre? How can the audience function as both consumer and co-creator? Drawing from over 140 interviews with audience members, actors and ushers in the UK, USA and Austrialia, Heim reveals the lived experience of audience members at the theatrical event. It is a fresh reading of mainstream audiences' activities, bringing their voices to the fore and exploring their emerging new roles in the theatre of the Twenty-First Century.
Fringe Benefits, an award-winning theatre company, collaborates with schools and communities to create plays that promote constructive dialogue about diversity and discrimination issues. Staging Social Justice is a groundbreaking collection of essays about Fringe Benefits' script-devising methodology and their collaborations in the United States, Australia, Canada and the United Kingdom. The anthology also vividly describes the transformative impact of these creative initiatives on participants and audiences. By reflecting on their experiences working on these projects, the contributing writers--artists, activists and scholars--provide the reader with tools and inspiration to create their own theatre for social change.
A Theater Criticism/Arts Journalism Primer: Refereeing the Muses examines the skill set associated with being a critic and arts journalist. It explores the history, evolution, and future of the profession in the United States, and carefully and purposefully dissects the preparation, observation, and writing process associated with generating thoughtful and interesting arts criticism. Using theatrical productions as the best and most vivid example of a storytelling enterprise that employs creativity, imagination, collaboration, aesthetics, and artisanship to effectively engage an audience, this book is intended to generate the critical thinking and critical writing skills necessary to effectively engage in all forms of arts journalism. It is designed to be used as a college-level textbook on theater criticism and arts journalism courses, for those looking to become more thoughtful, critical consumers, for casual critics thinking about starting a blog or working for their university newspaper, and for working critics hoping to improve their craft.
From spoken word performance poetry to twenty-first century Happenings, ancient Greek and Roman epics regularly provide both the subject matter and the form for emergent and seasoned theatre makers. Performing Epic or Telling Tales is concerned less with the 'what' of this epic turn than the 'why'; and explains this turn to epic form and content with reference not only to the translation and scholarly histories of the epics but also to earlier performancetraditions and, notably, to recent theoretical debates relating to text-based 'drama' and performance based 'theatre'.
The idea of American musical theatre often conjures up images of bright lights and big city, but its lifeblood is found in amateur productions at high schools, community theatres, afterschool programs, summer camps, and dinner theatres. In Beyond Broadway, author Stacy Wolf looks at thewidespread presence and persistence of musical theatre in U.S. culture, and examines it as a social practice - a live, visceral experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do so many Americans continue to passionately engage in acentury-old artistic practice that requires intense, person-to-person collaboration? And why do audiences still flock to musicals in their hometowns? Touring American elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoortheatres, community theatres, and dinner theatres from California to Tennessee, Wolf illustrates musical theatre's abundance and longevity in the U.S. as a thriving social activity that touches millions of lives.
Stages of Loss supplies an original and deeply researched account of travel and festivity in early modern Europe, complicating, revising, and sometimes entirely rewriting received accounts of the emergence and development of professional theatre. It offers a history of English actors traveling and performing abroad in early modern Europe, and Germany in particular, during the sixteenth and seventeenth centuries. These players, known as English Comedians, were among the first professional actors to perform in central and northern European courts and cities. The vital contributions made by them to the development of a European theatre institution have long been neglected owing to the pre-eminence of national theatre histories and the difficulty of researching an inherently evanescent phenomenon across large distances.
Last Acts argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Psychoanalytic and new historicist scholars have exhaustively documented the methods that early modern dramatic texts and performances use to memorialize the dead, at times even asserting that theater itself constitutes a form of mourning. But early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grief than as an action to be performed, well or badly. Active deaths belie narratives of helplessness and loss through which mortality is too often read and instead suggest how marginalized and constrained subjects might participate in the political, social, and economic management of life. Some early modern strategies for dying resonate with descriptions of politicized biological life in the recent work of Giorgio Agamben and Roberto Esposito, or with ecclesiastical forms.
The papers of the present volume investigate the potential of the metaphor of life as theater for literary, philosophical, juridical and epistemological discourses from the Middle Ages through modernity, and focusing on traditions as manifold as French, Spanish, Italian, German, Russian and Latin-American.
Sewing Techniques for Theatre: An Essential Guide for Beginnersdistills the intimidating art of sewing down into simple, quick, and effective lessons to prepare readers for an entry-level position in a costume shop. The lessons follow an hour-by-hour structure, offering detailed instructions to creating 11 sewing samples, a scrub shirt, and a tote bag. Embedded in the projects' directions are lecture materials on safety, irons, fabric, and patterns. With a wealth of hands-on exercises, review questions, photographs, and step-by-step instructions for compiling a portfolio, this guide teaches aspiring costume technicians about the culture and machinery of the costume shop, and equips them with the necessary skills to begin their career as members of a costume shop team.
Exploring the ways undergraduate theatre programs can play a significant role in accomplishing the aims and learning outcomes of a contemporary liberal education, Kindelan argues that theatre's signature pedagogy helps all undergraduates become actively engaged in developing critical and value-focused skills.
Building on Robert J. Landy's seminal text, Handbook of Educational Drama and Theatre, Landy and Montgomery revisit this richly diverse and ever-changing field, identifying some of the best international practices in Applied Drama and Theatre. Through interviews with leading practitioners and educators such as Dorothy Heathcote, Jan Cohen Cruz, James Thompson, and Johnny Saldaña, the authors lucidly present the key concepts, theories and reflective praxis of Applied Drama and Theatre. As they discuss the changes brought about by practitioners in venues such as schools, community centres, village squares and prisons, Landy and Montgomery explore the field's ability to make meaning of a vast range of personal and social issues through the application of drama and theatre.