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Approximate Bodies: Gender and Power in Early Modern Drama and Anatomy
by Maurizio CalbiThe early modern period was an age of anatomical exploration and revelation, with new discoveries capturing the imagination not only of scientists but also of playwrights and poets. Approximate Bodies examines, in fascinating detail, the changing representation of the body in early modern drama and in the period's anatomical and gynaecological treatises. Maurizio Calbi focuses on the unstable representation of both masculinity and femininity in Renaissance texts such as The Duchess of Malfi, The Changeling and a variety of Shakespeare plays. Drawing on theorists including Foucault, Derrida and Lacan, these close textual readings examine the effects of social, psychic and cultural influences on early modern images of the body. Calbi identifies the ways in which political, social, racial and sexual power structures effect the construction of the body in dramatic and anatomical texts. Calbi's analysis displays how images such as the deformed body of the outsider, the effeminate body of the desiring male and the disfigured body parts of the desiring female indicate an unstable, incomplete conception of the body in the Renaissance. Compelling and impeccably researched, this is a sophisticated account of the fantasies and anxieties that play a role in constructing the early modern body. Approximate Bodies makes a major contribution to the field of early modern studies and to debates around the body.
Approximate Bodies: Gender and Power in Early Modern Drama and Anatomy
by Maurizio CalbiThe early modern period was an age of anatomical exploration and revelation, with new discoveries capturing the imagination not only of scientists but also of playwrights and poets. Approximate Bodies examines, in fascinating detail, the changing representation of the body in early modern drama and in the period's anatomical and gynaecological treatises. Maurizio Calbi focuses on the unstable representation of both masculinity and femininity in Renaissance texts such as The Duchess of Malfi, The Changeling and a variety of Shakespeare plays. Drawing on theorists including Foucault, Derrida and Lacan, these close textual readings examine the effects of social, psychic and cultural influences on early modern images of the body. Calbi identifies the ways in which political, social, racial and sexual power structures effect the construction of the body in dramatic and anatomical texts. Calbi's analysis displays how images such as the deformed body of the outsider, the effeminate body of the desiring male and the disfigured body parts of the desiring female indicate an unstable, incomplete conception of the body in the Renaissance. Compelling and impeccably researched, this is a sophisticated account of the fantasies and anxieties that play a role in constructing the early modern body. Approximate Bodies makes a major contribution to the field of early modern studies and to debates around the body.
April De Angelis Plays 2: Jumpy; The Village; A Laughing Matter; Rune; Extinct; Gin Craze
by April de AngelisApril de Angelis's second collection covers six plays written between 2011 and 2021, including the previously unpublished short play Rune and her first musical, Gin Craze!Jumpy'The funniest new play the West End has seen in ages. It's not only funny, it's painfully acute; and its wit is of a piece with its insight.' - Daily TelegraphThe Village'A great piece of storytelling . . . flat-out wonderful.' - The TimesA Laughing Matter'De Angelis's writing is even funnier than it is stimulating. . Comedy needn't be soft and comforting. It can be mischievous and subversive. You see the bind in which Garrick finds himself, trapped as he is by the economic, social and moral pressures. It's a bind his descendants know even today. I haven't seen it dramatised before with such infectious brio.' - The TimesRune'A gorgeous little nugget of a show in which a bored teenager on a school trip to see the hoard at the Potteries Museum suddenly discovers a power within her when she gets to hold a piece of it.' - GuardianExtinct'Builds its drama with its own gripping truth ... Necessary and urgent.' - GuardianGin Craze!'It's terrifically vivid and exciting. . A Brechtian message delivered with the most glorious, full-throated ebullience: an intoxicating show that leaves your head spinning, your spirit soaring and a fire in your belly.' - The Times
AQA GCSE Drama Designing Drama Lighting, Sound, Set, Costume & Puppet Design
by Sue ShewringAQA GCSE DRAMA
AQA GCSE Drama (PDF)
by Annie FoxThis inspiring resource has been carefully created to help you plan and deliver the new AQA GCSE Drama specification.
Aquatopia: Climate Interventions (Critical Climate Studies)
by May Joseph Sofia VarinoAquatopia documents Harmattan Theater’s ecological interventions and traces its engagements with water-bound landscapes, colonial histories, climate change, and public space across New York City, Venice, Amsterdam, Lisbon, and Cochin. The volume uses Harmattan’s site-specific performances as a point of departure to consider climate change and rising sea levels as geographical, ecological, and urban phenomena. Instead of a collection of flat, static surfaces, the Aquatopia atlas is animated by a disorienting, anti-mapping strategy, producing a deterritorialized, nomadic, fluid atlas unfolding in real time as an archive of climate change in multidimensional, active space. The book is designed for pedagogical access, with interludes that consolidate the learning outcomes of the experimental theory animating each site-specific performance. Accompanied by close descriptions of five performances and supplemented by digital documentation available online, this volume intervenes in discussions on climate change, urbanism, and postcolonization/decolonialization, and contributes to interdisciplinary studies of ecology and environmental politics, postcolonial/decolonial theories and practices, performance studies and aesthetics, in particular public art, and performance as research.
Aquatopia: Climate Interventions (Critical Climate Studies)
by May Joseph Sofia VarinoAquatopia documents Harmattan Theater’s ecological interventions and traces its engagements with water-bound landscapes, colonial histories, climate change, and public space across New York City, Venice, Amsterdam, Lisbon, and Cochin. The volume uses Harmattan’s site-specific performances as a point of departure to consider climate change and rising sea levels as geographical, ecological, and urban phenomena. Instead of a collection of flat, static surfaces, the Aquatopia atlas is animated by a disorienting, anti-mapping strategy, producing a deterritorialized, nomadic, fluid atlas unfolding in real time as an archive of climate change in multidimensional, active space. The book is designed for pedagogical access, with interludes that consolidate the learning outcomes of the experimental theory animating each site-specific performance. Accompanied by close descriptions of five performances and supplemented by digital documentation available online, this volume intervenes in discussions on climate change, urbanism, and postcolonization/decolonialization, and contributes to interdisciplinary studies of ecology and environmental politics, postcolonial/decolonial theories and practices, performance studies and aesthetics, in particular public art, and performance as research.
The Arab in Israeli Drama and Theatre
by Dan UrianWhat is Israeli theatre? Is it only a Hebrew theatre staged in Israel? Are performances by Arab Israelis working in an Arabic theatre framework not part of the repertoire of Israeli theatre? Do they perhaps belong to the Palestinian theatre? What are the "borders" of Palestinian theatre? Are not theatrical works created in East Jerusalem by Arab Israeli playwrights and actors, and staged on occasion before Jewish Israeli audiences, part of a dialogue between Palestinian and Israeli cultures? Does "theatre" only include works staged under that title? These and other similarly absorbing questions arise in Dan Urian's wide-ranging and detailed study of the image of the Arab in Israeli drama and theatre. By the use of extensive examples to show how theatre, politics and personal perceptions intertwine, the author presents us with a model which can be used as a basis for the further discussion and study of similar social and artistic phenomena in other cultures in relation to their theatre and drama.
The Arab in Israeli Drama and Theatre (Contemporary Theatre Studies #Vol. 26)
by Dan UrianWhat is Israeli theatre? Is it only a Hebrew theatre staged in Israel? Are performances by Arab Israelis working in an Arabic theatre framework not part of the repertoire of Israeli theatre? Do they perhaps belong to the Palestinian theatre? What are the "borders" of Palestinian theatre? Are not theatrical works created in East Jerusalem by Arab Israeli playwrights and actors, and staged on occasion before Jewish Israeli audiences, part of a dialogue between Palestinian and Israeli cultures? Does "theatre" only include works staged under that title? These and other similarly absorbing questions arise in Dan Urian's wide-ranging and detailed study of the image of the Arab in Israeli drama and theatre. By the use of extensive examples to show how theatre, politics and personal perceptions intertwine, the author presents us with a model which can be used as a basis for the further discussion and study of similar social and artistic phenomena in other cultures in relation to their theatre and drama.
The Arab Shakespeare Trilogy: The Al-Hamlet Summit; Richard III, an Arab Tragedy; The Speaker’s Progress
by Sulayman Al Bassam Graham HoldernessSulayman Al Bassam is one of the world's leading contemporary dramatists. His adaptations of Shakespeare, performed around the world, have won many awards and met with widespread acclaim on four continents. This volume brings together for the first time three of Al Bassam's adaptations of Shakespearean plays - including versions of Hamlet, Richard III and Twelfth Night - collectively known as The Arab Shakespeare Trilogy. The Al-Hamlet Summit sees the familiar characters of Hamlet reborn as delegates placed in a conference room in an unnamed modern Arab state on the brink of war; Richard III: an Arab Tragedy is a contemporary adaptation of Shakespeare's classic, reworked and transplanted into the scorching oil-rich Islamic world of the Gulf; while The Speaker's Progress is a forensic reconstruction of Twelfth Night which transforms into an unequivocal act of defiance towards the state, forming a dark satire on the decades of hopelessness and political inertia that fed twenty-first-century revolts across the Arab region.The Arab Shakespeare Trilogy features an editorial introduction by Graham Holderness, positioning the plays within the contexts of both modern Shakespearean drama and Arab culture as well as an author's preface by Sulayman Al Bassam, detailing the plays' history of theatrical reception and outlining his philosophy of Shakespeare adaptation.
The Arab Shakespeare Trilogy: The Al-Hamlet Summit; Richard III, an Arab Tragedy; The Speaker’s Progress
by Sulayman Al Bassam Graham HoldernessSulayman Al Bassam is one of the world's leading contemporary dramatists. His adaptations of Shakespeare, performed around the world, have won many awards and met with widespread acclaim on four continents. This volume brings together for the first time three of Al Bassam's adaptations of Shakespearean plays - including versions of Hamlet, Richard III and Twelfth Night - collectively known as The Arab Shakespeare Trilogy. The Al-Hamlet Summit sees the familiar characters of Hamlet reborn as delegates placed in a conference room in an unnamed modern Arab state on the brink of war; Richard III: an Arab Tragedy is a contemporary adaptation of Shakespeare's classic, reworked and transplanted into the scorching oil-rich Islamic world of the Gulf; while The Speaker's Progress is a forensic reconstruction of Twelfth Night which transforms into an unequivocal act of defiance towards the state, forming a dark satire on the decades of hopelessness and political inertia that fed twenty-first-century revolts across the Arab region.The Arab Shakespeare Trilogy features an editorial introduction by Graham Holderness, positioning the plays within the contexts of both modern Shakespearean drama and Arab culture as well as an author's preface by Sulayman Al Bassam, detailing the plays' history of theatrical reception and outlining his philosophy of Shakespeare adaptation.
Arcadia: Arcadia - The Real Thing - Night And Day - Indian Ink - Hapgood (Sparknotes Literature Guide Ser.)
by Tom StoppardIn a large country house in Derbyshire in April 1809 sits Lady Thomasina Coverly, aged thirteen, and her tutor, Septimus Hodge. Through the window may be seen some of the '500 acres inclusive of lake' where Capability Brown's idealized landscape is about to give way to the 'picturesque' Gothic style: 'everything but vampires', as the garden historian Hannah Jarvis remarks to Bernard Nightingale when they stand in the same room 180 years later.Bernard has arrived to uncover the scandal which is said to have taken place when Lord Byron stayed at Sidley Park.Tom Stoppard's absorbing play takes us back and forth between the centuries and explores the nature of truth and time, the difference between the Classical and the Romantic temperament, and the disruptive influence of sex on our orbits in life - 'the attraction', as Hannah says, 'which Newton left out'.
Archaeologies of Presence
by Gabriella Giannachi Nick Kaye Michael ShanksArchaeologies of Presence is a brilliant exploration of how the performance of presence can be understood through the relationships between performance theory and archaeological thinking. Drawing together carefully commissioned contributions by leading international scholars and artists, this radical new work poses a number of essential questions: What are the principle signifiers of theatrical presence? How is presence achieved through theatrical performance? What makes a memory come alive and live again? How is presence connected with identity? Is presence synonymous with 'being in the moment'? What is the nature of the ‘co-presence’ of audience and performer? Where does performance practice end and its documentation begin? Co-edited by performance specialists Gabriella Giannachi and Nick Kaye, and archaeologist Michael Shanks, Archaeologies of Presence represents an innovative and rewarding feat of interdisciplinary scholarship.
Archaeologies of Presence
by Gabriella Giannachi Nick Kaye Michael ShanksArchaeologies of Presence is a brilliant exploration of how the performance of presence can be understood through the relationships between performance theory and archaeological thinking. Drawing together carefully commissioned contributions by leading international scholars and artists, this radical new work poses a number of essential questions: What are the principle signifiers of theatrical presence? How is presence achieved through theatrical performance? What makes a memory come alive and live again? How is presence connected with identity? Is presence synonymous with 'being in the moment'? What is the nature of the ‘co-presence’ of audience and performer? Where does performance practice end and its documentation begin? Co-edited by performance specialists Gabriella Giannachi and Nick Kaye, and archaeologist Michael Shanks, Archaeologies of Presence represents an innovative and rewarding feat of interdisciplinary scholarship.
The Architect (Modern Plays)
by David Greig"The most important playwright to have emerged north of the border in years." (Scotsman)The Architect charts the rise and fall of Leo Black, once an idealistic and idolised designer, whose magnificent visions are now crumbling, along with his family, in the light of grubby reality. "Provides convincing evidence of David Greig's confident transition from a dramatist of promise to one of stature." (Indpendent)
The Architect: Europe; The Architect; The Cosmonaut's Last Message... (Modern Plays)
by David Greig"The most important playwright to have emerged north of the border in years." (Scotsman)The Architect charts the rise and fall of Leo Black, once an idealistic and idolised designer, whose magnificent visions are now crumbling, along with his family, in the light of grubby reality. "Provides convincing evidence of David Greig's confident transition from a dramatist of promise to one of stature." (Independent)
Architecture, Actor and Audience (Theatre Concepts)
by Iain MackintoshUnderstanding the theatre space on both the practical and theoretical level is becoming increasingly important to people working in drama, in whatever capacity. Theatre architecture is one of the most vital ingredients of the theatrical experience and one of the least discussed or understood. In Architecture, Actor and Audience Mackintosh explores the contribution the design of a theatre can make to the theatrical experience, and examines the failings of many modern theatres which despite vigorous defence from the architectural establishment remain unpopular with both audiences and theatre people. A fascinating and provocative book.
Architecture, Actor and Audience (Theatre Concepts)
by Iain MackintoshUnderstanding the theatre space on both the practical and theoretical level is becoming increasingly important to people working in drama, in whatever capacity. Theatre architecture is one of the most vital ingredients of the theatrical experience and one of the least discussed or understood. In Architecture, Actor and Audience Mackintosh explores the contribution the design of a theatre can make to the theatrical experience, and examines the failings of many modern theatres which despite vigorous defence from the architectural establishment remain unpopular with both audiences and theatre people. A fascinating and provocative book.
The Architecture of Story: A Technical Guide for the Dramatic Writer (Chicago Guides to Writing, Editing, and Publishing)
by Will DunneWhile successful plays tend to share certain storytelling elements, there is no single blueprint for how a play should be constructed. Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story. Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture. Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.” Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques. The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.
The Architecture of Story: A Technical Guide for the Dramatic Writer (Chicago Guides to Writing, Editing, and Publishing)
by Will DunneWhile successful plays tend to share certain storytelling elements, there is no single blueprint for how a play should be constructed. Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story. Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture. Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.” Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques. The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.
The Architecture of Story: A Technical Guide for the Dramatic Writer (Chicago Guides to Writing, Editing, and Publishing)
by Will DunneWhile successful plays tend to share certain storytelling elements, there is no single blueprint for how a play should be constructed. Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story. Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture. Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.” Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques. The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.
The Architecture of Story: A Technical Guide for the Dramatic Writer (Chicago Guides to Writing, Editing, and Publishing)
by Will DunneWhile successful plays tend to share certain storytelling elements, there is no single blueprint for how a play should be constructed. Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story. Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture. Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.” Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques. The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.
The Architecture of Story: A Technical Guide for the Dramatic Writer (Chicago Guides to Writing, Editing, and Publishing)
by Will DunneWhile successful plays tend to share certain storytelling elements, there is no single blueprint for how a play should be constructed. Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story. Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture. Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.” Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques. The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.
The Architecture of Story: A Technical Guide for the Dramatic Writer (Chicago Guides to Writing, Editing, and Publishing)
by Will DunneWhile successful plays tend to share certain storytelling elements, there is no single blueprint for how a play should be constructed. Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story. Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture. Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.” Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques. The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.
Arctic Oil (Oberon Modern Plays)
by Clare DuffyWe’re dirty. We’re messy. We die. That’s life.On a remote Scottish island, an estranged mother and daughter are at loggerheads over how best to save their children. While Ella fights for her son's future, her mother Karen is terrified that Ella’s environmental activism will her get killed. Trapped together until one of them gives in or lashes out, it quickly becomes clear that not all mothers know best.Around them, at the mercy of the brutal North Sea and Mother Nature, their close-knit community is being pushed to the brink in a world which is changing too fast for them to survive.Written by the award-winning 2015 IASH / Traverse Theatre Creative Fellow Clare Duffy, Arctic Oil grapples with how trying to save the world could end up destroying those closest to us – and even ourselves.