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Storey Plays: The Contractor; Home; Stages; Caring (Contemporary Dramatists)
by David Storey"David Storey is a writer who genuinely extends the territory of drama" (Guardian)The Contractor: "A subtle and poetic parable about the nature and joy of skilled work, the meaning of community and the effect of its loss" (Observer); Home: "about the solitude and dislocation of madness and...the decline of Britain itself...part of the play's appeal is that Storey leaves it to us to draw our own conclusions...a play that contains within itself the still, sad music of humanity." (Guardian); Stages: "...an elegy for lost times and places, an obituary that has been free-associated by the corpse-to-be...Storey once said that a play 'lives almost in the measure that it escapes and refuses definition'. He has always been a writer who hints rather than states, let alone hectors." (The Times); Caring, a companion piece to Stages, reflects a reassessment and renegotiation of the conflict between life and art.
Storey Plays: Restoration of Arnold Middleton; In Celebration; March on Russia (Contemporary Dramatists)
by David Storey"David Storey is a writer who genuinely extends the territory of drama" (Guardian)
Storey Plays: Changing Room; Cromwell; Life Class (Contemporary Dramatists)
by David StoreyThe latest collection of David Storey's plays; including the newly revised and revived The Changing Room. Introduced by the authorThis third volume of David Storey's plays contains The Changing Room (Royal Court 1971): "If The Changing Room is Storey's most powerful drama, it is because he has found in sport his purest metaphor for the war of existence" (Time Magazine); Cromwell (Royal Court 1973): "An exploration of the vices and virtues of the English Puritan instinct using the historical associations of the Cromwellian period. On top of that it is also an impressive piece of poetic drama employing a spare, flinty, concrete language that seems to be hewn out of rock...a rich and complex play" (Guardian); Life Class: "a portrait of a man, dangerous, controlled, and wounded, who brings down his whole career in one enormous gesture signifying that all we hold of good from the past is now incapable of renewal and irrelevant to our present needs...Life Class is not merely a very good play. It is a blazing masterpiece...It is a tremendous experience and its glare lights up the sky." (Sunday Times)"David Storey is a writer who genuinely extends the territory of drama" (Guardian)
Stop the Show!: A History of Insane Incidents and Absurd Accidents in the Theater
by Brad SchreiberThe first book to compile all of theater's glorious bloopers--an uproarious homage to the stageStop the Show! is the first book to assemble humorous, frightening and bizarre anecdotes about the history of all that went wrong during live theatrical productions in the U.S. and the United Kingdom. It is the publishing equivalent of TV bloopers for the legitimate stage. This book includes stories from top directors, actors, playwrights and technicians from New York, Los Angeles, and points in between, to the United Kingdom, from the 19th century to today. There are stories about missed entrances and exits, onstage unscripted fights between performers, improvised lines, accidental pratfalls, falling scenery, and costume, lighting and makeup screwups. The backstage provides sordid tales of practical jokes, treachery, misplaced props, wild arguments, and generally the kinds of things Michael Frayn created for his farce about a theatrical disaster, Noises Off. This book doesn't leave out the theatergoers either, who snore, fight with each other, talk back to the performers, search for their seats, become suddenly ill, eat, drink, make merry, and are yelled at by the performers--all of which sometimes prompts the show to stop, even though we've always been told it must go on.
Stop and Search (Oberon Modern Plays)
by Gabriel GbadamosiA driver picks up a young man crossing Europe. Two police officers work a surveillance case. A passenger directs her taxi to the edge of a bridge. Three conversations grow increasingly uneasy. From award-winning writer Gabriel Gbadamosi comes a visceral and poetic new play, exploring a time of distrust where the lines blur between conversation and interrogation. Stop and Search explores our deep ambivalence about the ways we police each other. "The play opens the question of why a tactic aimed at policing drugs, violence and terrorism (and that stops seven black people for every one white person) has grown into a flashpoint for wider, and deeper, flaws in a volatile and frightened social psyche. The Arcola is an incubator of London’s future culture: multicultural, far-seeing, cutting edge. I can only imagine developing such a departure from the old state of the nation play as we have with Stop and Search through the active engagement of the artistic team under Mehmet Ergen’s direction.” - Gabriel Gbadamosi
Stone Face (Oberon Modern Plays)
by Eve Leigh'No scars at all. Which, when you think about it, is maybe not such a good sign’ Catherine was fifteen when she was found. She and her mother shared a secret world in an anonymous one-bedroom flat in London. No one is even sure if she’s ever left the room she was found in. She can’t walk and can’t speak. Her recovery seems impossible. But young people can be shockingly resilient, especially with inspired medical care. Sponsored by a fundraising drive led by a tabloid newspaper, her only living relative has been able to get Catherine the best private care that money can buy. She responds well to the experimental treatment. But she seems to be getting more violent, and remains stubbornly resistant to language. Or is she? Soon, Catherine’s doctors and half-sister begin to discover what it is, exactly, that they’ve uncovered… A fairytale of modern Britain, inspired by true events. iStone Face received its world premiere at the Finborough Theatre, London, in May 2016.
Stolen Time: Black Fad Performance and the Calypso Craze
by Shane VogelIn 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Stolen Time: Black Fad Performance and the Calypso Craze
by Shane VogelIn 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Stolen Time: Black Fad Performance and the Calypso Craze
by Shane VogelIn 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Stolen Time: Black Fad Performance and the Calypso Craze
by Shane VogelIn 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Stolen Time: Black Fad Performance and the Calypso Craze
by Shane VogelIn 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Stolen Time: Black Fad Performance and the Calypso Craze
by Shane VogelIn 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Stockholm (Oberon Modern Plays)
by Bryony LaveryMeet the couple every couple wants to be. Attractive and immaculately turned out, they are the perfect team. Tomorrow they will be in Stockholm, a city where, in summer, the sun shines 24/7 and sometimes it’s dark all day long. Today it’s his birthday and she’s going to give him all his presents and treats and surprises.Treading a fine line between tenderness and cruelty, Stockholm reveals a relationship unravelling. It’s beautiful, but it’s not pretty.Stockholm unites leading physical theatre company Frantic Assembly with award-winning playwright Bryony Lavery and designer Laura Hopkins (Black Watch, Mercury Fur) to deliver an extraordinary perspective on the nature of modern love.Stockholm opened at the Theatre Royal Plymouth in September 2007.
Stitching La Mode: Patterns and Dressmaking from Fashion Plates of 1785-1795
by Carolyn DowdellStitching La Mode: Patterns and Dressmaking from Fashion Plates of 1785-1795 brings to life women’s unique and extravagant fashions of 1785-1795 in a beautifully illustrated and accessible way. The book consists of scaled patterns directly based on original French, German and English fashion plates drafted according to period-accurate shapes. The patterns encompass the full look presented in each fashion plate from garments to accessories. These are accompanied by a color image of the corresponding fashion plate, straightforward, illustrated directions for recreating the outfits, information on the material used and modelled reproductions of each plate to demonstrate what they would look like in "real life". The book focuses on unique styles often seen in fashion plates but rarely – if ever – patterned before, making this a fresh and exciting yet historically accurate take on late eighteenth-century fashion. Stitching La Mode significantly expands the understanding of transitional fashions from the late eighteenth century with concrete, physical examples of styles, perfectly suited for costume technicians and makers, costume historians and hobby costumers and re-enactors.
Stitching La Mode: Patterns and Dressmaking from Fashion Plates of 1785-1795
by Carolyn DowdellStitching La Mode: Patterns and Dressmaking from Fashion Plates of 1785-1795 brings to life women’s unique and extravagant fashions of 1785-1795 in a beautifully illustrated and accessible way. The book consists of scaled patterns directly based on original French, German and English fashion plates drafted according to period-accurate shapes. The patterns encompass the full look presented in each fashion plate from garments to accessories. These are accompanied by a color image of the corresponding fashion plate, straightforward, illustrated directions for recreating the outfits, information on the material used and modelled reproductions of each plate to demonstrate what they would look like in "real life". The book focuses on unique styles often seen in fashion plates but rarely – if ever – patterned before, making this a fresh and exciting yet historically accurate take on late eighteenth-century fashion. Stitching La Mode significantly expands the understanding of transitional fashions from the late eighteenth century with concrete, physical examples of styles, perfectly suited for costume technicians and makers, costume historians and hobby costumers and re-enactors.
Stitching (Modern Plays)
by Anthony NeilsonWe will fix it.We will mend it...In the light of a pregnancy, a faithless couple pick apart their relationship, stitch by painful stitch. Can it be mended? Anthony Neilson's dark and intimate new play is a love story set at the extremes of brutality, banality and tenderness.Stitching opened at the Traverse Theatre, Edinburgh, on 2 August 2002 and transferred to the Bush Theatre, London, on 12 September 2002."Explodes with power, discipline, integrity and sheer cruel psychological accuracy ... Neilson's writing has a terrible beauty" Sunday Times"Startlingly rich and challenging, Neilson depicts with aching precision a relationship in which love is undermined by distrust" Time Out "Shattering, shocking...a serious, persuasive account of the blind alleys love can lead us down" Daily Telegraph"A characteristically brave and brutal offering" Independent"A deeply mesmerising, if shocking, experience as a couple smashes through taboo after taboo in a harrowing sexual tug of war" Evening Standard
Stitching (Modern Plays)
by Anthony NeilsonWe will fix it.We will mend it...In the light of a pregnancy, a faithless couple pick apart their relationship, stitch by painful stitch. Can it be mended? Anthony Neilson's dark and intimate new play is a love story set at the extremes of brutality, banality and tenderness.Stitching opened at the Traverse Theatre, Edinburgh, on 2 August 2002 and transferred to the Bush Theatre, London, on 12 September 2002."Explodes with power, discipline, integrity and sheer cruel psychological accuracy ... Neilson's writing has a terrible beauty" Sunday Times"Startlingly rich and challenging, Neilson depicts with aching precision a relationship in which love is undermined by distrust" Time Out "Shattering, shocking...a serious, persuasive account of the blind alleys love can lead us down" Daily Telegraph"A characteristically brave and brutal offering" Independent"A deeply mesmerising, if shocking, experience as a couple smashes through taboo after taboo in a harrowing sexual tug of war" Evening Standard
Stimme und Sprechen am Theater formen: Diskurse und Praktiken einer Sprechstimmbildung ›für alle‹ vom ausgehenden 19. Jahrhundert bis zur Gegenwart (Theater #114)
by Dorothea PachaleDorothea Pachale untersucht erstmals die Beziehung zwischen einer Sprechstimmbildung, die sich an eine breite Zielgruppe richtet, und den Praktiken des Theaters. Mit Fokus auf den deutschsprachigen Raum analysiert sie die auf die Stimme und das Sprechen ausgerichteten Techniken der Körperformung sowie die ökonomische und normative Ausrichtung einer Sprechstimmbildung ›für alle‹. Die kulturwissenschaftlich orientierte theaterwissenschaftliche Untersuchung, die sich an der Schnittstelle von theater- und sprechwissenschaftlichen sowie pädagogischen Fragestellungen bewegt, legt auch die Rolle der institutionellen Einbindung, die sich in den Verschiebungen und Überlagerungen von Disziplinar- und Performancegesellschaft zeigt, offen.
A Still Untitled (Not Quite) Autobiography
by Ron MoodyActor Ron Moody has enthralled generations with his masterly performance as Fagin in both the stage and film versions of Oliver! - one of the great classics of British theatre and cinema. Now, in this highly original, idiosyncratic and often very funny memoir, he looks back on those early days, describing in fascinating detail the twists and turns of his career, the people he met and worked with, and the many, varied roles that led up to Oliver! With characteristic frankness, he reveals the conflicts and clashes that can occur, both on and off stage, even in the most successful of shows. For this self-taught thespian every show has come with new lessons, and Moody weaves together these experiences to form his own theories on what ultimately makes a successful performance. Set on an academic career, Ron first took to the boards when a student at the London School of Economics - writing and acting in student revues. But such a comedic talent and the innate ability to create a string of eccentric and original characters quickly caught the attention of West End theatre producers, and the course of his life was changed forever.
Still No Idea (Oberon Modern Plays)
by Lisa Hammond Rachael Spence Lee SimpsonBest mates Lisa and Rachael are making a new show almost a decade after they created their first piece together.Back then they had no idea where to start so they went onto the streets and asked the public. What story should they tell? What characters should they play? When they saw Lisa in a wheelchair and Rachael not, what the public said was funny, jaw-dropping and ultimately heartbreaking. They made a show about it. It was called No Idea.Now people say the world has changed and things are looking up. There are more disabled people in the mainstream media, Lisa landed a big part on TV and disabled mates are getting regular auditions - happy days. So what kind of exciting stories are the TV professionals dreaming up for them?Still No Idea is the whole story (so far): the British public, the professional writers, the TV execs. Part verbatim theatre, part improv, part comedy sketch show, this is a raucous and mischievous exposé of good intentions gone bad and how sometimes no matter how hard we try, we still have absolutely no idea.
Still: Still (Yale Drama Series)
by Jen SilvermanIn this darkly comic exploration of loss, intimacy, and motherhood, three women are joined by a baby who never lived. Morgan, in her middle years, is the grieving mother of a stillborn child. Elena, the failed midwife, burdened by guilt, is considering a career change. Dolores, eighteen, is pregnant with a baby she does not want. Meanwhile, Constantinople, the child who wasn’t meant to be, wanders lost in search of his mother, trying to make sense of the world while making an unlikely appearance in each woman’s personal drama. Poignant, lyrical, ingeniously absurd, and outrageously funny, Jen Silverman’s Still is a brave and remarkable exploration of grief and family. It is the seventh winner of the DC Horn Foundation/Yale Drama Series Prize, selected this year by Marsha Norman, the Pulitzer Prize–winning author of Getting Out; ’night, Mother; and other acclaimed theatrical works.
Stiletto Beach (Modern Plays)
by Sadie HaslerBest mates Leanne and Kelly have lived in Southend-on-Sea their whole lives. Larger-than-life Leanne is happy staying put, but Kelly secretly dreams of escaping her dull job and seeing the world.When out-of-towner journalist Helen can't afford Leigh-on-Sea so moves in next door instead, events take a surprising turn. As Leanne and Kelly take her under their wing, an unexpected friendship blooms in Spoons, and Helen soon has them reconsidering what it means to celebrate where you're from.With the help of Leanne's Nan, east-ender Roni, they take a sharp swipe at stereotypes women have been putting up with for decades. Mischief ensues, fires are lit, and the Essex girls do what's in their blood: cause trouble – but not in a way anyone would expect…
Stiletto Beach (Modern Plays)
by Sadie HaslerBest mates Leanne and Kelly have lived in Southend-on-Sea their whole lives. Larger-than-life Leanne is happy staying put, but Kelly secretly dreams of escaping her dull job and seeing the world.When out-of-towner journalist Helen can't afford Leigh-on-Sea so moves in next door instead, events take a surprising turn. As Leanne and Kelly take her under their wing, an unexpected friendship blooms in Spoons, and Helen soon has them reconsidering what it means to celebrate where you're from.With the help of Leanne's Nan, east-ender Roni, they take a sharp swipe at stereotypes women have been putting up with for decades. Mischief ensues, fires are lit, and the Essex girls do what's in their blood: cause trouble – but not in a way anyone would expect…
Sticks and Stones (Modern Plays)
by Vinay Patel“So we're clearYou know, right?You know I'm not that kind of person”Sometimes we can't find the right words. Sometimes the wrong word just slips out. Sometimes the right words become the wrong words. Sometimes that ruins everything.When a misfiring joke turns their life upside down, B sets off on a surreal journey looking for answers. In an age when technology multiplies every mistake, can we find a way to understand each other?A razor sharp satire about the search for a sure footing in an uncertain world from BAFTA nominated Vinay Patel. This edition was published to coincide with the premiere at Paines Plough and produced by Theatr Clwyd.
Sticks and Stones (Modern Plays)
by Vinay Patel“So we're clearYou know, right?You know I'm not that kind of person”Sometimes we can't find the right words. Sometimes the wrong word just slips out. Sometimes the right words become the wrong words. Sometimes that ruins everything.When a misfiring joke turns their life upside down, B sets off on a surreal journey looking for answers. In an age when technology multiplies every mistake, can we find a way to understand each other?A razor sharp satire about the search for a sure footing in an uncertain world from BAFTA nominated Vinay Patel. This edition was published to coincide with the premiere at Paines Plough and produced by Theatr Clwyd.