Book Description
Huerta takes as his starting point 1979, the year Luís Valdez's play, Zoot Suit, was produced on Broadway. Huerta looks at plays by and about Chicanas and Chicanos, as they explore through performance, the community and its identity caught between the United States and Mexico. Through informative biographies of each playwright and analyses of their plays, Huerta offers an accessible introduction to this important aspect of American theater and culture. The book contains photographs from key productions and will be invaluable to students, scholars and general theatergoers.
Book Description
The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art.
Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Walter Benjamin, Roland Barthes, Jean Baudrillard, and others.
To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media’s novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance--including what he calls postmodernism’s denial of the new--and offers a series of boldly original arguments in their place.
Customer Reviews:
Must have for stage managers.......2006-10-18
I found this book very, very helpful and informative. I purchased this book when I was stage managing my first musical (community theatre) and read through it again before the last show I did. I have only stage managed three shows so far, but thanks to what I learned in this book I received a great compliment - Thanks for your work, you were so professional, I look forward to working with you again. This is a must have for a stage manager. I feel that as I progress and do more (including hopefully professional jobs someday) I can continue to refer to this book and hone my skills.
Good, In depth.......2004-06-20
As a recent graduate with a BFA in stage management, I have found Kelly's book to the the most in depth look at the craft. It addressed more complicated issues, and most interestingly, new developments, that the other books I've read(Stern, Ionazzi) don't touch on. I agree that it isn't a book for a beginner, but for someone with a little experience, looking to refine their skills, its the best book out there.
Very informative... ish.......2003-01-03
As a young budding director I found this guide helpful in some of things, I MYSELF was trying to achieve. At the same time this book reads like automotive directions in Spanish. Those unfamiliar with theatre lingo this is not a beginners guide!
Best Book in its Field.......2002-08-26
This is the best book on theatrical stage management currently available, for the money. It is well written, well organized, and very comprehensive. Kelly's approach to stage management is outstanding and he communicates it in a clear and interesting manner in the book.
Besides, being such a good book, it is priced very well. The only books that are comparable in content cost at least three times as much.
A must have for everyone seriously interested in stage managing.
don't leave home without it.......2001-02-27
From the minute I picked this book up it has become my "bible". Chock full of helpful tips and funny stories of the author's experiences as a stage manager. Not overly technical - with lots of helpful forms to smooth the way for a production (and the stage manager's nerves)! Have it with you through every show - before, during, after. Bravo! Encore!
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As She Likes It: Shakespeare's Unruly Women (Gender and Performance)
Penny Gay
Manufacturer: Routledge
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Shakespeare and Women (Oxford Shakespeare Topics)
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Shakespeare and the Nature of Women: Third Edition
ASIN: 0415096960 |
Book Description
Looks at the way five of the comedies have been staged over the last 50 years, asking how gender politics affects the production of the comedies, and how gender is represented, both in the text and on stage.
Book Description
African American Performance and Theater History is an anthology of critical writings that explores the intersections of race, theater, and performance in America. Assembled by two esteemed scholars in black theater, Harry J. Elam, Jr. and David Krasner, and composed of essays from acknowledged authorities in the field, this anthology is organized into four sections representative of the ways black theater, drama, and performance interact and enact continual social, cultural, and political dialogues. Ranging from a discussion of dramatic performances of Uncle Tom's Cabin to the Black Art Movement of the 1960s and early 1970s, articles gathered in the first section, "Social Protest and the Politics of Representation," discuss the ways in which African American theater and performance have operated as social weapons and tools of protest. The second section of the volume, "Cultural Traditions, Cultural Memory and Performance," features, among other essays, Joseph Roach's chronicle of the slave performances at Congo Square in New Orleans and Henry Louis Gates, Jr.'s critique of August Wilson's cultural polemics. "Intersections of Race and Gender," the third section, includes analyses of the intersections of race and gender on the minstrel stage, the plight of black female choreographers at the inception of Modern Dance, and contemporary representations of black homosexuality by PomoAfro Homo. Using theories of performance and performativity, articles in the fourth section, "African American Performativity and the Performance of Race," probe into the ways blackness and racial identity have been constructed in and through performance. The final section is a round-table assessment of the past and present state of African American Theater and Performance Studies by some of the leading senior scholars in the field--James V. Hatch, Sandra L. Richards, and Margaret B. Wilkerson. Revealing the dynamic relationship between race and theater, this volume illustrates how the social and historical contexts of production critically affect theatrical performances of blackness and their meanings and, at the same time, how African American cultural, social, and political struggles have been profoundly affected by theatrical representations and performances. This one-volume collection is sure to become an important reference for those studying black theater and an engrossing survey for all readers of African American literature.
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The Oxford Encyclopedia of Theatre and Performance: Two volumes
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Hardcover
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ASIN: 0198601743 |
Book Description
The Oxford Encyclopedia of Theatre and Performance is an unparalleled resource, providing comprehensive, authoritative, and up-to-date information about theatre and performance internationally, through history and in the present in an accessible format. Available in print and as an e-reference text from Oxford's Digital Reference Shelf, the 4,300 entries total well over a million words and are complemented by over 100 illustrations. Coverage ranges from ancient Greek theatre to the latest developments in London, Paris, New York, and around the globe. The Encyclopedia pays special attention to non-Western styles through articles on theatre and performance throughout the many countries and traditions of Asia and Africa, often written by practitioners or critics from those areas. Dance, opera, performance art, radio, film, and television are covered at length. The Encyclopedia also embraces para-theatrical, non-drammatic, and popular performance, including ritual, carnivals, parades, the circus, and public executions. Biographical entries cover the lives and work of major figures from the past and present: actors, playwrights, directors, designers, and critics. Innovative entries on cities and regions place performance in its local social and political context. A particular feature of the Encyclopedia is the series of entries on concepts, theories, and critical approaches to theatre and performance, from short definitions of terms to lengthy considerations of genres, and from detailed discussion of movements such as feminism and psychoanalytic criticism to discussions of semiotics and post-colonial studies. While remaining thoroughly accessible in language and approach, the Encyclopedia takes advantage of the theoretical and historiographical developments in the field, using signed entries by the best scholars and writers available.
Book Description
In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. She describes how these entertainers experimented with different ways of presenting their bodies in publicâthrough dress, movement, and theatrical technologiesâto defamiliarize the spectacle of âblacknessâ in the transatlantic imaginary.
Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of âbodily insurgencyâ which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown’s public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams’s and George Walker’s musical In Dahomey (1902–04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic.
Book Description
Contemporary academic discourse is filled with the word "perform". Nestled among a variety of prefixes and suffixes (re-, post-, -ance, -ivity?), the term functions as a vehicle for a host of inquiries. This development is intriguing and complex for students, artists, and scholars of performance and theater. By examining the history of theater studies and related institutions and comparing the very different disciplinary interpretations and developments that led to this engagement, this study offers ways of placing performance theory and performance studies in context.
Book Description
Legislative Theatre is the latest and most remarkable stage in the unique Augusto Boal project. It is an attempt to use theatre in a political context to create a truer form of democracy--a method to engage the populace. It is an extraordinary experiment in the potential of theatre to effect social change.
At the heart of Boal's method of Forum Theatre--which is already used in diverse contexts--is the dual meaning of the verb "to act": to perform and take action. In Legislative Theatre he takes one stage further his concept of the "spect-actor," the spectator who intervenes in an unresolved scenario on stage to try and break a depicted cycle of oppression. As a politician in his native Rio de Janeiro, Boal used Forum Theatre to involve the local populace in generating relevant legislation and social change.
The book includes a full explanation of the genesis and principles of legislative theatre, and a description of the process in operation in Rio. Also included are Boal's essays, speeches and lectures on Popular Theatre, Paolo Freire, cultural activism, the point of playwrighting, and much else besides.
Customer Reviews:
Continuing the Dialogue.......2000-05-02
In his latest text, Boal describes his newest theatrical innovation, Legislative Theatre. The idea is new (and exciting)- why not ask the people to share their concerns about government, in order to bring about reform? Boal's method of doing this is (naturally) through theatrical forms and expression. This is a natural progression for Boal, who was himself a member of the government of Rio de Janeiro in the early nineties, and has been involved in reinventing theatre as a form of social empowerment for much longer than this. As well as describing the techniques and the (rather disturbing) context in which they were developed and trialled, Boal also invites contribution from the reader - in a sense, breaking down the 'monologue' of the printed text, inviting and continuing the dialogue begun with earlier works and techniques. An essential read in the context of Boal's achievements.
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Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction
Tony Howard
Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0521864666 |
Book Description
The first Hamlet on film was Sarah Bernhardt. Probably the first Hamlet on radio was Eve Donne. Ever since the late eighteenth century, leading actresses have demanded the right to play the role - Western drama’s greatest symbol of active consciousness and conscience. Their iconoclasm, and Hamlet’s alleged ‘femininity’, have fascinated playwrights, painters, novelists and film-makers from Eugène Delacroix and the Victorian novelist Mary Braddon to Angela Carter and Robert Lepage. Crossing national and media boundaries, this book addresses the history and the shifting iconic status of the female Hamlet in writing and performance. Many of the performers were also involved in radical politics: from Stalinist Russia to Poland under martial law, actresses made Hamlet a symbol of transformation or crisis in the body politic. On stage and film, women reinvented Hamlet from Weimar Germany to the end of the Cold War. This book aims to put their half-forgotten achievements centre-stage.
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