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Hamilton Easy Piano Selections presents music from the critically acclaimed musical about Alexander Hamilton. The show debuted on Broadway in August 2015 to unprecedented advanced box office sales and has already become one of the most successful Broadway musicals ever. This collection features 9 songs arranged for easy piano from the music penned by Lin-Manuel Miranda. Already a winner of 11 Tony Awards, a Grammy and a Pulitzer Prize, Sir Cameron Macintosh's production opened in London's West End in December 2017.
How can an understanding of theatre in the city help us make sense of urban social experience? Theatre& the City explores how relationships between theatre, performance and the city affect social power dynamics, ideologies and people's sense of identity. The book evaluates both material conditions (such as architecture) and performative practices (such as urban activism) to argue that both these categories contribute to the complex economies and ecologies of theatre and performance in an increasingly urbanised world. Foreword by Tim Etchells
'For however long we must keep our distance, we will continue to create, to reinvent, to strive and to feed our creativity. At a time where performers are needed more than ever, training the next generation of performers must go on!' Glyn Trefor-Jones, from his Introduction Drama Menu is the revolutionary, hugely popular concept that has transformed the planning and delivery of drama classes for teachers and workshop leaders around the world. Choose an Appetiser or two, a Starter, a Main Course and a Dessert - and voila! - you'll have a delicious, dramatic banquet for your students. This new collection, Drama Menu at a Distance - created specifically to help anyone teaching drama during the COVID-19 pandemic - brings you 80 games and exercises, all of which are safe and secure to play in this new era of socially distanced teaching and online learning. It offers dynamic, brand-new exercises to energise, excite and inspire your group, alongside some firm favourites, redesigned to be played within the necessary constraints. Also included is an introduction by the author, with advice and suggestions to support you in delivering your session. Drama Menu at a Distance is the essential recipe book you need to eliminate the challenges of planning lessons and workshops in the 'new normal', and leave you with more time for playing. Stay safe - and bon appetit! Praise for Drama Menu 'An essential resource for anyone teaching drama to children of all ages... with catchy titles, clear numbering and individual exercise summaries, Drama Menu is an easily accessible, flexible and creative resource useful for any dramatic platform. A must-have for all teachers wanting to give their students the very best!' Word Matters 'Easy to navigate... definitely something for everyone... a really useful collection' Teaching Drama 'Ideal... [the author's] knowledge and experience are apparent in his writing and this book will provide a great deal of varied and inspiring material for sessions with secondary-aged or older students, although many activities could be used with or adapted for younger age-groups' Drama Resource 'Unbelievably useful... every reader will find something new and of absolute hands-on usefulness... Drama Menu will become your companion' ReviewsGate.com 'Well organised and easy to use... a useful and relevant tool for anyone involved with facilitating drama sessions' Drama Magazine
Spanning a hundred years (1910 - 2010) and three geographical locations - Europe, Japan and North America - this unique book examines the capacity of performance to recode reality. It argues for a seamless continuity between philosophy, critical theory and artistic practice. Each chapter ends with scores, providing readers with the opportunity to explore the discussed ideas in an embodied, and, where applicable, interactional way. The book's analysis of such landmark phenomena as the ready-made, action painting, intermedia, feminine writing, identity politics, cyborgian bio-art and ludic (h)activism make it an invaluable source for practical theorists, and undergraduate and Masters-level students of Performance Studies, Performing Arts, Fine and Visual Arts and Cultural Studies.
Liveness is a pivotal issue for performance theorists and artists. As live art covers both embodiment and disembodiment, many scholars have emphasized the former and interpreted the latter as the opposite side of liveness. In this book, the author demonstrates that disembodiment is also an inextricable part of liveness and presence in performance from both practical and theoretical perspectives. By applying phenomenological theory to live performance, the author investigates the possible realisation of aesthetic dynamics in live art via re-engagement with the notions of embodiment, especially in the sense provided by philosophers such as Gabriel Marcel and Morris Merleau-Ponty. Creative practices from leading performance artists such as Franko B, Ron Athey, Manuel Vason and others, as well as experimental ensembles such as Goat Island, La Pocha Nostra, Forced Entertainment and the New Youth are discussed, offering a new perspective to re-frame human-human relationships such as the one between actor and spectator and collaborations in live genres In addition, the author presents a new interpretation model for the human-material in live genres, helping to bridge the aesthetic gaps between performance art and experimental theatre and providing an ecological paradigm for performance art, experimental theatre and live art.
Theatre-Rites are regarded as pioneers in the field of object-led and site-specific performance, creating ground-breaking work for family audiences since 1995. This book marks the company's 25th anniversary, offering the first in-depth exploration of artistic director Sue Buckmaster's visionary practice, in which anything can be animated. This book draws on original research, including five years of in-depth interviews between its authors, images from Theatre-Rites' archive and Buckmaster's private collection, detailed observations from the company's professional training workshops and personal reflections on past productions. A timely and compelling advocacy for the importance of high-quality experimental arts provision for young audiences is made, distilling learning from decades of the company's professional activities to motivate and empower the next generation of object-led theatre-makers. Theatre-Rites: Animating Puppets, Objects and Sites is an invaluable resource for any puppeteer, actor, dancer, visual artist, poet or student interested in expanding their understanding of how to incorporate puppetry and/or symbolic objects as metaphors in their work.
Theatre and Dictatorship in the Luso-Hispanic World explores the discourses that have linked theatrical performance and prevailing dictatorial regimes across Spain, Portugal and their former colonies. These are divided into three different approaches to theatre itself - as cultural practice, as performance, and as textual artifact - addressing topics including obedience, resistance, authoritarian policies, theatre business, exile, violence, memory, trauma, nationalism, and postcolonialism. This book draws together a diverse range of methodological approaches to foreground the effects and constraints of dictatorship on theatrical expression and how theatre responds to these impositions.
The Children's Troupes and the Transformation of English Theater 1509-1608 uncovers the role of the children's companies in transforming perceptions of authorship and publishing, performance, playing spaces, patronage, actor training, and gender politics in the sixteenth century. Jeanne McCarthy challenges entrenched narratives about popular playing in an era of revolutionary changes, revealing the importance of the children's company tradition's connection with many early plays, as well as to the spread of literacy, classicism, and literate ideals of drama, plot, textual fidelity, characterization, and acting in a still largely oral popular culture. By addressing developments from the hyper-literate school tradition, and integrating discussion of the children's troupes into the critical conversation around popular playing practices, McCarthy offers a nuanced account of the play-centered, literary performance tradition that came to define professional theater in this period. Highlighting the significant role of the children's company tradition in sixteenth-century performance culture, this volume offers a bold new narrative of the emergence of the London theater.
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.
Lyric theater in ancien regime France was an eminently political art, tied to the demands of court spectacle. This was true not only of tragic opera (tragedie lyrique) but also its comic counterpart, opera comique, a form tracing its roots to the seasonal trade fairs of Paris. While historians have long privileged the genre's popular origins, opera comique was brought under the protection of the French crown in 1762, thus consolidating a new venue where national music might be debated and defined. In The Comedians of the King, Julia Doe traces the impact of Bourbon patronage on the development of opera comique in the turbulent prerevolutionary years. Drawing on both musical and archival evidence, the book presents the history of this understudied genre and unpacks the material structures that supported its rapid evolution at the royally sponsored Comedie-Italienne. Doe demonstrates how comic theater was exploited in, and worked against, the monarchy's carefully cultivated public image-a negotiation that became especially fraught after the accession of the music-loving queen, Marie Antoinette. The Comedians of the King examines the aesthetic and political tensions that arose when a genre with popular foundations was folded into the Bourbon propaganda machine, and when a group of actors trained at the Parisian fairs became official representatives of the sovereign, or comediens ordinaires du roi.
This book provides a thorough analysis of terpsichorean lexis in Renaissance drama. Besides considering not only the Shakespearean canon but also the Bard's contemporaries (e.g., dramatists as John Marston and Ben Jonson among the most refined Renaissance dance aficionados), the originality of this volume is highlighted in both its methodology and structure. As far as methods of analysis are concerned, corpora such as the VEP Early Modern Drama collection and EEBO, and corpus analysis tools such as #LancsBox are used in order to offer the widest range of examples possible from early modern plays and provide co-textual references for each dance. Examples from Renaissance playwrights are fundamental for the analysis of connotative meanings of the dances listed and their performative, poetic and metaphoric role in sixteenth- and seventeenth-century drama. This study will be of great interest to Renaissance researchers, lexicographers and dance historians.
This insightful and practically-focused collection brings together different approaches to actor training from professionals based at universities and conservatoires in the UK, the US and Australia. Exploring the cultural and institutional differences which affect actor training, and analysing developments in the field today, it addresses a range of different approaches, from Stanislavski's System to contemporary immersive theatre. With hands-on focus from some of the world's leading programmes, and attention paid to ethical control, consent and safe practice, this book sees expert tutors exploring pathways to sustainable 21st century careers. Designed for tutors, students and practitioners, Approaches to Actor Training examines what it means to train as an actor, what actors-in-training can expect from their programmes of study and how the road to professional accomplishment is mapped and travelled.
Working Backstage illuminates the work of New York City's theater technicians, shining a light on the essential contributions of unionized stagehands, carpenters, electricians, sound engineers, properties artisans, wardrobe crews, makeup artists, and child guardians. Too-often dismissed or misunderstood as mere functionaries, these technicians are deeply engaged in creative problem-solving and perform collaborative, intricate choreographed work that parallels the performances of actors, singers, and dancers onstage. Although their contributions have fueled the Broadway machine, their contributions have been left out of most theater histories.Theater historian Christin Essin offers clear and evocative descriptions of this invaluable labor, based on her archival research and interviews with more than 100 backstage technicians, members of the New York locals of the International Alliance of Theatrical Stage Employees. A former theater technician herself, Essin provides readers with an insider's view of the Broadway stage, from the suspended lighting bridge of electricians operating followspots for A Chorus Line; the automation deck where carpenters move the massive scenic towers for Newsies; the makeup process in the dressing room for The Lion King; the offstage wings of Matilda the Musical, where guardians guide child actors to entrances and exits. Working Backstage makes an significant contribution to theater studies and also to labor studies, exploring the politics of the unions that serve backstage professionals, protecting their rights and insuring safe working conditions. Illuminating the history of this typically hidden workforce, the book provides uncommon insights into the business of Broadway and its backstage working relationships among cast and crew members.
The historical age of empires may be over, but empire, as an idea, continues to exercise a hold over our imaginations. This compelling examination of the relationship between theatre and empire begins with potential definitions and theories of empire, suggesting how we might think of these two notions together and how we might see empire itself as theatre. A variety of case studies are then used to explore theatre in light of both cultural and economic imperialism.
This book guides readers in taking a play from page to stage with young people. Advice from professional theatre directors, including Richard Eyre and Indu Rubasingham is combined with practical games and exercises to help both experienced and first-time directors create a play with young actors.
Sophocles stands as one of the greatest dramatists of all time, and one of the most influential on artists and thinkers over the centuries. His plays are deeply disturbing and unpredictable, unrelenting and open-ended, refusing to present firm answers to the questions of human existence, or to provide a redemptive justification of the ways of gods to men-or women. These three tragedies portray the extremes of human suffering and emotion, turning the heroic myths into supreme works of poetry and dramatic action. Antigone's obsession with the dead, Creon's crushing inflexibility, Deianeira's jealous desperation, the injustice of the gods witnessed by Hyllus, Electra's obsessive vindictiveness, the threatening of insoluble dynastic contamination... Such are the pains and distortions and instabilities of Sophoclean tragedy. And yet they do not deteriorate into cacophony or disgust or incoherence or silence: they face the music, and through that the suffering is itself turned into the coherence of music and poetry. These original and distinctive verse translations convey the vitality of Sophocles' poetry and the vigour of the plays in performance, doing justice to both the sound of the poetry and the theatricality of the tragedies. Each play is accompanied by an introduction and substantial notes on topographical and mythical references and interpretation. Antigone is an icon of Greek tragedy, and Antigone is herself a tragic icon in world theatre. Sophocles' best-known and most performed play tells a story of defiance and the impossible demands of loyalty. Deianeira, also known as Women of Trachis or Trachinaian Women, wrestles with the anxieties of matrimony and motherhood, following the doomed attempt by the wife of the hero Heracles to assert her dignity. Electra portrays a vengeful daughter's journey through unflagging grief and murderous fury, ending without resolution in uncertainty and suspense.
Movements of Interweaving is a rich collection of essays exploring the concept of interweaving performance cultures in the realms of movement, dance, and corporeality. Focusing on dance performances as well as on scenarios of cultural movements on a global scale, it not only challenges the concept of intercultural dance performances, but through its innovative approach also calls attention to the specific qualities of "interweaving" as a form of movement itself. Divided into four sections, this volume features an international team of scholars together developing a new critical perspective on the cultural practices of movement, travel and migration in and beyond dance.
W. C. Fields was a virtuoso comedian, often called a comic genius, legendary iconoclast, and "Great Man," who brought so much laughter to millions while enduring so much anguish. This book explores his little-known, long stage career from 1898 to 1930, which had a major influence on his comedy and screen presence.
Part clown manual, part storytelling and part rant - The Clown Manifesto covers the experiences, philosophies and methods of the clown performer/director/teacher Nalleslavski. A book for clowns, physical comedians, actors, musicians, jugglers, puppeteers, magicians, street performers and dancers. Whatever form your clowning takes - theatre, street theatre, comedy, burlesque, magic, circus - the mischievously named Nalleslavski Method gives you practical tools to create comedy material that works universally, across cultural and language barriers.
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