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Theatre Of Conscience, 1939-53: A Study Of Four Touring British Community Theatres (PDF)
by Peter BillinghamTheatres of Conscienceoffers an invaluable and essential insight into four touring British theatre companies whose work and contributions to post-war British theatre have largely gone unnoticed. Combining a rigorous scholarly evaluation of their work and their broadly ideological and ethical contribution to wider post-war developments in British theatre. Peter Billingham offers the reader a unique insight into four companies which, motivated by enthusiasm, principles and creative innovation, sought to take the theatre of conscience to theatre-less communities in wartime Britain and during the following decade. Contemporaries of - amongst others - Joan Littlewood's Theatre Workshop, the Pilgrim Players, the Adelphi Players, the Compass Playersand the Century Theatrerepresent a significant but rather overlooked phase in the development of twentieth-century British theatre.
Theatre of Conscience 1939-53: A Study of Four Touring British Community Theatres
by Peter BillinghamTheatres of Conscience offers an invaluable and essential insight into four touring British theatre companies whose work and contributions to post-war British theatre have largely gone unnoticed. Combining a rigorous scholarly evaluation of their work and their broadly ideological and ethical contribution to wider post-war developments in British theatre. Peter Billingham offers the reader a unique insight into four companies which, motivated by enthusiasm, principles and creative innovation, sought to take the theatre of conscience to theatre-less communities in wartime Britain and during the following decade. Contemporaries of - amongst others - Joan Littlewood's Theatre Workshop, the Pilgrim Players, the Adelphi Players, the Compass Players and the Century Theatre represent a significant but rather overlooked phase in the development of twentieth-century British theatre.
Theatre of Conscience 1939-53: A Study of Four Touring British Community Theatres
by Peter BillinghamTheatres of Conscience offers an invaluable and essential insight into four touring British theatre companies whose work and contributions to post-war British theatre have largely gone unnoticed. Combining a rigorous scholarly evaluation of their work and their broadly ideological and ethical contribution to wider post-war developments in British theatre. Peter Billingham offers the reader a unique insight into four companies which, motivated by enthusiasm, principles and creative innovation, sought to take the theatre of conscience to theatre-less communities in wartime Britain and during the following decade. Contemporaries of - amongst others - Joan Littlewood's Theatre Workshop, the Pilgrim Players, the Adelphi Players, the Compass Players and the Century Theatre represent a significant but rather overlooked phase in the development of twentieth-century British theatre.
Theatre Sound
by John A. LeonardTheatre Sound includes a brief history of the use of sound in the theatre, discussions of musicals, sound effects, and the recording studio, and even an introduction to the physics and math of sound design. A bibliography and online reference section make this the new essential work for students of theatre and practicing sound designers.
Theatre Sound
by John A. LeonardTheatre Sound includes a brief history of the use of sound in the theatre, discussions of musicals, sound effects, and the recording studio, and even an introduction to the physics and math of sound design. A bibliography and online reference section make this the new essential work for students of theatre and practicing sound designers.
Tiny Dynamite (Oberon Modern Plays Ser.)
by Abi MorganWhen memory takes hold, when chaos takes over and when the electricity between us becomes overwhelming. An impossible love story is given a second chance and three scorched characters are about to learn that lightning does strike twice.
Titus Andronicus: With The Trve Tragedie Of Richard The Third .
by Jacques Berthoud William ShakespeareAn embittered Roman General returns from war, having captured the Queen of the Goths and her three sons. Sacrificing the eldest, in memory of his own sons killed in battle, he provokes the queen's unending hatred. And when she is made empress by the new emperor of Rome, she quickly begins to plot a murderous revenge of barely conceivable cruelty.
Tragedy: A Tragedy (Oberon Modern Plays Ser.)
by Will EnoThe sun has set over streets of houses, government buildings and American backyards everywhere. The world is dark. A news team is on the scene. Their report: someone left the lawn sprinklers on; someone’s horse is loose; a seashell is lying in the grass; dogs run by. The Governor issues excited statements appealing for calm. It is night-time in the world. Everyone’s afraid. Everyone doesn’t know if the sun, once down, will ever rise again. But there is a witness, and the witness will speak.
True West (Sparknotes Literature Guide Ser.)
by Sam ShepardAustin, working on his Hollywood screenplay, is disturbed by the arrival of his estranged brother, Lee, just returned from three months in the desert. During a brief spell of uneasy cohabitation in their absent mother's house, Lee employs himself as a door-to-door burglar before killing his brother's film idea by pitching his own to Austin's producer. But Lee is no writer and the brothers must strike a deal, escalating sibling rivalry to fever pitch in the blazing Californian heat. Sam Shephard's True West was first performed at the Magic Theatre, San Francisco, in 1980 and has since become recognised as an American classic.
Twentieth Century Scottish Drama (Canongate Classics #98)
by Cairns Craig Randall StevensEdited and introduced by Cairns Craig and Randall Stevenson. Ever since the major revival of dramatic writing and production in the 1970s, the style and the subject matter of Scottish writing for stage and screen has been a continuing influence on our contemporary culture, exciting, offending and challenging audiences in equal measure. Yet modern Scottish drama has a history of controversy, conflict and entertainment going back to the 1920s, notable at every turn for the vigour of its language and its direct confrontation with telling issues. The plays in this anthology offer a unique chance to grasp the different topics and also the recurrent themes of Scottish drama in the twentieth century. Gathered together in a single omnibus volume, there is the poetic eeriness of Barrie and the political commitment of Joe Corrie and Sue Glover; there is the Brechtian debate of Bridie and the verbal brilliance of John Byrne and Liz Lochhead; there is working-class experience and feminist insight; broad Scots and existential anxiety; street realism and a meeting with the devil; social injustice and raucous humour; historical comedy and tragic loss. Here is both the breadth and the continuity of the modern Scottish tradition in a single volume.
Two Jewish Plays: The Jews And Nathan The Wise (Oberon Modern Plays)
by Gotthold LessingGotthold Lessing (1729-81), playwright, critic, humanist philosopher and polemicist was a leading figure of the German enlightnement era. From his immense literary output two plays stand out - The Jews and Nathan the Wise - for the passion of the writing and the timeless urgency of the message. Though differering greatly in form and content, both plays are eloquent pleas for human beings to desist from mutual persecution on racial or religious grounds. The relevance of Lessing's thinking in today's world is all too clear. They are published here in new English versions by the award-winning translator, Noel Clark.
Voice-Overs: A Practical Guide with CD
by Bernard Graham ShawVoice-Overs is an insider's guide to voicing radio and television commercials. Bernard Graham Shaw draws upon his nearly 20 years of voice-work experience to teach valuable studio skills and offers practical advice on how to build a voice-over career.
Voice-Overs: A Practical Guide with CD (Stage And Costume Ser.)
by Bernard Graham ShawVoice-Overs is an insider's guide to voicing radio and television commercials. Bernard Graham Shaw draws upon his nearly 20 years of voice-work experience to teach valuable studio skills and offers practical advice on how to build a voice-over career.
Wedding Day at the Cro-Magnons (Oberon Modern Plays)
by Shelley Tepperman Wajdi MouawadAs the bombs fall in Lebanon, a family prepares for their narcoleptic daughter's wedding feast. There's a main course that won't die, a bride who cannot stay awake and the small matter of an absent bridegroom...An audacious and anarchic comedy from a writer who knows first-hand what it feels like to be caught in a war-zone.
Who Killed Shakespeare: What's Happened to English Since the Radical Sixties
by Patrick BrantlingerFirst published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Who Killed Shakespeare: What's Happened to English Since the Radical Sixties
by Patrick BrantlingerFirst published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Winnie the Witch (Oberon Plays for Young People)
by Valerie Thomas Anthony Clark Paul KorkyWinnie the Witch uses her magic to solve some very practical problems. But the results are never quite as she imagined...One day after turning everything in her house black to hide the mess, she discovers she can no longer see her black cat Wilbur. So she decides to use a bit of magic, and that's when the trouble really starts...This wonderful new play for children brings together all three books in the award-winning Winnie the Witch series which have delighted children all over the world. This is the perfect opportunity to introduce children aged 3 to 6 to the excitement of live theatre.
Wiping My Mother's ***E (Modern Plays)
by Iain HeggieA caustic new comedy by one of Scotland's most important contemporary playwrightsWhen Derek's girlfriend Kath decides to move in with him she follows the advice of her favourite chat-show host and asks to meet his family. Derek's mother is in a nursing home, resentful of June, the patient with no arms and legs, who gets all the attention. The only saving grace is her care assistant Larry - a camp, ageing clubber. However, what Derek and Kath don't know is that Larry holds the key to a few secrets that are perhaps best left in the closet...Published to coincide with its premiere in July 2001 at the Traverse Theatre, Edinburgh"Cut-cross dialogue crackles with life; fast, funny foulmouthed" (TES)"The dialogue cuts into paradox, swagger and self defence as keenly as a surgeon's knife" (Observer)
The Witches: Plays for Children
by Roald Dahl David WoodFun-to-perform plays for the classroom.A collection of seven short playlets following the story of Roald Dahl's book in sequence. Some are for three or four actors and a couple are ideal for performance by a whole class. Full of humour, excitement and magic and true to the spirit of Dahl's work.Similar in format to The Twits and The BFG: Plays for Children.Adapted by David Wood, well-known in children's theatre (most recently for Goodnight Mister Tom).
Women
by Roger CélestinPublished in 2001, Women is a valuable contribution to the field of Performance.
Women
by Revue D’études FrançaisesPublished in 2001, Women is a valuable contribution to the field of Performance.
Women and Dramatic Production 1550 - 1700 (Longman Medieval and Renaissance Library)
by Alison Findlay Gweno (University Williams Stephanie (University WrightThere is a traditional view that women were absent from the field of dramatic production in the early modern period because of their exclusion from professional theatre. Women and Dramatic Production 1550-1700 challenges this view and breaks new ground in arguing that, far from writing in closeted retreat, a select number of women took an active part in directing and controlling dramatic self-representations. Examining texts from the mid-sixteenth century through to the end of the seventeenth, the chapters trace the development of a women-centred aesthetic in a variety of dramatic forms. Plays by noblewomen such as Mary Sidney, Elizabeth Cary, Mary Wroth, Rachel Fane and the women of the Cavendish family, form an alternative dramatic tradition centred on the household. The powerful directorial and performative roles played by queens in royal progresses and masques are explored as examples of women's dramatic production in the royal court. The book also highlights women's performances in alternative venues, such as the courtroom and the pulpit, arguing that the practices of martyrs like Margaret Clitherow or visionaries like Anna Trapnel call into question traditional definitions of theatre. The challenges faced by women who were admitted to the professional theatre companies after 1660 are explored in two chapters which deal with the plays of Katherine Philips, Elizabeth Polwhele, Aphra Behn, and Mary Pix, among others. By considering the theatrical dimensions of a wide range of early modern women's writing, this book reveals the breathtaking panorama of women's dramatic production and will be essential reading for students of women's writing and renaissance drama.
Women and Dramatic Production 1550 - 1700 (Longman Medieval and Renaissance Library)
by Alison Findlay Gweno (University Williams Stephanie (University WrightThere is a traditional view that women were absent from the field of dramatic production in the early modern period because of their exclusion from professional theatre. Women and Dramatic Production 1550-1700 challenges this view and breaks new ground in arguing that, far from writing in closeted retreat, a select number of women took an active part in directing and controlling dramatic self-representations. Examining texts from the mid-sixteenth century through to the end of the seventeenth, the chapters trace the development of a women-centred aesthetic in a variety of dramatic forms. Plays by noblewomen such as Mary Sidney, Elizabeth Cary, Mary Wroth, Rachel Fane and the women of the Cavendish family, form an alternative dramatic tradition centred on the household. The powerful directorial and performative roles played by queens in royal progresses and masques are explored as examples of women's dramatic production in the royal court. The book also highlights women's performances in alternative venues, such as the courtroom and the pulpit, arguing that the practices of martyrs like Margaret Clitherow or visionaries like Anna Trapnel call into question traditional definitions of theatre. The challenges faced by women who were admitted to the professional theatre companies after 1660 are explored in two chapters which deal with the plays of Katherine Philips, Elizabeth Polwhele, Aphra Behn, and Mary Pix, among others. By considering the theatrical dimensions of a wide range of early modern women's writing, this book reveals the breathtaking panorama of women's dramatic production and will be essential reading for students of women's writing and renaissance drama.
Woody Allen: A Casebook
by Kimball KingFirst Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Woody Allen: A Casebook
by Kimball KingFirst Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.