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Books on the topic 'Capitol theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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1

Murray, Lisa. The Capitol Theatre restoration. Sydney: Council of the City of Sydney, 2003.

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2

Leslie, Serge. A dancer's scrapbook: From the Capitol Theatre, New York City, to Carnegie Hall with Doris Niles: a chronicle 1919-1929. London: Dance Books, 1987.

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3

Doris, Niles, ed. A dancer's scrapbook: From the Capitol Theatre, New York City, to Carnegie Hall with Doris Niles : a chronicle, 1919-1929. London: Dance Books, 1987.

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4

Truman, Margaret. Murder at Ford's Theatre: A Capital crimes novel. Waterville, Me: Thorndike Press, 2003.

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5

Truman, Margaret. Murder at Ford's Theatre: A capital crimes novel. Waterville, Me: Large Print Press, 2003.

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6

Truman, Margaret. Murder at Ford's Theatre: A capital crimes novel. New York: Ballantine Books, 2002.

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7

To have or have not: Essays on commerce and capital in modernist theatre. Jefferson, N.C: McFarland, 2011.

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8

Picca, Francesco. Bari "capitale" a teatro: Il Politeama Petruzzelli, 1877-1914. Bari: Edipuglia, 1987.

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9

1926-, Malina Judith, Risso Erminio, Tavella Stefania, and Living Theatre (New York, N.Y.), eds. Quattro spettacoli del Living Theatre: Il metodo zero, Anarchia, Utopia, Il complesso capitale. Lecce: P. Manni, 2000.

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10

Lucien, Attoun, ed. Paris capitale mondiale du théâtre: Le théâtre des nations. Paris: CNRS Editions, 2009.

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11

Aslan, Odette. Paris capitale mondiale du théâtre: Le théâtre des nations. Paris: CNRS Editions, 2009.

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12

Bossé, Eveline. Les grandes heures du Capitol: La vie artistique et culturelle de la ville de Québec dans son théâtre le plus prestigieux. [Québec?]: E. Bossé, 1991.

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13

Il chierico e la scena: Cinque capitoli su Sanguineti e il teatro. Genova: Il melangolo, 2009.

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14

Vazzoler, Franco. Il chierico e la scena: Cinque capitoli su Sanguineti e il teatro. Genova: Il melangolo, 2009.

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15

Kărimov, I. S. Teatr-- taleyin ömrümä yazdığı qismät. Bakı: Elm, 2009.

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16

Luis, Borges Jorge. Labyrinths: Selected Stories & Other Writings. New York: New Directions, 2007.

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17

Luis, Borges Jorge. Labyrinthi. Athens: Kastaniotis, 1986.

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18

Luis, Borges Jorge. Labyrinths: Selected stories & other writings. New York: New Directions Pub. Corp., 1970.

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19

Truman, Margaret. Murder at Ford's Theatre (Capital Crimes). Unabridged Library Edition, 2002.

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20

Truman, Margaret. Murder at Ford's Theatre (Capital Crimes). Brilliance Audio on MP3-CD, 2004.

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21

Truman, Margaret. Murder at Ford's Theatre (Capital Crimes). Brilliance Audio Paperback Audiobooks, 2003.

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22

Truman, Margaret. Murder at Ford's Theatre (Capital Crimes). 3rd ed. Brilliance Audio on MP3-CD Lib Ed, 2004.

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23

Truman, Margaret. Murder at Ford's Theatre (Capital Crimes). Brilliance Audio Unabridged, 2002.

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24

Truman, Margaret. Murder at Ford's Theatre (Capital Crimes). Nova Audio Books, 2002.

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25

Szczepaniak-Gillece, Jocelyn. Cinephilia in Ruins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689353.003.0005.

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Chapter 4 considers the second wave of cinephilia and the art house theater boom particularly in New York City alongside the emergence of underground cinemas intended for the cultural elite (1960–1970). The art house is discussed alongside Robert Moses’s urban development plans for the city, which exemplifies its attempts to sell an illusion of transportation and class and cultural upward mobility. Both kinds of theaters represented versions of cinematic ruins: the art house theater for its debt to luxurious capital, and the underground cinema, like Aldo Tambellini’s Black Gate, for its fallout shelter-like environment. Both are also examples of the kinds of “serious” moviegoing ultimately made possible by Schlanger and neutralization.
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26

Belkin, Ahuva, and Gad Kaynar. Jewish Theatre. Edited by Martin Goodman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199280322.013.0035.

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This article describes the history of the Jewish theatre, Jewish theatre studies, the history of the Israeli theatre from 1889 to 2001, and Israeli theatre studies. Although Jews were known as the People of the Book, and despite the very rich literature attached to Judaism, the dramatic genre never became an integral part of Jewish civilization, and theatre as an institution was never a part of its cultural life. This may be in part because the Bible and the book of oral law — the Talmud and later rabbinical writings — contain vehement exhortations against the theatre. In Judaism, jesters are identified with idleness and heresy. Meanwhile, the extent of performative activity in Israel is impressive for a country with no theatrical tradition and a population of merely 4.5 million Jewish and Hebrew-speaking inhabitants. Between 1970 and 1990, Israel held first place in the world in theatre attendance per capita.
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27

Goodman, Jessica. Being an Author in Eighteenth-Century Theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0004.

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This chapter narrows the contextual focus to concentrate on the role of dramatic authorship within the broader cultural field. First, it examines how authors traditionally shaped their careers in Parisian theatre, and outlines the different types of financial and symbolic reward that were offered by the Comédie-Italienne and the Comédie-Française in the 1760s. Then, it reconstructs the career trajectories of some of Goldoni’s contemporaries, including Marmontel, Sedaine, and Riccoboni, examining how their involvement in theatrical and non-theatrical enterprises contributed to their social and financial position by earning them money and/or cultural capital in high or low circles. This analysis suggests that the Comédie-Italienne provided a more commercial alternative to its French counterpart, but also reveals the extent to which literary consecration of dramatic authors was enacted outside of the theatres altogether.
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28

Miller, John A. Historic Theaters of New York's Capital District. The History Press, 2018.

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29

Ng, Wing Chung. Urbanization of Cantonese Opera. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039119.003.0003.

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This chapter details the urban shift of Cantonese opera after the turn of the century, when a new kind of troupe came into being. These were the famous Sheng Gang ban, so named because these companies (ban) performed almost exclusively in the theaters of the twin cities in South China. The first part traces the process of urbanization to two developments underlying the formation of Sheng Gang ban: the beginning of commercial theater houses in Hong Kong and Guangzhou, and the involvement of merchant capital in the theater business in the form of an opera business house ( xiban gongsi). The second half of the chapter offers a close-up analysis of these Sheng Gang troupes, from 1919 to the outbreak of the General Strike in Hong Kong in the summer of 1923. Available information, especially in daily newspaper advertisements, allows us to put together a detailed picture of these opera troupes for the first time. The records show a dynamic performance community that undertook ongoing adaptation to the urban milieu, and they enable us to appraise the major aesthetic, business, and institutional outcomes.
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30

Grand Theatre and Opera North: Review of capital development plans : final report, February 2001. London: AEA Consulting, 2001.

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31

White, Frank, Alex Kayne, and Jay Jay French. Amour: Rock Capital of B'Klyn. Rare Bird Books, 2018.

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32

Brau, Lorie. Soba, Edo Style. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190240400.003.0004.

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This chapter explores the Edo period (1603–1868), which eclipsed the imperial capital at Kyoto in cultural production over the course of the era. It examines the centrality of soba, or buckwheat noodles, in the culinary identity of Edo commoners who idealized iki, an attitude and aesthetic of “cool chic.” Deriving popular cultural references to soba from kabuki theater, literature, and rakugo storytellers, the chapter demonstrates how soba helped dispel culinary inferiority in relation to the imperial capital and became an important symbol of Edo identity. It also provides insights on the activities and preferred criteria of soba connoisseurs today.
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33

Glasgow, Cultural Capital of Europe 1990: The royal inauguration of Glasgow as Cultural Capital of Europe : King's Theatre, Glasgow, Friday 2nd March 1990. [Glasgow]: [Glasgow District Council], 1990.

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34

Magnusson, Lynne. Shakespearean Tragedy and the Language of Lament. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.8.

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This chapter identifies the passionate lament as one of the characteristic speech genres of tragedy. It suggests that Shakespeare’s exploratory engagement with the rhetoric of grief is as important as his interest in the soliloquy, the speech genre more usually cast as the typifying linguistic innovation of his tragedies. Five aspects of this rhetoric of grief are addressed in turn by means of examples drawn from Titus Andronicus, Richard III, Hamlet, and the Quarto Lear: that is, (1) the lament as grandiloquent set speech developing conventions from Seneca and Elizabethan dramatic tradition, (2) as occasion for copious variation and oratorical persuasion developing the educational capital of grammar-school rhetorical training, (3) as dialogic interaction exploring a potentially transformative pragmatics of pity or sympathetic identification, (4) as imitated passion of classical predecessors creating effects of individuated subjectivity, and (5) as transaction with the theatre audience.
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35

Da Costa, Dia. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040603.003.0001.

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This chapter introduces transnational feminist and affect theory frameworks, two activist troupes, and key concepts of sentimental capitalism and hunger called theater to argue the significance of analyzing a global discursive regime of creative economy policy within the same analytical frame as activist performance. Highlighting recent articulations, affects, and contradictions of Indian creative economy policy, it presents shifting discursive and political histories. Rather than focusing on capital-rich cultural production, it makes a case for attending to unrecognized creativity within activist performance whilst analyzing the latter’s messy collaborations with hegemonic regimes of creativity. Outlines the book’s organization: Part 1 historically and spatially locates a global discursive regime in India, Ahmedabad, and Delhi; Parts 2 and 3 are ethnographies of the two troupes.
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36

Council, Glasgow (Scotland) District, and Strathclyde (Scotland) Regional Council, eds. An International dance gala: To mark the royal inauguration of Glasgow as cultural capital of Europe 1990, Theatre Royal 2nd March 1990. Glasgow: [The Councils], 1990.

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37

Christoforidis, Michael. Dueling Carmens in Madrid. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195384567.003.0004.

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The notion that Spanish audiences and critics rejected Carmen as an exoticist abomination is interrogated in Chapter 3, which investigates the opera’s arrival in Madrid during the 1887–88 season, and its ultimate embrace by local audiences. Carmen’s debut in the Spanish capital was surrounded by controversies, including a protracted legal dispute over performance rights between Madrid’s two leading lyric theaters, the Teatro Real and the Teatro de la Zarzuela. These events coincided with significant debates over Spanish cultural identity, and the translation of Carmen into Spanish for adaptation as a zarzuela exposed the fault lines between Bizet’s vision of Spain and local concerns about self-representation.
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38

Christoforidis, Michael. Premiere and Revival. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195384567.003.0002.

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Carmen’s 1875 premiere at the Opéra-Comique was an unauspicious launch for a work that became Bizet’s most famous opera. Its controversial subject, Célestine Galli-Marié’s realist performance of the eponymous heroine, and surrounding politics all contributed to the work’s initial failure. Despite this, Carmen quickly became established in theaters around the world, leading to a triumphant revival when Galli-Marié finally returned to the role in Paris in 1883. This chapter examines connections between the opera’s changing fortunes in Paris and a range of issues related to Spain. It explores how fresh notions of local color, including the phenomenal success of the estudiantinas from 1878, transformed the landscape of Spanishness in the French capital at this time.
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39

Hamera, Judith. Unfinished Business. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199348589.001.0001.

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Unfinished Business argues that Michael Jackson and Detroit, both as material entities with specific histories and as representations with uncanny persistence, have something valuable to teach us about three decades of structural economic transition in the United States, and particularly about the changing nature of work and capitalism between the mid-1980s and 2016. They teach us about the racialization and aesthetics of these changes, how they operate as structures of feeling and representations as well as shifts in the dominant mode of production, and about how industrialization’s successor mode, financialization, uses imagery both very similar to and very different from that of its predecessor. The book uses the methods of performance studies to advance three major points. First, figural economies of tropes, dance and theater conventions, and actual performances shape and reflect the ways structural economic change in the United States between the mid-1980s and 2016 congeals into public spectacles, circulates through a wide variety of media, and offers “lessons” to be learned about normative and aberrant relations to capital in transitional times. Second, Michael Jackson and Detroit illuminate the operations of these figural economies with special clarity. Third, Jackson’s and Detroit’s figural potential resides in their capacities to both complicate and bring fictive coherence to the intertwining of race, work, and capital in this period. Sites examined include Jackson’s performances, media coverage of his life, plays featuring Detroit, plans for the city’s postindustrial revitalization, and Detroit installations the Heidelberg Project and Mobile Homestead.
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40

Rocca, Cristina La. An Arena of Abuses and Competing Powers. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777601.003.0017.

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Using Cassiodorus’s Variae (537–40), this chapter deals with Rome and its controversial image through one very important aspect of Theoderic’s political activity, his building policy. While in the case of other Italian cities, especially Theoderic’s capital, Ravenna, Cassiodorus’s letters emphasized the efficiency of building activity in terms of obedience to the king’s orders, in Rome Theoderic’s building activity is used to show local resistance. This group dealt with the repression of frequently occurring abuses, such as the misappropriation by private citizens of public building structures and of their ornaments, as well as the appropriation by private individuals of the funds allocated by public authority for the restoration of buildings in the city. Furthermore, it is only in the case of Rome that we see these letters having direct counterparts in the authorizations given by the king to private individuals to build new private buildings on what had previously been public monumental sites, even including an order to Symmachus to restore Pompey’s theatre. The panorama in Rome was therefore much more controversial than in other Italian cities, and it allows us to grasp not only the efficacy of Theoderic’s control over building, but also the difficulties he faced and the strategies he employed to create consensus in a controversial context.
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41

Financial management: Theater missile defense cooperation account. Washington, D.C. (P.O. Box 37050, Washington 20013): The Office, 1995.

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42

Office, General Accounting. Financial management: Theater Missile Defense Cooperation account. Washington, D.C: The Office, 1995.

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43

Petrovici, Norbert, Codruța Mare, and Darie Moldovan. The Economy of Cluj. Cluj-Napoca and the Cluj Metropolitan Area: The development of the Local Economy in the 2008-2018 decade. Presa Universitară Clujeană, 2021. http://dx.doi.org/10.52257/9786063710445.

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Over the last decade, globalization processes have intensified, and as such, global organizations relocated their secondary processes to new spaces specialized in operations (Peck 2018; Oshri, Kotlarsky, and Willcocks 2015). Most of the processes that are being externalized are Business Process Outsourcing (BPO) and Information Technology Outsourcing (ITO) (Oshri, Kotlarsky, and Willcocks 2015). The global outsourcing hotspots are India, China and the Philippines, that concentrate over 80% of outsourced processes. At European level, Central and Eastern Europe has capitalized most of the outsourcing in the West, particularly in regards to German capital (Marin 2018; Dustmann et al. 2014). Almost half (45.4%) of the total foreign investments of German companies is outsourced to Central and Eastern Europe. In Romania 63.7% of the German foreign investments are processes that were outsourced to our country (Marin, Schymik, and Tarasov 2018). As Peck (2018) points out, the logic behind the process is finding the cheapest labor force pools. Initially, outsourcing was focused on industrialized labor, however, now it is mostly skilled and highly skilled workforce that is being outsourced (Pavlínek 2019). Even if it is work performed by white collars, it has a high level of repetitiveness; however, in sectors such as IT there are also R&D operations (Oshri, Kotlarsky, and Willcocks 2015). Cluj is an example of a city whose local economy and workforce composition changed dramatically after the 2008-2010 financial crisis. The city is one of the Central and Eastern European hubs that benefited from the globalization of outsourcing operations. In particular, Cluj-Napoca excels in four transnational fields: Information & Communications Technology, Business Support Services, Engineering, Research & Development and Financial Services. In 2018, Cluj-Napoca was one of the most developed cities in the European Union in the GDP per capita group 19.000 – 27.000 at Purchasing Power Parity, cities that made a credible commitment at European level to promote knowledge, culture and creativity. In particular, participation in global production chains has generated the emergence of two types of internal markets: An internal market for the well-paid labor force employed in internationalized sectors that consumes a series of dedicated products and services: hospitality (restaurants, cafes, bars), food stuffs (meat products, pastries, premium alcoholic products), lifestyle services (hair salons , spas, gyms), cultural services (festivals, theatres, operas), location services (real estate services, interior design services, furniture manufacturing services). A set of markets that serve the global capital in reproducing their location (cleaning services, security, construction of type A office buildings, human resources). Both domestic and internationalized markets are responsible for the impressive development of the city between 2008 and 2018. The GDP of the Cluj Metropolitan Area and the private revenues of companies have doubled in the last decade.
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44

Norpoth, Helmut. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882747.003.0008.

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On the day Franklin Roosevelt died, as reported on the front page of the New York Times, the “armies and fleets under his direction as Commander in Chief were at the gates of Berlin and the shores of Japan.”1 That very day, April 12, 1945, soldiers of the Ninth Army surged to within fifty miles west of Berlin, with the Russians closing in on the German capital from the east. In the Pacific, the First Marine Division, along with other elements of the largest amphibious task force assembled in that theater of operation, had just landed on the island of Okinawa, commencing the final battle against Japanese forces. Victory over Germany and Japan was in sight. In the last poll that probed the president’s approval before his death, he stood tall in the estimate of the American people: 71 percent approved of the way he handled his job. It is a rating that, through nearly three-quarters of a century since then, none of his successors, from Truman to Obama, has come close to at the end of his tenure. It is doubtful that any of FDR’s predecessors, except for Washington and Lincoln, and perhaps Theodore Roosevelt, left office on such a high note either....
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45

Moss, Eloise. Night Raiders. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840381.001.0001.

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Night Raiders: Burglary and the Making of Modern Urban Life in London, 1860–1968 is the first history of burglary in modern Britain. Until 1968, burglary was defined in law as occurring only between the ‘night-time’ hours of nine p.m. and six a.m. in residential buildings. Time and space gave burglary a unique cloak of terror, since burglars’ victims were likely to be in the bedroom, asleep and unawares, when the intruder crept in, prowling near them in the darkness. Yet fear sometimes gave way to sexual fantasy. Eroticized visions of handsome young thieves sneaking around the boudoirs of beautiful, lonely heiresses emerged alongside tales of violence and loss in popular culture, confounding social commentators by casting the burglar as criminal hero. Night Raiders charts how burglary lay historically at the heart of national debates over the meanings of ‘home’, experiences of urban life, and social inequality. This book explores intimate stories of the devastation caused by burglars’ presence in the most private domains, showing how they are deeply embedded within broader histories of capitalism and liberal democracy. The fear and fascination towards burglary were mobilized by media, state, and market to sell insurance and security technologies, whilst also popularizing the crime in fiction, theatre, and film. Cat burglars’ rooftop adventures transformed ideas about the architecture and policing of the city, and post-war ‘spy-burglars’ theft of information illuminated Cold War skirmishes across the capital. More than any other crime, burglary shaped the everyday rhythms, purchases, and perceptions of modern urban life.
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46

Robinson, Robb. Fishermen, the Fishing Industry and the Great War at Sea. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941756.001.0001.

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Recent discussion, academic publications and many of the national exhibitions relating to the Great War at sea have focused on capital ships, Jutland and perhaps U-boats. Very little has been published about the crucial role played by fishermen, fishing vessels and coastal communities all round the British Isles. Yet fishermen and armed fishing craft were continually on the maritime front line throughout the conflict; they formed the backbone of the Auxiliary Patrol and were in constant action against U-boats or engaged on unrelenting minesweeping duties. Approximately 3000 fishing vessels were requisitioned and armed by the Admiralty and more than 39,000 fishermen joined the Trawler Section of the Royal Naval Reserve. The class and cultural gap between working fishermen and many RN officers was enormous. This book examines the multifaceted role that fishermen and the fish trade played throughout the conflict. It examines the reasons why, in an age of dreadnoughts and other high-tech military equipment, so many fishermen and fishing vessels were called upon to play such a crucial role in the littoral war against mines and U-boats, not only around the British Isles but also off the coasts of various other theatres of war. The book analyses the nature of the fishing industry's war-time involvement and also the contribution that non-belligerent fishing vessels continued to play in maintaining the beleaguered nation's food supplies.
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47

Holmes, Sean P. Protecting the High-Minded Actor and the High-Minded Manager in Equal Part. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0005.

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This chapter examines the long-term implications of the unionization of the legitimate theater. It begins with an analysis of the debate that took place within the Actors' Equity Association (AEA) in the early 1920s over where in labor's many-mansioned house its members should reside. Equity leaders distanced themselves not only from the radicalism of the left but also from the “pure-and-simple” craft unionism that was the bedrock of the American Federation of Labor, equating it with wage scales that were set without regard for merit and a closed-shop tradition that restricted access to unionized trades. What they embraced as an alternative was a peculiarly theatrical brand of occupational unionism that emphasized the occupational identity of the actor, as opposed to bread-and-butter issues like wages and hours, and tied union power to control over those within the occupation. The chapter then explains how the AEA secured its position as a permanent feature of the theatrical landscape at a time when, in all but a handful of industries, organized labor was in retreat. It locates the explanation in the dynamics of the theatrical economy, arguing that the industry's increasing reliance on outside capital meant the big producers could ill afford interruptions to production and had much to gain from cooperating with a union that had promised to deliver a compliant theatrical workforce. The final section documents the efforts of the AEA to deliver on its founders' pledge that it would “protect the high-minded actor and the high-minded manager in equal part.”
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48

Watts-Cartwright, Peg. Chasing Venus. PublishAmerica, 2004.

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49

M, Muradov Sh, and İqtisadiyyat İnstitutu (Azärbaycan Milli Elmlär Akademiyası), eds. Azärbaycanda sahibkarlıgın inkişafının bazar mexanizmläri. Bakı: Elm, 2008.

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50

Labyrinths: Selected Stories & Other Writings. New York: New Directions, 2007.

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