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|Author||: David Diamond,Fritjof Capra|
|Editor||: Trafford Publishing|
Winner of the 2008 American Alliance for Theatre and Education "Book of Distinction" Award. Theatre is a primal language that used to be spoken by everyone; everyone included the "living community". Weaving together Systems Theory and the groundbreaking work of Fritjof Capra , Theatre of the Oppressed and the revolutionary work of Augusto Boal , and his own 25 years of practical experience in community-based popular theatre, David Diamond creates a silo-busting book that embraces the complexity of real life. Some of the questions Theatre for Living asks and attempts to answer: From a perspective of biology and sociology, how is a community a living thing? How do we design a theatre practice to consciously work with living communities to help them tell their stories? How do we accomplish this without demonizing those characters with whom we disagree? Must we constantly do battle to defeat an endless stream of oppressors, or can we imagine a world in which we stop creating them? Why is this important? What should we be on the look-out for (both positive and negative) when doing this work? What practical games and exercises can we use to awaken group consciousness? Who will be interested in Theatre for Living? Artists; community development workers; educators; activists; people working in social services, mediation and conflict resolution; health care professionals; anyone with an interest in finding new ways to approach the intersection of culture and social justice. "I greatly admire the achievements of David Diamond and his Headlines Theatre. He is following his own path, doing extraordinary and groundbreaking work in several fields, like his work with many First Nations communities in Canada and the US, and his adaptation of Forum Theatre on TV and on the Internet. This book relates the experiences of his life in theatre. For what he has already done, is doing, and certainly will do, David Diamond deserves all our support." Augusto Boal, founder of Theatre of the Oppressed, author of Theatre of the Oppressed, Rainbow of Desire, and Legislative Theatre David Diamond's work has been an inspiration to performers, artists, community leaders throughout Canada and beyond. The ideas in Theatre for Living are large, daring, challenging; but the steps by which Diamond follows and implements the ideas are precise and accessible. As I read I found myself being taken further and further into the life that is both theatre and the making of theatre, which is to say I was led into how life can be given its meaning. Hugh Brody, anthropologist and film-maker, author of Maps And Dreams, Living Arctic and The Other Side of Eden
|Author||: Alison Oddey|
|Editor||: Psychology Press|
Devising Theatre is a practical handbook that combines a critical analysis of contemporary devised theatre practice, with descriptions of selected companies, and suggestions for any group devising theatre from scratch. It was written because of a perceived need for information about the subject, and is the first book to propose a general theory of devised theatre.
|Author||: Dennis Kennedy|
|Editor||: Oxford University Press|
Ranging from ancient Greek tragedies to the latest developments in London, Paris, New York, and around the globe, The Oxford Companion to Theatre and Performance provides an all-embracing approach that encompasses drama and musical, opera and film, dance and radio, and non-dramatic performances including circuses, carnivals, and parades. Based on the celebrated two-volume Oxford Encyclopedia of Theatre and Performance, this compact, affordable Companion features more than 2,000 up-to-date entries, covering styles and movements, buildings, organizations, regions, and traditions--with a particularly strong focus on biographies of actors, playwrights, directors, designers, and critics. Editor Dennis Kennedy has significantly updated the timeline of historical and cultural events in the world of theatre and performance, and he has added an appendix of useful weblinks, which are supported and accessible through a companion website. Finally, the book includes many new entries that cover the people and companies who have come into prominence since the publication of the Encyclopedia.
|Author||: Polly Samson|
|Editor||: Bloomsbury Circus|
An Observer Fiction Highlight 2020 'Oh my god, this book! I don't have words to convey its brilliance' MARIAN KEYES 'If summer was suddenly like a novel, it would be like this one' ANDREW O'HAGAN 'The best book I've read all year' JOANNE HARRIS 'Superb' THOMAS KENEALLY 1960. The world is dancing on the edge of revolution, and nowhere more so than on the Greek island of Hydra, where a circle of poets, painters and musicians live tangled lives, ruled by the writers Charmian Clift and George Johnston, troubled king and queen of bohemia. Forming within this circle is a triangle- its points the magnetic, destructive writer Axel Jensen, his dazzling wife Marianne Ihlen, and a young Canadian poet named Leonard Cohen. Into their midst arrives teenage Erica, with little more than a bundle of blank notebooks and her grief for her mother. Settling on the periphery of this circle, she watches, entranced and disquieted, as a paradise unravels. Burning with the heat and light of Greece, A Theatre for Dreamers is a spellbinding novel about utopian dreams and innocence lost o and the wars waged between men and women on the battlegrounds of genius.
|Author||: Shelley Scott|
|Editor||: Athabasca University Press|
Nightwood Theatre is by far the longest-running and most influential feminist theatre company in Canada. Since 1979 it has been a producer of new works by Canadian women, and a provider of opportunities for women theatre artists. It has also been the "home company" for some of the biggest names in Canadian theatre, such as Ann-Marie MacDonald.
|Author||: Michael McKinnie|
|Editor||: Cambridge University Press|
Explores theatre's relationship with the market economy since the 1990s, from the Third Way to the age of austerity.
|Author||: Scott Graham,Steven Hoggett|
‘This is a close companion to Frantic Assembly’s practice and one that is written with an open and engaging, even disarming, tone ... A rich, rewarding and compelling text.’ Stuart Andrews, University of Surrey As Frantic Assembly move into their twentieth year of producing innovative and adventurous theatre, this new edition of their well-loved book demystifies the process of devising theatre in an unusually candid way. Artistic directors Scott Graham and Steven Hoggett offer an intimate and invaluable insight into their evolution and success, in the hope that sharing their experiences of devising theatre will encourage and inspire students and fellow practitioners. The Frantic Assembly Book of Devising Theatre is a uniquely personal account of the history and practice of this remarkable company, and includes: · practical exercises · essays on devising, writing and choreography · suggestions for scene development · a 16-page colour section, and illustrations throughout · a companion website featuring clips of rehearsals and performances. This is an accessible, educational and indispensable introduction to the working processes of Frantic Assembly, whose playful, intelligent and dynamic productions continue to be acclaimed by audiences and critics alike.
|Author||: Sheila Preston|
|Editor||: Bloomsbury Publishing|
"Explores the facilitator's role within a range of socially engaged theatre and community theatre settings. ... Part One offers an introduction to the concept, role and practice of facilitation and its applications in different contexts and cultural locations. ... Part Two illuminates the diversity in the field of facilitation in applied theatre through offering multiple voices, case studies, theoretical positions and contexts. These are drawn from Australia, Serbia, Kyrgyzstan, India, Israel/Palestine, Rwanda, the United Kingdom and North America, and they apply a range of aesthetic forms: performance, process drama, forum, clowning and playmaking."--Back cover.
|Author||: David Roesner,Matthias Rebstock|
|Editor||: Intellect Books|
Composed Theatre gives extensive coverage of a growing field of theatre that is characterized by applying musical and compositional approaches to the creation of theatrical performances. The contributions to this book seek to establish and closely investigate this field, and range from focused reports by seminal artists and in-depth portraits of their working methods to academic essays contextualising the aesthetics, practices and processes in question. This book looks at Composed Theatre in a unique way by focusing on the creative process, as it is not primarily the aesthetics or the audiences that characterize this field, but the compositional thinking at play in its creation. Since Composed Theatre is often highly self-reflexive, the authors also explore how it is calling into question fundamental certaintities about musical composition, dramaturgy and music-theatrical production. Publisher's note.
|Author||: Kenneth T. Williams|
|Editor||: J. Gordon Shillingford Publishing|
Café Daughter is a one-woman drama inspired by a true story about a Chinese-Cree girl growing up in Saskatchewan in the 1950s and 60s.
|Author||: Marc Lescarbot,Eugene Benson,Renate Benson,Jonson, Ben, 1573?-1637,Harriette Taber Richardson|
|Editor||: Talonbooks Limited|
Arguably the first North American play, this edition includes the original French script, an extensive historical, critical introduction and more.
|Author||: Alan Read|
The Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology. The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London’s Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of ‘cultural cruelty’ wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss. In the harsh light of such loss is there an alternative to the market that profits from peddling ‘well-being’ and pushes prescriptions for ‘self-help’, any role for the arts that is not an apologia for injustice? What if culture were not the solution but the problem when it comes to the mitigation of grief? Creativity not the remedy but the symptom of a structural malaise called inequality? Read suggests performance is no longer a political panacea for the precarious subject but a loss adjustor measuring damages suffered, compensations due, wrongs that demand to be put right. These field notes from a fire sale are a call for angry arts of advocacy representing those abandoned as the detritus of cultural authority, second-order victims whose crime is to have appealed for help from those looking on, audiences of sorts.
|Author||: Jordan Tannahill|
|Editor||: Coach House Books|
A lot of plays are bad. And one bad play, it seems, can turn us off theater for good. So, what can we learn from the bad play? Jordan Tannahill, after talking to theater heavy-hitters from Australia to Berlin, offers a roadmap for a renewed theater, one that is less insular, less insulting, with better infrastructure. In reconsidering dramaturgy, programming strategies, and alternative models for producing, he aims to turn theater from an obligation to a destination. Jordan Tannahill is a multidisciplinary artist based in Toronto. His production of Sheila Heti's All Our Happy Days Are Stupid will be performed in New York in 2015.
|Author||: Philip Pullman|
|Editor||: Knopf Books for Young Readers|
A deluxe edition of Philip Pullman's bestelling classic, with 50 new pieces of art, just in time for the holidays. "It's a stunning achievement, the universe Pullman has created and continues to build on." --The New York Times Philip Pullman's return to the world of The Golden Compass in this first book in a new trilogy was hailed as an instant classic. This impeccably designed and produced collector's edition includes 50 new pieces of black-and-white art from cover artist Chris Wormell and an exclusive interview with Philip Pullman about writing La Belle Sauvage.
|Author||: Kim Solga|
|Editor||: Bloomsbury Publishing|
Space: it's everywhere, all around, a given. It's abstract and yet not abstract at all, because it governs all human relations, shapes the way we understand our place on the planet, and orients us toward others (for better and for worse). How do theatre scholars understand space and place in performance? What tools do they use to theorize the political work space does on – and beyond – the stage? How can students use these tools to unpack the workings of space and place in the performances they see, the plays they study, and the experiences they have outside their classrooms? Theory for Theatre Studies: Space provides a comprehensive introduction to the 'spatial turn' in modern theatre and performance theory, exploring topics as diverse as embodied space, environmental performance politics and urban performance studies. The book is written in accessible prose and features in-depth case studies of Platform's audio walk And While London Burns, Katie Mitchell's Fraülein Julie, Young Jean Lee's The Shipment, and Evalyn Parry and Laakkuluk Williamson Bathory's Kiinalik: These Sharp Tools. TfTS: Space begins with fresh readings of historical dramatic theory, discusses twentieth-century theoretical trends at length, and ends by asking what it will take (and what work is already underway) to decolonize the Western, settler-colonial stage. Online resources to accompany this book are available at: www.bloomsbury.com/uk/theory-for-theatre-studies-space-9781350006072/
|Author||: Jane Plastow|
|Editor||: Palgrave Macmillan|
This book is the first ever transnational theatre study of an African region. Covering nine nations in two volumes, the project covers a hundred years of theatre making across Burundi, Djibouti, Eritrea, Ethiopia, Kenya, Rwanda, Somalia, Tanzania, and Uganda. This volume focuses on the theatre of the Horn of Africa. The book shows how the theatres of Djibouti, Eritrea, Ethiopia, and Somalia, little known in the outside world, have been among the continent's most politically important, commercially successful, and widely popular; making work almost exclusively in local languages and utilizing hybrid forms that have privileged local cultural modes of production. A History of African Theatre is relevant to all who have interests in African cultures and their relationship to the history and politics of the East African region.
|Author||: John A. Leonard|
|Editor||: Psychology Press|
"John Leonard also discusses artistic input - working with the director and other designers - as well as the production process - putting together cue sheets, desk plots, conducting rehearsals, and operating the show. He gives special attention to musical theatre, with ample discussion of microphones, piano techs, loudspeaker rigs, and the basics of operating a musical."--BOOK JACKET.