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In this ground-breaking collection of critical essays, 15 writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa.
Set against a contemporary South African society that is chronologically `post' apartheid, but one that continues to grapple with material redress, land redistribution and systemic racism, Acts of Transgression finds a representation of the complexity of this moment within the rich potential of a performative art form that transcends disciplinary boundaries and aesthetic conventions. The collection probes live art's intersection with crisis and socio-political turbulence, shifting notions of identity and belonging, embodied trauma and loss, questions of archive, memory and the troubling of colonial systems of knowing,
an interrogation of narratives of the past and visions for the future.These diverse essays, analysing the work of more than 25 contemporary South African artists and accompanied by a striking visual record of more than 50 photographs, represent the first major critical study of contemporary live art in South Africa; a study that is as timeous as it is imperative.
This book explores theatre and performance as participatory research practices for exploring the everyday of the city. Taking an inner-city suburb of Johannesburg, South Africa as its central case study, the book consider how theatre and performance might be both useful practical tools in considering the everyday city, as well as conceptual lenses for understanding it.
The author establishes an understanding of space as ever-evolving and formed through the ongoing relationship between things, human and non-human and considers how theatre and performance offer useful paradigms for learning about and working with city spaces. As ephemeral, embodied, material artistic practices, theatre and performance mirror the nature of everyday life. The book discusses theatre and performance games and playmaking processes as offering valuable ways of discovering daily acts of place-making and providing insights that more conventional research methods may not allow. Yet the book also considers how seeing daily city life as a kind of performance, a kind of theatre in its own right, helps to further understandings of city spaces as ever evolving through complex webs of relationships.
This book will be of interest to academics, academic practitioners and post-graduate students in the fields of theatre and performance studies, urban studies and cultural geography.
From the Pulitizer-prize winning playwright of IN THE HEIGHTS, My Broken Language is a powerful and evocative retelling of a life lived between two cultures, and a vibrant and life-affirming celebration of the women who guide us. Born in Philadelphia to a Jewish father and an enigmatic Puerto Rican mother, Quiara Alegria Hudes had a love-soaked childhood marred by unspoken tragedies; wars in Vietnam and Iraq, the AIDS crisis and mysterious illnesses. Despite these losses, the women Quiara grew up around were powerful and joyful. They possessed a strength and passion that she idolised, and wanted to manifest through her art. But how, in a world that treated her like an outsider, was Quiara going to hold her own? Leaving Philadelphia, Quiara embarks on a journey to become an artist, and capture the world she loves in all its abundant beauty. As her gifts reveal themselves, she finds herself in a foreign land of Ivy League education and high achievement. An environment where she is forced to confront her inner conflicts and find a new language with which to speak to the world. An inspired exploration of home, family and memory, MY BROKEN LANGUAGE is also the story of a sharp-eyed observer who comes into her voice and learns to boldly tell the stories that only she can tell.
For many years, the oral performing and dramatic literatures of China from 1200 to 1600 CE were considered some of the most difficult texts in the Chinese corpus. They included ballad medleys, comic farces, Yuan music dramas, Ming music dramas, and the novel Shuihu zhuan. The Japanese scholars who first dedicated themselves to study these works in the mid-twentieth century were considered daring. As late as 1981, no comprehensive dictionary or glossary for this literature existed in any language, Asian or Western.A Glossary of Words and Phrases fills this gap for Western readers, allowing even a relative novice who has resonable command of Chinese to read, translate, and appreciate this great body of literature with an ease undreamed of even two decades ago. The Glossary is organized into approximately 8,000 entries based on the reading notes and glosses found in various dictionaries, thesauruses, glossaries, and editions of works from the period. Main entries are listed alphabetically in the pinyin romanization system. In addition to glosses, entries include symbolic annotations, guides to pronunciation, and text citations. The result is a broadly useful glossary serving the needs of students of this literature as well as scholars researching Jin and Yuan language and its usage.
This is the ultimate anthology of theatrical anecdotes, edited by lifelong theatre-lover Gyles Brandreth in the Oxford tradition, and covering every kind of theatrical story and experience from the age of Shakespeare and Marlowe to the age of Stoppard and Mamet, from Richard Burbage to Richard Briers, from Nell Gwynn to Daniel Day-Lewis, from Sarah Bernhardt to Judi Dench. Players, playwrights, prompters, producers-they all feature. The Oxford Book of Theatrical Anecdotes provides a comprehensive, revealing, and hugely entertaining portrait of the world of theatre across four hundred years. Many of the anecdotes are humorous: all have something pertinent and illuminating to say about an aspect of theatrical life-whether it is the art of playwriting, the craft of covering up missed cues, the drama of the First Night, the nightmare of touring, or the secret ingredients of star quality. Edmund Kean, Henry Irving, John Gielgud, Laurence Olivier, Ellen Terry, Edith Evans, Maggie Smith, Helen Mirren-the great 'names' are all here, of course, but there are tales of the unexpected, too-and the unknown. This is a book-presented in five acts, with a suitably anecdotal and personal prologue from Gyles Brandreth-where, once in a while, the understudy takes centre-stage and Gyles Brandreth treats triumph and disaster just the same, including stories from the tattiest touring companies as well as from Broadway, the West End and theatres, large and small, in Australia, India, and across Europe.
This gorgeously designed retelling of The Nutcracker will make the perfect Christmas present for ballet fans everywhere! In snow white covered St. Petersburg, young dancer Stana's dreams have finally come true - she has been chosen to play the lead role in Tchaikovsky's new ballet, The Nutcracker. But with all eyes looking at her, can Stana overcome her nerves and dance like she's never danced before? From the author of the bestselling The Sinclair Mysteries, Katherine Woodfine, and Waterstone's Book Prize winner, Lizzy Stewart, this sumptuous and magical retelling of The Nutcracker will transport you on a journey fay beyond the page. Praise for Katherine Woodfine's The Sinclair's Mysteries series: 'A wonderful book, with a glorious heroine and a true spirit of adventure' Katherine Rundell, award-winning author of Rooftoppers 'Dastardliness on a big scale is uncovered in this well-plotted, evocative novel' The Sunday Times 'It's a dashing plot, an atmospheric setting and an extensive and imaginative cast. Katherine Woodfine handles it all with aplomb' The Guardian Praise for Lizzy Stewart's There's a Tiger in the Garden (Winner of the Waterstones Children's Book Prize 2017, Illustrated Books Category): 'A journey of discovery' The Guardian 'A stunning testament to the power of imagination' Metro
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Die trauma van die "has been" ontsnap niemand nie. Die liggaam bly die gewildste prooi van tyd. Vir die hoogste bome wat die meeste wind vang, is dit dikwels pynliker en hierdie mense se opstand daarteen is pateties en vernederend. In Jasmyn word 地 vervalle ou skoonheidsikoon, Beulah, genadeloos belig vanuit 地 ongewone invalshoek: as prooi en as begenadigde. Die verstand wat in haar vervalle liggaam gehuisves word, is egter nog naaldskerp. 地 Onverwagte erflating deur 地 eertydse miljarderminnaar word die hoogtepunt en afloop van die drama. Beulah erf R40 miljoen, mits sy 地 minnaar werf wat ten minste 20 jaar haar junior is, 地 verjongingsprogram voltooi met riglyne rakende dieet, plastiese chirurgie, sielkundige berading, hormoonmanipulasie en nuut geskepte ikoonstatus. Laasgenoemde word moontlik gemaak deurdat die oorlede minnaar geld nalaat om 地 nuwe skoonheidseep, Beulah Jasmine, internasionaal vry te stel.
Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti's London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti's years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.
Will Rogers was a true American icon. His newspaper column was read daily by 40 million people, and as radio entertainer, lecturer, movies star, and homespun sage, he was one of our most popular entertainers.
Working in partnership with the National Theatre, these new playscripts bring the theatre alive in the classroom. Each play has been carefully selected to ensure maximum impact and relevance to students, while the activities and teaching support are underpinned by National Theatre strategies so that teachers can feel confident using these approaches. Vibrant production images and the 'Making the play' section show how the play is brought to life on stage while the activities combine a focus on English skills with the play as a perfomance. Based on Michalel Morpurgo's novel, Nick Stafford's acclaimed adaptation tells the story of Joey, beloved horse of a young farm boy, Albert. Joey is sold to the cavalry and sent to France to fight in the trenches of the First World War where he faces the unrelenting horrors and dangers of the front line. Desperate to be reunited, Albert secretly enlists and sets off on a treacherous mission to find him and bring him home.
Contemporary theatre is going through a period of unparalleled excitement and challenge. Terms like 'postmodern' and 'postdramatic' have their own contested and defended histories, while notions of truth in verbatim theatre are open to serious critical challenge. Theatre writing can result in no words being spoken and nothing appearing on the page, and productions are stretching the boundaries of space, place and context like never before. This revised and significantly expanded edition of New Performance/New Writing explores immersive and solo theatre, autoethnography, applied drama, performance writing, plot, story, narrative and devising. It presents an invaluable response to questions that arise from new theatre, prompting active reading that enhances classroom and workshop learning, and improves productivity in rehearsal. Each chapter explores a key aspect of theatre study, while an extensive timeline of theatre events gives a broad overview of its evolution. Case studies on practitioners as diverse as Kneehigh, Punchdrunk, Mark Ravenhill and Forced Entertainment are scattered throughout the book, along with detailed suggestions for workshops, which encourage readers to test some of the book's ideas in practice.
There are hundreds of biographies of filmstars and dozens of scholarly works on acting in general. But what about the ephemeral yet indelible moments when, for a brief scene or even just a single shot, an actor's performance triggers a visceral response in the viewer? Moment of Action delves into the mysteries of screen performance, revealing both the acting techniques and the technical apparatuses that coalesce in an instant of cinematic alchemy to create movie gold. Considering a range of acting styles while examining films as varied as Bringing Up Baby, Psycho, The Red Shoes, Godzilla, and The Bourne Identity, Murray Pomerance traces the common dynamics that work to structure the complex relationship between the act of cinematic performance and its eventual perception. Mining the spaces where subjective and objective analyses merge, Pomerance offers both a deeply personal account of film viewership and a detailed examination of the intuitive gestures, orchestrated movements, and backstage maneuvers that go into creating those phenomenal moments onscreen. Moment of Action takes us on an innovative exploration of the nexus at which the actor's keen skills spark and kindle the audience's receptive energies.
Across a series of twelve in-depth interviews with a diverse range of major artists, Dominic Johnson presents a new oral history of performance art. From uses of body modification and physical extremity, to the creation of all-encompassing personae, to performance pieces lasting months or years, these artists have provoked and explored the vital limits between art and life. Their discussions with Johnson give us a glimpse of their artistic motivations, preoccupations, processes, and contexts. Despite the diversity of art forms and experiences featured, common threads weave between the interviews: love, friendship, commitment, death and survival. Each interview is preceded by an overview of the artist's work, and the volume itself is introduced by a thoughtful critical essay on performance art and oral history. The conversational tone of the interviews renders complex ideas and theoretical propositions accessible, making this an ideal book for students of Theatre and Performance, as well as for artists, scholars and general readers.
For this updated critical edition of King Lear, Lois Potter has written a completely new introduction, taking account of recent productions and reinterpretations of the play, with particular emphasis on its afterlife in global performance and adaptation. The edition retains the Textual Analysis of the previous editor, Jay L. Halio, shortened and with a new preface by Brian Gibbons. Professor Halio, accepting that we have two versions of equal authority, the one derived from Shakespeare's rough drafts, the other from a manuscript used in the playhouses during the seventeenth century, chooses the Folio as the text for this edition. He explains the differences between the two versions and alerts the reader to the rival claims of the quarto by means of a sampling of parallel passages in the Introduction and by an appendix which contains annotated passages unique to the quarto.
This succinct and engaging text rethinks the common wisdom that festivals, sites of collective celebration and play, provide a temporary reprieve from the grind of everyday, 'real' life. Keren Zaiontz explores the ways in which cultural performances of resistance that have their basis in festivals can migrate to other contexts, making festivals as much the domain of free markets and state power as that of vanguard artists and progressive social movements. Accessible and affordable, this is an ideal resource for theatre students and lovers everywhere.
This is the first book to explore how actors play real people. How do you capture Hitler, Mugabe, or a serial killer? How do you portray living monarchs or political leaders? Is it possible to embody a genius like Mozart, Woolf or Darwin? What are the pressures of performing an icon like Marlene Dietrich?
Bringing together original conversations with award-winning actors, the line-up includes Jeremy Irons, Dame Eileen Atkins, David Morrissey, Henry Goodman, and Sir Ian McKellen.""
This opera in four acts is based on an ancient Chinese myth about a snake-shaped spirit that attains human form to experience love. The English libretto by Cerise Lim Jacobs sensitively adapts the story for modern audiences, and Zhou Long's music uses both Western and Chinese sounds to create a pioneering cross-cultural opera. Long was awarded the 2011 Pulitzer Prize for Music for Madame White Snake, and the Pulitzer jury described the work as "a deeply expressive opera that draws on a Chinese folk tale to blend the musical traditions of the East and the West." Madame White Snake was first staged by Opera Boston on 26 February 2010 at the Culter Majestic Theatre, Boston, USA, and received its first Chinese staging at the Beijing International Festival on 10 October 2010, Beijing, China.
The most incandescent example of Bombshells is Marilyn Monroe. Her strange combination of ghostly pale skin, childlike face and innate erotic cunning render her hard to date. Unlike modern actresses we can't sense the stylist in her clothes, the heavy hand of a makeup artist or a photographer's over bearing concept. Clearly and hauntingly, her image belongs to her and it is equal parts spectral nymph, mid century beach bunny, haughty heiress and child star. With an hourglass body and a face like Shirley Temple the oddity of Monroe is her wholesomeness. She could sell diamonds or milk. She looked naked in a white cotton dress and perfectly dignified in the nude. She her clothes. Some say she sawed off one stiletto shoe heel a fraction lower to deepen the sway of her hips. Clearly she wasn't happy, and this just serves to deepen the myth and her lure. Her own words, "Being a sex symbol is heavy load" could speak for all of the women who traded infamy for scandal and some scrap of security. Bettie Page, the underground queen of silk stockings, light bondage and leopard skin bikinis claimed very practical reasons for being a pin-up model, preferring the work to "pounding a typewriter eight hours a day." They were a breed that we have not seen the like of again. Bombshells. Marilyn Monroe Brigitte Bardot Raquel Welch Sophia Loren Bettie Page Ursula Andress Mata Hari Elizabeth Taylor Jane Russell Fashion Industry Broadcast is a leading global publisher of lifestyle titles, this multi edition set has been created as a hard cover colour coffee table books for $45.00, e-books for $9.99 from Amazon Kindle, Barnes and Noble Nook, Apple iBook's, Google books, Stanza and Kobo, Apps for mobile devices and a TV documentary series is also in the works. A very special video rich multimedia App version with 1000+ original videos, interviews, runway shows, behind the scenes at fashion shoots and advertisements, is available through Apple's iTunes App store and other major App stores for just $2.99 per edition. Look for "STYLE ICONS" on the Apple App store. Contact firstname.lastname@example.org Authors Introduction Anna Johnson Publisher & Editor Paul G Roberts Art Direction Samantha Mayfair Design Tarne Sheed Video Link Editing Alice Hoffman Ross Project Management Pip Dalton
To be a star you need to rouse the senses, but to be a siren you must touch the heart. Their vulnerability, their daring and their sheer courage match the intensity of human beauty concentrated in the most famous female sex symbols of the twentieth century. To say they had real social power would be an injustice. Mata Hari, wrongly accused of espionage, wound up decapitated after her execution, with her head embalmed and kept in the museum of anatomy in Paris. It's hardly a state funeral or a fitting homage to a woman who wriggled public consciousness out the Victorian era dressed as Hindu priestess. Hollywood royalty such as Grace Kelly and Elizabeth Taylor seemed to exercise more choice; having come from cultivated backgrounds and targeted their ambitions on the "costumed" work of big screen acting and the social mobility of ambitious marriages. Here we present the lives and legends of the Sirens. STYLE ICONS Vol 4 Sirens Grace Kelly Jane Fonda Gina Lollobrigida Madonna Rita Hayworth Ava Gardner Marlene Dietrich Betty Grable Lauren Bacall Jayne Mansfield Fashion Industry Broadcast is a leading global publisher of lifestyle titles, this multi edition set has been created as a hard cover colour coffee table books for $45.00, e-books for $9.99 from Amazon Kindle, Barnes and Noble Nook, Apple iBook's, Google books, Stanza and Kobo, Apps for mobile devices and a TV documentary series is also in the works. A very special video rich multimedia App version with 1000+ original videos, interviews, runway shows, behind the scenes at fashion shoots and advertisements, is available through Apple's iTunes App store and other major App stores for just $3.99 per edition. Look for "STYLE ICONS" on the Apple App store. Contact email@example.com
'An absolutely masterly work' Stephen Fry Alex Ross, renowned author of the international bestseller The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics-an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of writers, artists, and thinkers, including Charles Baudelaire, Virginia Woolf, Isadora Duncan, Vasily Kandinsky, and Luis Bunuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious anti-Semitism. His name is now almost synonymous with artistic evil. Wagnerism restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. The narrative ranges across artistic disciplines, from architecture to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W. E. B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways,Wagnerism tells a tragic tale. An artist who might have rivalled Shakespeare in universal reach is implicated in an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of intellectual passion, urging us toward a more honest idea of how art acts in the world.
Railing, Reviling, and Invective in English Literary Culture, 1588-1617 is the first book to consider railing plays and pamphlets as participating in a coherent literary movement that dominated much of the English literary landscape during the late Elizabethan/early Jacobean period. Author Prendergast considers how these crisis-ridden texts on religious, gender, and aesthetic controversies were encouraged and supported by the emergence of the professional theater and print pamphlets. She argues that railing texts by Shakespeare, Nashe, Jonson, Jane Anger and others became sites for articulating anxious emotions-including fears about the stability of England after the death of Queen Elizabeth and the increasing factional splits between Protestant groups. But, given that railings about religious and political matters often led to censorship or even death, most railing writers chose to circumvent such possible repercussions by railing against unconventional gender identity, perverse sexual proclivities, and controversial aesthetics. In the process, Prendergast argues, railers shaped an anti-aesthetics that was itself dependent on the very expressions of perverse gender and sexuality that they discursively condemned, an aesthetics that created a conceptual third space in which bitter enemies-male or female, conformist or nonconformist-could bond by engaging in collaborative experiments with dialogical invective. By considering a literary mode of articulation that vehemently counters dominant literary discourse, this book changes the way that we look at late Elizabethan and early Jacobean literature, as it associates works that have been studied in isolation from each other with a larger, coherent literary movement.
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