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Torn (Modern Plays)
by Nathaniel Martello-WhiteWhere you standing? I say where you standing on this? You think it happened or you don't think it happened?Generations of secrets have broken the Brook family.Siblings split-up, traded-off, treated differently.Angel, the youngest, has called a family meeting to sift through the wreckage. And she's not leaving until they've confronted the truth about how and why her family failed her.Torn by British playwright and actor Nathaniel Martello-White was published to coincide with its world premiere at the Royal Court Theatre Upstairs on 7 September 2016.
Torn (Modern Plays)
by Nathaniel Martello-WhiteWhere you standing? I say where you standing on this? You think it happened or you don't think it happened?Generations of secrets have broken the Brook family.Siblings split-up, traded-off, treated differently.Angel, the youngest, has called a family meeting to sift through the wreckage. And she's not leaving until they've confronted the truth about how and why her family failed her.Torn by British playwright and actor Nathaniel Martello-White was published to coincide with its world premiere at the Royal Court Theatre Upstairs on 7 September 2016.
Tory Boyz (Modern Classics)
by James Graham Anthony BanksI just remember, even as a, as a young . . . man, not even man, just a boy . . . when nothing makes sense, and you're not sure who you are . . . the idea of – the strength of the person that stands alone, carves their own path . . . of it not being who you are or where you're from but what you do.Sam, a working-class northern lad, is a Tory researcher working in the office of an education minister. His colleagues know that he's gay, but aware of his career prospects as a possible future MP, he prefers to keep it under wraps, much to the dismay of his Labour opposite number, James, who is trying to keen to have a relationship with him. Has Sam got any chance of rising through the Tory ranks if he comes out of the closet completely? Discovering that he is working in the same office in which Ted Heath originally began his career inspires Sam to research the man and the rumours about his sexuality. Through juxtaposing two careers – Ted Heath's and that of the young, modern Tory researcher – Graham questions whether sexuality matters in today's political world and, if it does, then why.Tory Boyz was first performed by the National Youth Theatre Company at Soho Theatre, London, on 21 July 2008. This edition contains the updated script from 2013 as well as an introduction by Anthony Banks, director and Associate Director for National Theatre Learning.
Tory Boyz: A History Of Falling Things, Tory Boyz, The Man, The Whisky Taster, Sons Of York (Modern Classics)
by James Graham Anthony BanksI just remember, even as a, as a young . . . man, not even man, just a boy . . . when nothing makes sense, and you're not sure who you are . . . the idea of – the strength of the person that stands alone, carves their own path . . . of it not being who you are or where you're from but what you do.Sam, a working-class northern lad, is a Tory researcher working in the office of an education minister. His colleagues know that he's gay, but aware of his career prospects as a possible future MP, he prefers to keep it under wraps, much to the dismay of his Labour opposite number, James, who is trying to keen to have a relationship with him. Has Sam got any chance of rising through the Tory ranks if he comes out of the closet completely? Discovering that he is working in the same office in which Ted Heath originally began his career inspires Sam to research the man and the rumours about his sexuality. Through juxtaposing two careers – Ted Heath's and that of the young, modern Tory researcher – Graham questions whether sexuality matters in today's political world and, if it does, then why.Tory Boyz was first performed by the National Youth Theatre Company at Soho Theatre, London, on 21 July 2008. This edition contains the updated script from 2013 as well as an introduction by Anthony Banks, director and Associate Director for National Theatre Learning.
Total Football (Oberon Modern Plays Ser.)
by David Woods Jon HaynesFootball systems, changing room banter and a couple of mops solve the big questions of life – immortality, happiness and why England always lose, in a new play tackling the beautiful game.After several years of embedded research in the football darklands, a failed attempt to create a UK football team for the 2012 games and pathetic efforts at understanding the offside rule, Ridiculusmus is patching up its metatarsals to examine the melting pot of what it means to be British today.
Total Immediate Collective Imminent Terrestrial Salvation (Oberon Modern Plays)
by Tim CrouchJesus didn’t die so we could be reborn, lady, the stars did. The writer leads his followers towards the end of this world and the start of a new one. The book he’s written predicts it all – the equations, the black hole, all the words we’ll speak till then. On this last day, at this last hour, a defector finds her voice and returns. Total Immediate Collective Imminent Terrestrial Salvation is a new play by Tim Crouch (Adler & Gibb, The Author, An Oak Tree, Beginners). It tells the story of a man who, compensating for his own failure, manipulates a group of people to sit in a place together and believe in something that isn’t true.
The Total Work of Art: From Bayreuth to Cyberspace
by Matthew Wilson SmithThe Total Work of Art provides a broad survey that incorporates many canonical artists into a single narrative. With particular attention to the influence of the Total Work of Art on modern theatre and performance, this brief introduction will also be of interest to students in such fields as film studies, music history, history of art, cultural studies, and modern European literatures.
The Total Work of Art: From Bayreuth to Cyberspace
by Matthew Wilson SmithThe Total Work of Art provides a broad survey that incorporates many canonical artists into a single narrative. With particular attention to the influence of the Total Work of Art on modern theatre and performance, this brief introduction will also be of interest to students in such fields as film studies, music history, history of art, cultural studies, and modern European literatures.
Touch and the Masquerades of Nigeria
by David Griffiths D. GriffithsFirst published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Touch and the Masquerades of Nigeria
by David Griffiths D. GriffithsFirst published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Touchstone Tales: Stories of Touch Inspired by the Lives of Lutonians (Modern Plays)
by Sudha BhucharHow important is touch to you? Is there enough touch in the world or are we experiencing collective 'touch hunger' in these troubling times?Touchstone Tales is a unique collection of revealing and illuminating stories of Lutonians, seen through the prism of touch. Originally a Revoluton Arts/Wellcome collection co-commission, it is part of Wellcome's national arts partnership programme and is an artist response to 'The Touch Test', Wellcome's study on the role that touch plays in the lives and well-being of people. Pholi, a Sikh widow in isolation reminisces about Romancing in Bury Park in the 60s and delights in the children of her Polish neighbours. Hamza aka Desi cake lover awaits his Amazon parcels hoping that the arrival of 'rose petals' for his Persian love cake will help him find love in lockdown, The Ninja Sister inspires Sophia out of her shell and gives her the gift of confidence and faith in God, through sparring with the 'sisters' at Pink Diamond martial arts Club and in The Eid Hug, Anwar searches for his father's full embrace, even in middle age. Farid and Manju celebrate their inter-faith friendship through iconic song and stories of lost loves and youth in The Fairy Queen, Nazira shares her buried secret in And the world kept turning, and offers touch through performing the last rites for others, a particularly humbling experience during Covid 19 and Atif in Paisley and Roses helps customers to adorn themselves in silks and shawls and realises that it is his absent mother's touch that he is longing for in her fineries. Written by award-winning author Sudha Bhuchar, the play explores the theme of touch through a collection of fictional self-portrait monologues and a dualogue, directly inspired by creative encounters with mainly the British Muslim South Asian communities in Bury Park, Luton.
Touchstone Tales: Stories of Touch Inspired by the Lives of Lutonians (Modern Plays)
by Sudha BhucharHow important is touch to you? Is there enough touch in the world or are we experiencing collective 'touch hunger' in these troubling times?Touchstone Tales is a unique collection of revealing and illuminating stories of Lutonians, seen through the prism of touch. Originally a Revoluton Arts/Wellcome collection co-commission, it is part of Wellcome's national arts partnership programme and is an artist response to 'The Touch Test', Wellcome's study on the role that touch plays in the lives and well-being of people. Pholi, a Sikh widow in isolation reminisces about Romancing in Bury Park in the 60s and delights in the children of her Polish neighbours. Hamza aka Desi cake lover awaits his Amazon parcels hoping that the arrival of 'rose petals' for his Persian love cake will help him find love in lockdown, The Ninja Sister inspires Sophia out of her shell and gives her the gift of confidence and faith in God, through sparring with the 'sisters' at Pink Diamond martial arts Club and in The Eid Hug, Anwar searches for his father's full embrace, even in middle age. Farid and Manju celebrate their inter-faith friendship through iconic song and stories of lost loves and youth in The Fairy Queen, Nazira shares her buried secret in And the world kept turning, and offers touch through performing the last rites for others, a particularly humbling experience during Covid 19 and Atif in Paisley and Roses helps customers to adorn themselves in silks and shawls and realises that it is his absent mother's touch that he is longing for in her fineries. Written by award-winning author Sudha Bhuchar, the play explores the theme of touch through a collection of fictional self-portrait monologues and a dualogue, directly inspired by creative encounters with mainly the British Muslim South Asian communities in Bury Park, Luton.
Touring Performance and Global Exchange 1850-1960: Making Tracks (Routledge Advances in Theatre & Performance Studies)
by Gilli Bush-BaileyThis collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. This book investigates songlines, drama, opera, music theatre, dance, and circus—removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or not known at all, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Making Tracks takes a fresh look at such tracks—the material remains—demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often been conceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns—ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies and cultural history.
Touring Performance and Global Exchange 1850-1960: Making Tracks (Routledge Advances in Theatre & Performance Studies)
by Kate Flaherty Gilli Bush-BaileyThis collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. This book investigates songlines, drama, opera, music theatre, dance, and circus—removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or not known at all, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Making Tracks takes a fresh look at such tracks—the material remains—demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often been conceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns—ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies and cultural history.
Touring Theatrical Productions: An International Guide
by Dinesh YadavTouring Theatrical Productions: An International Guide is a practical and comprehensive overview of planning, staging and closing international touring productions. This book offers a step-by-step chronological journal of preparing a company for international touring, from applying for international visas to returning home after a tour. It includes discussions of invitations, contracts, scheduling, health and safety, personnel, packing and shipping, certifications, insurance, travel, unions, hotels, ethics and cuisines. Each chapter is filled with guidelines, samples of paperwork and checklists to ensure the smooth running of any international tour. Written by the Production Manager and Technical Director of India’s most travelled show The Manganiyar Seduction with Can & Abel Theatres, this book includes examples, incidents and experiences of performing in over 20 countries with over 200 shows. This how-to guide will benefit Technical Directors and Production Managers of touring productions, as well as students in Production Management, Tour Management, Art Administration and Technical Theater courses.
Touring Theatrical Productions: An International Guide
by Dinesh YadavTouring Theatrical Productions: An International Guide is a practical and comprehensive overview of planning, staging and closing international touring productions. This book offers a step-by-step chronological journal of preparing a company for international touring, from applying for international visas to returning home after a tour. It includes discussions of invitations, contracts, scheduling, health and safety, personnel, packing and shipping, certifications, insurance, travel, unions, hotels, ethics and cuisines. Each chapter is filled with guidelines, samples of paperwork and checklists to ensure the smooth running of any international tour. Written by the Production Manager and Technical Director of India’s most travelled show The Manganiyar Seduction with Can & Abel Theatres, this book includes examples, incidents and experiences of performing in over 20 countries with over 200 shows. This how-to guide will benefit Technical Directors and Production Managers of touring productions, as well as students in Production Management, Tour Management, Art Administration and Technical Theater courses.
Touring Variety in the Asia Pacific Region, 1946–1975 (Transnational Theatre Histories)
by Jonathan BollenAviation extended the horizon of international touring across Asia and the Pacific in the 1950s and 1960s. Nightclubs in Hong Kong, Manila, Melbourne, Singapore, Sydney, Tokyo, and Taipei presented an international array of touring acts. This book investigates how this happened. It explores the post-war formation of the Asia Pacific region through international touring and the transformation of entertainment during the ‘jet age’ of aviation. Drawing on archival research across the region, Bollen investigates how touring variety forged new relations between artists, audiences, and nations. Mapping tours and tracing networks by connecting fragments, he reveals how versatile artists translated repertoire in circulation as they toured, and how entrepreneurial endeavours harnessed the production of national distinction to government agendas. He argues that touring variety on commercial circuits diversified the repertoire in regional circulation, anticipating the diversity emerging in state-sanctioned multiculturalisms, and driving the government-construction of national theatres for cultural diplomacy.
Toward a Future Theatre: Conversations during a Pandemic (Theatre Makers)
by Caridad SvichFeaturing conversations with theatre makers in the US and UK during the first 8 months of the Covid-19 lockdown, this collection reveals the innovations in digital theatre as artists, companies and theatres had to adjust to the restrictions and formulate new ways of working and reaching audiences. Besides documenting in their own words the work that was generated, this book captures the artists' dreams for a new post-Covid reality in which theatre is reimagined and issues of racial and economic injustice are addressed. With conversations grouped under 5 broad areas, a host of theatre makers candidly discuss the present and the future of theatre: * R/evolution: How should theatre evolve rather than re-set? What kind of field could this be, if the arts sector is to survive in the US and UK and if white supremacist, classist, ableist, and patriarchal structures are dismantled, and acts of regeneration and reformation occur? * What does theatre look like at the local and hyper-local level and when working with young people and communities at risk? * What are the challenges of creating work in the digital realm and/or exploring socially distanced performance in new ways? * How may theatre address social inequalities and be a place for acts of political and artistic resistance? How has the pandemic galvanised their commitments to communities, arts advocacy, use of languages on the stage and page, and considerations of the living archive? * Acts of communion with audiences, readers, fellow artists, students, and within ensembles and collectives. How do we find new ways to gather and make when liveness and the shared experience are challenged?
Toward a Future Theatre: Conversations during a Pandemic (Theatre Makers)
by Caridad SvichFeaturing conversations with theatre makers in the US and UK during the first 8 months of the Covid-19 lockdown, this collection reveals the innovations in digital theatre as artists, companies and theatres had to adjust to the restrictions and formulate new ways of working and reaching audiences. Besides documenting in their own words the work that was generated, this book captures the artists' dreams for a new post-Covid reality in which theatre is reimagined and issues of racial and economic injustice are addressed. With conversations grouped under 5 broad areas, a host of theatre makers candidly discuss the present and the future of theatre: * R/evolution: How should theatre evolve rather than re-set? What kind of field could this be, if the arts sector is to survive in the US and UK and if white supremacist, classist, ableist, and patriarchal structures are dismantled, and acts of regeneration and reformation occur? * What does theatre look like at the local and hyper-local level and when working with young people and communities at risk? * What are the challenges of creating work in the digital realm and/or exploring socially distanced performance in new ways? * How may theatre address social inequalities and be a place for acts of political and artistic resistance? How has the pandemic galvanised their commitments to communities, arts advocacy, use of languages on the stage and page, and considerations of the living archive? * Acts of communion with audiences, readers, fellow artists, students, and within ensembles and collectives. How do we find new ways to gather and make when liveness and the shared experience are challenged?
Toward a General Theory of Acting: Cognitive Science and Performance (Cognitive Studies in Literature and Performance)
by J. LutterbieToward a General Theory of Acting explores the actor's art through the lens of Dynamic Systems Theory and recent findings in the Cognitive Sciences. An analysis of different theories of acting in the West from Stanislavski to Lecoq is followed by an in depth discussion of technique, improvisation, and creating a score. In the final chapter, the focus shifts to how these three are interwoven when the actor steps in front of an audience, whether performing realist, non-realist, or postdramatic theatre. Far from using the sciences to reduce acting to a formula, Lutterbie celebrates the mystery of the creative process.
(toward) a phenomenology of acting
by Phillip ZarrilliIn (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a ‘question’ to be explored in the studio and then reflected upon. This book is a vital response to Jerzy Grotowski’s essential question: "How does the actor ‘touch that which is untouchable?’" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances from Beckett to newly co-created performances to realism, it provides an account of how we ‘do’ or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting and to how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting that is ideal for both the training/rehearsal studio and research, (toward) a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice.
(toward) a phenomenology of acting
by Phillip ZarrilliIn (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a ‘question’ to be explored in the studio and then reflected upon. This book is a vital response to Jerzy Grotowski’s essential question: "How does the actor ‘touch that which is untouchable?’" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances from Beckett to newly co-created performances to realism, it provides an account of how we ‘do’ or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting and to how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting that is ideal for both the training/rehearsal studio and research, (toward) a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice.
Toward A Just Pedagogy Of Performance: Historiography, Narrative, And Equity In Dramatic Practice (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
by Charles O’MalleyThis book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.
Toward A Just Pedagogy Of Performance: Historiography, Narrative, And Equity In Dramatic Practice (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.