Theatre Is More Beautiful Than War
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| Author | : Marvin Carlson |
| Publisher | : University of Iowa Press |
| Total Pages | : 242 |
| Release | : 2009-09 |
| Genre | : Performing Arts |
| ISBN | : 1587298929 |
In almost every area of production, German theatre of the past forty years has achieved a level of distinction unique in the international community. This flourishing theatrical culture has encouraged a large number of outstanding actors, directors, and designers as well as video and film artists. The dominant figure throughout these years, however, has remained the director. In this stimulating and informative book, noted theatre historian Marvin Carlson presents an in-depth study of the artistic careers, working methods, and most important productions of ten of the leading directors of this great period of German staging. Beginning with the leaders of the new generation that emerged in the turbulent late 1960s—Peter Stein, Peter Zadek, and Claus Peymann, all still major figures today—Carlson continues with the generation that appeared in the 1980s, particularly after reunification—Frank Castorf, Anna Viebrock, Andrea Breth, and Christoph Marthaler—and concludes with the leading directors to emerge after the turn of the century, Stefan Pucher, Thomas Ostermeier, and Michael Thalheimer. He also provides information not readily available elsewhere in English on many of the leading actors and dramatists as well as the designers whose work, much of it for productions of these directors, has made this last half century a golden age of German scenic design. During the late twentieth century, no country produced so many major theatre directors or placed them so high in national cultural esteem as Germany. Drawing on his years of regular visits to the Theatertreffen in Berlin and other German productions, Carlson will captivate students of theatre and modern German history and culture with his provocative, well-illustrated study of the most productive and innovative theatre tradition in Europe.
| Author | : Zeno Ackermann |
| Publisher | : Walter de Gruyter GmbH & Co KG |
| Total Pages | : 256 |
| Release | : 2019-04-01 |
| Genre | : Literary Criticism |
| ISBN | : 3110617927 |
Precarious Figurations focuses on the reception of Shakespeare’s The Merchant of Venice in twentieth- and twenty-first-century Germany. Looking at theatrical practices and critical or scholarly discourses from the Weimar Republic to the new millennium, the book explores why the play has served simultaneously as a vehicle for the actualization of anti-Semitic tropes and as a staging ground for the critical exposure of the very logic of anti-Semitism. In particular, the study investigates how the figure of Shylock has come to be both a device in and a stumbling block for attempts to bridge the fundamental rupture in civilization brought about by the Holocaust. The careful analysis of the German reception of Merchant, and in particular of the ways of doing and reading Shylock in the context of painful German, and German-Jewish, discourses of identity and remembrance, is designed to raise fundamental questions – questions concerning not only the staging of Jewishness, the tenacity of anti-Semitism and the difficulties of Holocaust remembrance, but also the general potentials and limitations of theatrical interventions into cultural conflicts.
| Author | : Michael V. Pisani |
| Publisher | : University of Iowa Press |
| Total Pages | : 415 |
| Release | : 2014-06-01 |
| Genre | : Performing Arts |
| ISBN | : 1609382307 |
Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds. Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays. The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe. Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.
| Author | : Christopher Innes |
| Publisher | : Cambridge University Press |
| Total Pages | : 299 |
| Release | : 2013-05-02 |
| Genre | : Drama |
| ISBN | : 1107354609 |
This Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors, designers, other collaborators and audiences, and treatment of dramatic material. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Koršunovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.
| Author | : Maria M. Delgado |
| Publisher | : Routledge |
| Total Pages | : 366 |
| Release | : 2020-06-29 |
| Genre | : Performing Arts |
| ISBN | : 0429682190 |
This expanded second edition of Contemporary European Theatre Directors is an ambitious and unprecedented overview of many of the key directors working in European theatre over the past 30 years. This book is a vivid account of the vast range of work undertaken in European theatre during the last three decades, situated lucidly in its artistic, cultural, and political context. Each chapter discusses a particular director, showing the influences on their work, how it has developed over time, its reception, and the complex relation it has with its social and cultural context. The volume includes directors living and working in Italy, Germany, France, Spain, Poland, Russia, Romania, the UK, Belgium, Switzerland, and the Netherlands, offering a broad and international picture of the directing landscape. Now revised and updated, Contemporary European Theatre Directors is an ideal text for both undergraduate and postgraduate directing students, as well as those researching contemporary theatre practices, providing a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe following the end of the Cold War.
| Author | : Kenneth Elliott |
| Publisher | : University of Iowa Press |
| Total Pages | : 210 |
| Release | : 2023 |
| Genre | : Biography & Autobiography |
| ISBN | : 1609389190 |
Beyond Ridiculous tells the story of Theatre-in-Limbo. Elliott narrates in first-person the company's Cinderella tale of fun, heartbreak, and dishy drama. At the center of the book is a young Charles Busch, an unforgettable personality fighting to be seen, be heard, and express his unique style as a writer-performer. The tragedy of AIDS among treasured friends in the company, the struggle for mainstream acceptance of LGBTQ+ theatre during the reign of President Ronald Reagan, and the exploration of new ways of being a gay theatre artist make the book a bittersweet and joyous ride.
| Author | : Mark Bayer |
| Publisher | : University of Iowa Press |
| Total Pages | : 277 |
| Release | : 2011-10-15 |
| Genre | : Performing Arts |
| ISBN | : 1609380401 |
Taking to heart Thomas Heywood’s claim that plays “persuade men to humanity and good life, instruct them in civility and good manners, showing them the fruits of honesty, and the end of villainy,” Mark Bayer’s captivating new study argues that the early modern London theatre was an important community institution whose influence extended far beyond its economic, religious, educational, and entertainment contributions. Bayer concentrates not on the theatres where Shakespeare’s plays were performed but on two important amphitheatres, the Fortune and the Red Bull, that offer a more nuanced picture of the Jacobean playgoing industry. By looking at these playhouses, the plays they staged, their audiences, and the communities they served, he explores the local dimensions of playgoing. Focusing primarily on plays and theatres from 1599 to 1625, Bayer suggests that playhouses became intimately engaged with those living and working in their surrounding neighborhoods. They contributed to local commerce and charitable endeavors, offered a convivial gathering place where current social and political issues were sifted, and helped to define and articulate the shared values of their audiences. Bayer uses the concept of social capital, inherent in the connections formed among individuals in various communities, to construct a sociology of the theatre from below—from the particular communities it served—rather than from the broader perspectives imposed from above by church and state. By transacting social capital, whether progressive or hostile, the large public amphitheatres created new and unique groups that, over the course of millions of visits to the playhouses in the Jacobean era, contributed to a broad range of social practices integral to the daily lives of playgoers. In lively and convincing prose that illuminates the significant reciprocal relationships between different playhouses and their playgoers, Bayer shows that theatres could inform and benefit London society and the communities geographically closest to them.
| Author | : Lisa Jackson-Schebetta |
| Publisher | : University of Iowa Press |
| Total Pages | : 265 |
| Release | : 2017-06-15 |
| Genre | : Performing Arts |
| ISBN | : 1609384911 |
Traveler, There Is No Road offers a compelling and complex vision of the decolonial imagination in the United States from 1931 to 1943 and beyond. By examining the ways in which the war of interpretation that accompanied the Spanish Civil War (1936–1939) circulated through Spanish and English language theatre and performance in the United States, Lisa Jackson-Schebetta demonstrates that these works offered alternative histories that challenged the racial, gender, and national orthodoxies of modernity and coloniality. Jackson-Schebetta shows how performance in the US used histories of American empires, Islamic legacies, and African and Atlantic trades to fight against not only fascism and imperialism in the 1930s and 1940s, but modernity and coloniality itself. This book offers a unique perspective on 1930s theatre and performance, encompassing the theatrical work of the Cuban, Puerto Rican, and Spanish diasporas in the United States, as well as the better-known Anglophone communities. Jackson-Schebetta situates well-known figures, such as Langston Hughes and Clifford Odets, alongside lesser-known ones, such as Erasmo Vando, Franca de Armiño, and Manuel Aparicio. The milicianas, female soldiers of the Spanish Republic, stride on stage alongside the male fighters of the Lincoln Brigade. They and many others used the multiple visions of Spain forged during the civil war to foment decolonial practices across the pasts, presents, and futures of the Americas. Traveler conclusively demonstrates that theatre and performance scholars must position US performances within the Americas writ broadly, and in doing so they must recognize the centrality of the hemisphere’s longest-lived colonial power, Spain.
| Author | : Ralf Remshardt |
| Publisher | : Taylor & Francis |
| Total Pages | : 978 |
| Release | : 2023-08-24 |
| Genre | : Performing Arts |
| ISBN | : 1000913643 |
This is a comprehensive overview of contemporary European theatre and performance as it enters the third decade of the twenty-first century. It combines critical discussions of key concepts, practitioners, and trends within theatre-making, both in particular countries and across borders, that are shaping European stage practice. With the geography, geopolitics, and cultural politics of Europe more unsettled than at any point in recent memory, this book’s combination of national and thematic coverage offers a balanced understanding of the continent’s theatre and performance cultures. Employing a range of methodologies and critical approaches across its three parts and ninety-four chapters, this book’s first part contains a comprehensive listing of European nations, the second part charts responses to thematic complexes that define current European performance, and the third section gathers a series of case studies that explore the contribution of some of Europe’s foremost theatre makers. Rather than rehearsing rote knowledge, this is a collection of carefully curated, interpretive accounts from an international roster of scholars and practitioners. The Routledge Companion to Contemporary European Theatre and Performance gives undergraduate and graduate students as well as researchers and practitioners an indispensable reference resource that can be used broadly across curricula.
| Author | : Max Shulman |
| Publisher | : University of Iowa Press |
| Total Pages | : 267 |
| Release | : 2022-06-15 |
| Genre | : Performing Arts |
| ISBN | : 1609388461 |
The American Pipe Dream examines the many iterations of addiction as it was performed over the first half of the twentieth century, working from a massive archive of previously ignored material. Because the stage-addict became the primary way the U.S. public learned about addiction and drug use, Shulman argues that performance was essential in creating the addict in America’s cultural imagination. He demonstrates how modern-day perceptions of addiction and of the addict emerge from a complex history of accumulation and revision that spanned the Progressive Era, the Roaring Twenties, and the Great Depression. Chapters look at how theatre, film, and popular culture linked the Chinese immigrant and opium smoking; the early attacks on doctors for their part in the creation of addicts; the legislation of addiction as a criminal condition; the comic portrayals of addiction; the intersection of Black, jazz, and drug cultures through cabaret performance; and the linkage between narcotic inebriation and artistic inspiration. The American Pipe Dream creates active connections between these case studies, demonstrating how this history has influenced our contemporary understanding, treatment, and legislation of drug use and addiction.
