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Books on the topic 'Drama collaboration'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Textual intercourse: Collaboration, authorship, and sexualities in Renaissance drama. Cambridge: Cambridge University Press, 1997.

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2

The six dilemmas of collaboration: Inter-organisational relationships as drama. Chichester: Wiley, 2003.

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3

Salter, Brent. Copyright, collaboration and the future of dramatic authorship. Strawberry Hills, N.S.W: Currency House, 2009.

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4

Copyright, collaboration and the future of dramatic authorship. Strawberry Hills, N.S.W: Currency House, 2009.

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5

Joint enterprises: Collaborative drama and the institutionalization of the English Renaissance theater. Amherst: University of Massachusetts Press, 2004.

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6

Theatre in pieces: Politics, poetics, and interdisciplinary collaboration : an anthology of play texts 1966 - 2010. London: Methuen Drama, 2011.

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7

Theatre as witness: Three testimonial plays from South Africa : in collaboration with and based on the lives of the original performers. London: Oberon Books, 2008.

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8

Rizk, Beatriz J. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.

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9

Enrique, Buenaventura, Buenaventura Enrique, and Vidal Jacqueline, eds. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.

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10

Rizk, Beatriz J. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.

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11

Hope, Jonathan. The authorship of Shakespeare's plays: A socio-linguistic study. Cambridge: Cambridge University Press, 1994.

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12

The performer's guide to the collaborative process. Portsmouth, NH: Heinemann, 2001.

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13

Laere, Stefaan van. Een klein dorp, een zware tol: Het drama van collaboratie en verzet in Meensel-Kiezegem. Antwerpen: Manteau, 2004.

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14

Dessì, Giuseppe, and Raffaello Delogu. Lettere 1936-1963. Edited by Monica Graceffa. Florence: Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-162-1.

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Author of Architettura del medioevo in Sardegna which won him the Premio Nazionale Olivetti in 1956, Raffaello Delogu was an art historian and Commissioner for Antiquities and Monuments in Sardinia, Abruzzo and Sicily. His correspondence with one of the most eminent Italian writers of the second half of the twentieth century, as transcribed and lavishly annotated here by Monica Graceffa, reveals him not only as a committed intellectual devoted to the study of ancient and modern art, but also as a caustic and playful friend. His dialogue with Giuseppe Dessí commenced in their youth, when Dessí was an amateur painter on the way to maturity, who instead rapidly developed into a mature writer and attentive connoisseur of all forms of art. In addition to their studies and mutual friends (including Claudio Varese and Maria Lai), they also shared an interest in painting and in what Dessí was experiencing (his moves, his political passion) and what he was writing (fiction, drama, essays); important in this regard are the letters touching on the collaboration of both on the Sardinian issue of Pietro Calamandrei's «Il Ponte».

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15

Finkelpearl, Philip J. Court and country politics in the plays of Beaumont and Fletcher. Princeton, N.J: Princeton University Press, 1990.

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16

Paul Claudel et la rénovation du drame musical: Etude de ses collaborations avec Darius Milhaud, Arthur Honegger, Paul Collaer, Germaine Tailleferre, Louise Vetch. Sprimont: Mardaga, 2004.

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17

B, Yeats W. Collaborative one-acts plays, 1901-1903: Cathleen ni Houlihan, The pot of broth, The country of the young heads or harps : manuscript materials. Ithaca, NY: Cornell University Press, 2006.

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18

Shakespeare and Manuscript Drama: Canon, Collaboration and Text. Cambridge University Press, 2016.

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19

Purkis, James. Shakespeare and Manuscript Drama: Canon, Collaboration and Text. Cambridge University Press, 2018.

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20

Collaboration and Taking Sides. Faber & Faber, Limited, 2008.

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21

Bryant, Jim. Six Dilemmas of Collaboration: Inter-Organisational Relationships As Drama. Wiley & Sons, Incorporated, John, 2010.

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22

Bryant, Jim. Six Dilemmas of Collaboration: Inter-Organisational Relationships As Drama. Wiley & Sons, Incorporated, John, 2003.

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23

1958-, Barton Bruce, ed. Collective creation, collaboration and devising. Toronto: Playwrights Canada Press, 2008.

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24

Dudley, Cocke, Porterfield Donna, and Wemytewa Edward, eds. Journeys home: Revealing a Zuni-Appalachia collaboration. Zuni, N.M: Zuni A:shiwi Pub., 2002.

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25

(Foreword), Gregory Cajete, Dudley Cocke (Editor), Donna Porterfield (Editor), and Edward Wemytewa (Editor), eds. Journeys Home: Revealing a Zuni-Appalachia Collaboration. Zuni A:shiwi Publishing, 2002.

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26

Ferdinand, Lewis, ed. Ensemble works: An anthology. New York: Theatre Communications Group, 2005.

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27

Middleton and Rowley: Forms of Collaboration in the Jacobean Playhouse. University of Toronto Press, 2012.

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28

Warner, Jim, and Kaley Klemp. Drama-Free Office: A Guide to Healthy Collaboration with Your Team, Coworkers, and Boss. Greenleaf Book Group, 2011.

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29

Elements of linkage in drama implementation: An investigation of teacher / facilitator collaboration and the integration of drama andanti-racist education in elementary teacher drama inservice. Ottawa: National Library of Canada, 1993.

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30

Youssef, Marcus, Al Etmanski, and Niall McNeil. King Arthur's Night and Peter Panties: A Collaboration Across Perceptions of Cognitive Difference. Talonbooks, Limited, 2018.

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31

Hladki, Janice. Elements of linkage in drama implementation: An investigation of teacher / facilitator collaboration and the integration of drama and anti-racist education in elementary teacher drama in-service. 1993.

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32

Lynn, Ahrens, and Viagas Robert, eds. The alchemy of theatre: The divine science : essays on theatre & the art of collaboration. New York: Playbill Books, 2006.

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33

Allen, David. Powerful Teacher Learning: What the Theatre Arts Teach about Collaboration. Rowman & Littlefield Publishers, Incorporated, 2013.

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34

Allen, David. Powerful Teacher Learning: What the Theatre Arts Teach about Collaboration. Rowman & Littlefield Publishers, Incorporated, 2013.

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35

Irène, Mamczarz, ed. Dramaturgie et collaboration des arts au théâtre: Actes du 4e séminaire international, Paris-Fontainebleau-Versailles, 24.XI.-4.XII. 1988. [Firenze]: Leo S. Olschki editore, 1993.

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36

Uniwersytet Wrocławski im. Boleslawa Bieruta., ed. Le Texte dramatique, la lecture et la scène: Actes du colloque organisé par l'Université de Wrocław et l'Université de la Sorbonne nouvelle, Paris III, en collaboration avec d'autres universités polonaises et étrangères : Karpacz, les 29 avril-3 mai 1984. Wrocław: Wydawnictwo Universytetu Wrocławskiego, 1986.

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37

Leong, Daphne. Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.001.0001.

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This book brings a theorist and performers together to examine the interface of analysis and performance in music of the twentieth century. Nine case studies, of music by Ravel, Schoenberg, Bartók, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris, are co-authored with performers (or composers) of those works. The case studies revolve around musical structure, broadly defined to comprise relations among parts and whole created in the process of making music, whether by composers, performers, listeners, or analysts. Knowledge that is produced in the course of relating analysis and performance is conceived in three dimensions: wissen, können, and kennen. The collaborative process itself is viewed through three constructs that facilitate cross-disciplinary collaboration: shared items, shared objectives (activity objects and epistemic objects), and shared agents. The book’s collaborations “thicken” the description of analysis and performance by illuminating key issues around (a) the implicit identity of a work: the role of embodiment, the affordances of a score, the cultural understanding of notation; (b) the use of metaphor in interpretation: here metaphors of memory, of poetry, and of ritual and drama; and (c) the relation of analysis and performance itself: its antagonisms, its fusion, and—rounding out the perspectives of theorist and performer with those of composer and listener—the role of structure in audience response. Along with these broader insights, each collaboration exemplifies processes of analysis and of performance, in grappling with and interpreting particular pieces. Video performances, demonstrations, and interviews; audio recordings; and photographs partner with the book’s written text.

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38

John, Ayers, ed. Drama days: Collaborative history teaching. Trowbridge: Wiltshire County Council, 1990.

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39

Farida, Chami, Massaïa Ahmed, Oufrid Benhammou, and Jāmiʻat al-Ḥasan al-Thānī. Kullīyat al-Ādāb wa-al-ʻUlūm al-Insānīyah bi-al-Muḥammadīyah., eds. Théâtre et éducation: Actes du colloque de Mohammedia : colloque international organisé à la Faculté des lettres et des sciences humaines de Mohammedia, en collaboration avec l'Institut d'art dramatique et d'animation culturelle de Rabat, 10.11.12 novembre 1988. Casablanca, Maroc: Wallada, 1990.

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40

Sylvie, Jouanny, and Université de Paris XII Val-de-Marne. Centre d'études du théâtre., eds. Marginalités et théâtre: Pouvoir, spectateurs et dramaturgie : actes du Colloque international organisé par le Centre d'Études du Théâtre de l'Université de Paris XII (EA 3483, "Poétiques modernes comparées") les 19 et 20 septembre 2002, en collaboration avec l'IUFM de Créteil. [Paris]: Nizet, 2003.

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41

Hope, Jonathan. The Authorship of Shakespeare's Plays: A Socio-linguistic Study. Cambridge University Press, 2007.

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42

Publicover, Laurence. Intertheatricality and Propaganda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806813.003.0009.

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This chapter analyses the ways in which the collaborative drama The Travels of the Three English Brothers defends the Sherley brothers’ real-world political endeavours across Europe and Persia through its intertheatrical negotiations. Explaining the political background of those endeavours and their controversial nature, it illustrates how the playwrights liken the Sherleys to the heroes of dramas that had been popular on the early modern stage over the preceding twenty years, in particular Tamburlaine and The Merchant of Venice. It also examines the significance of Francis Beaumont’s specific parody, in The Knight of the Burning Pestle, of an episode in Travels in which the Persian Sophy acts as godfather to the child of Robert Sherley. The chapter concludes with a discussion of the role of playing companies in shaping dramatic output.

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43

Jeffs, Kathleen. Staging the Spanish Golden Age. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.001.0001.

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This book offers first-hand experiences from the rehearsal room of the Royal Shakespeare Company’s 2004–5 Spanish Golden Age season in order to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume proposes translation and communication methodologies that can feed the creative processes of working actors and directors, while maintaining an ethos of fidelity with regards to the original texts. A successful theatrical ensemble thrives on the mingling of these different voices directed towards a common goal. The work carried out during this season has repercussions in the areas comedia critics debate on the page; each of the chapters engages with one area of these overlapping disciplines. Now that the Royal Shakespeare Company’s Spanish Golden Age season has closed, this book posits a model for future productions of the comedia in English, one that recognizes the need for the languages of the scholar and the theatre artist to be made mutually intelligible by the use of collaborative strategies, mediated by a consultant or dramaturg proficient in both tongues. This model applies more generally to theatrical collaborations involving a translator, writer, and director, and is intended to be useful for translation and performance processes in any language.

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44

Platte, Nathan. “Drama Rising like Mighty Music”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0003.

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Selznick’s move to RKO in 1931 brought the producer in contact with music director Max Steiner. Through their collaborative relationship they defined and directed the role of symphonic underscore in Hollywood. This chapter charts their systematic expansion of background scoring within individual films and the extension of this music beyond films in sheet music and concert performances. Special emphasis is placed on Symphony of Six Million (1932) and the “island-adventure trilogy” of Bird of Paradise (1932), The Most Dangerous Game (1932), and King Kong (1933). Tracking music’s role across these four films reveals how Steiner and Selznick’s experimental use of background scoring creatively reworked silent-era musical practices to produce a widely influential scoring model. Selznick’s RKO productions also feature critical but overlooked contributions from orchestrator Bernhard Kaun, sound engineer Murray Spivack, and African-American choral director Clarence Muse.

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45

Shakespeare's Errant Texts: Textual Form and Linguistic Style in Shakespearean 'Bad' Quartos and Co-Authored Plays. University of Cambridge ESOL Examinations, 2010.

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46

Shakespeare's Errant Texts: Textual Form and Linguistic Style in Shakespearean 'Bad' Quartos and Co-Authored Plays. Cambridge University Press, 2013.

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47

Finkelpearl, Philip J. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton University Press, 2016.

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48

Finkelpearl, Philip J. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton University Press, 2014.

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49

Finkelpearl, Philip J. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton University Press, 2014.

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50

Finkelpearl, Philip J. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton University Press, 2014.

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