Books: 'Formative theater'

1

Deak, Frantisek. Symbolist theater: The formation of an avant-garde. Baltimore, Md: Johns Hopkins U. P., 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Symbolist theater: The formation of an avant-garde. Baltimore: Johns Hopkins University Press, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Kuftinec, Sonja. Theatre, facilitation, and nation formation in the Balkans and Middle East. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Olu, Obafemi. Globe formation: Aesthetics and identities through theatre in Africa. [Nigeria]: O. Obafemi, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Kuftinec, Sonja Arsham. Theatre, Facilitation, and Nation Formation in the Balkans and Middle East. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230239449.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Antonucci, Fausta, and Salomé Vuelta García, eds. Ricerche sul teatro classico spagnolo in Italia e oltralpe (secoli XVI-XVIII). Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.

Full text

Abstract:

At the height of its development and up to the eighteenth century, the Spanish classical theatre significantly contributed to the formation of the modern European theatre. Theatre texts and theatrical companies were in fact circulating outside the Iberian peninsula and the Spanish experience of theatre triggered literary debates and reflections that played a central role to the cultural history of Europe, from Neoclassicism to the beginnings of Romanticism. It is a complex phenomenon crossing linguistically and culturally diversified territories, and which therefore needs an inter- and multidisciplinary approach. We tried to respond to this need by involving scholars and researchers in the fields of Hispanic, French, Italian, history of entertainment and musicology for the drafting of this volume.

APA, Harvard, Vancouver, ISO, and other styles

7

Dupuis, Hervé. Les Rôles de l'animateur et de l'animatrice de théâtre: Manuel d'auto-formation. 2nd ed. [Sherbrooke]: Option-théâtre, Département d'études françaises, Faculté des lettres et sciences humaines, Université de Sherbrooke, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Cantarella, Robert. Pour une formation à la mise en scène, manifeste. (Marseille): Entre/Vues, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Tabaki, Anna. Le theatre neohellenique: Genese et formation : ses composantes sociales, ideologiques et esthetiques. Villeneuve d'Ascq: Pr. univ. du Septentrion, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Geldern, James Von. Festivals of the Revolution, 1917-1920: Art and theater in the formation of Soviet culture. Ann Arbor: University Microfilms International, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

11

Ginette, Herry, ed. La formation aux métiers du spectacle en Europe occidentale: Enquête et dossiers. Paris: Klincksieck, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

12

Grote, Georg. Anglo-Irish theatre and the formation of a nationalist political culture between 1890 and 1930. Lewiston, N.Y: Edwin Mellen Press, 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

13

Theater state and the formation of early modern public sphere in Iran: Studies on Safavid Muharram rituals, 1590-1641 CE. Leiden: Brill, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

14

Maria, Sinibaldi Anna, and Partito comunista italiano. Sezione spettacolo., eds. Teatro, scuola e centri multimedia in un sistema formativo integrato: Dipartimento culturale del PCI, Roma, Accademia filarmonica romana, 27-28 giugno 1984. Roma: Bulzoni, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

15

Pollmann, Inga. Cinematic Vitalism. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983656.

Full text

Abstract:

This book argues that there are constitutive links between early twentieth-century German and French film theory and practice, on the one hand, and vitalist conceptions of life in biology and philosophy, on the other. By considering classical film-theoretical texts and their filmic objects in the light of vitalist ideas percolating in scientific and philosophical texts of the time, Cinematic Vitalism reveals the formation of a modernist, experimental and cinematic strand of vitalism in and around the movie theater. The book focuses on the key concepts including rhythm, environment, mood, and development to show how the cinematic vitalism articulated by film theorists and filmmakers maps out connections among human beings, milieus, and technologies that continue to structure our understanding of film.

APA, Harvard, Vancouver, ISO, and other styles

16

Ilche mal ch'inil mokchŏkkŭk ŭi hyŏngsŏng kwa chŏn'gae: The formation and development of pro-Japanese drama. Sŏul-si: Somyŏng Ch'ulp'an, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

17

Dessì, Giuseppe. Diari 1949-1951. Edited by Franca Linari. Florence: Firenze University Press, 2010. http://dx.doi.org/10.36253/978-88-6453-055-0.

Full text

Abstract:

From a tender age Giuseppe Dessí was in the habit of entrusting to private writings the unquiet story of his formation, recording against the background of significant vital abodes the events of his life, his reading and his encounters … Franca Linari, who has for some time been studying the relations between the writing of diaries and narrative composition, after the critical edition of the Diaries 1926 –1931 and 1931–1948 (Roma, Jouvence, 1993 and 1999), is now proposing this new collection, philologically impeccable and attentively annotated, which makes it possible to reappraise years subjectively rich in changes and in artistic creation (in the form of stories, work for the theatre, collaboration with important journals), in the cultural and political climate of post-war Italy.

APA, Harvard, Vancouver, ISO, and other styles

18

Anderson, Barbara Marlene. Puppetry in the second language classroom: A formative evaluation of the relationship between puppetry and the instruction of English as a second language to native Ojibway primary school children. [San Rafael, Calif.]: Faculty of the School of Arts and Sciences, Columbia Pacific University, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

19

(Marii︠a︡), Knebelʹ M., ed. A director's guide to Stanislavsky's active analysis: Including the formative essay on active analysis by Maria Knebel. Methuen Drama, 2016.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

20

Gordon, Robert. Introduction. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0028.

Full text

Abstract:

This book examines how Stephen Sondheim’s work with several collaborators has altered the course of musical theater history in the United States. Consisting of twenty-seven chapters, it considers problematic questions of authorship within the framework of Broadway musical theater, focusing on intertextuality, direct influence, and original innovation. It discusses how Sondheim has integrated his aesthetic ideals and the postmodern sensibility informing his musicals, fromCompanytoRoad Show, with the commercial values of the Broadway musical. It also looks at Oscar Hammerstein II’s formative influence as mentor to the young Sondheim, the reorchestration of Sondheim’s musicals for different (and smaller) groups of musicians, the notion of the musical as a performance event, the politics of Sondheim performance in the United States, Sondheim’s interest in and sensitivity to audiovisual media such as cinema and television, and his subtle and often ironic exploitation of pastiche and parody. Furthermore, the book addresses questions of cultural, political, and personal identity posed by Sondheim’s musicals in the context of contemporary American society.

APA, Harvard, Vancouver, ISO, and other styles

21

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

22

Theatre, Facilitation, and Nation Formation in the Balkans and Middle East (Studies in International Performance). Palgrave Macmillan, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

23

Smith, Matthew Wilson. The Nervous Stage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190644086.001.0001.

Full text

Abstract:

Theater and neuroscience: What could these two have in common? What could their historical developments tell us about modernity and the modern subject? The Nervous Stage argues that, to a significant degree, modern theater emerged out of a dialogue with the neurological sciences. Beyond this, the book demonstrates that an understanding of this dialogue sheds new light on the emergence of modern notions of embodiment and subjectivity. This wide-ranging study encompasses artists as diverse as Joanna Baillie, Percy Shelley, Georg Büchner, Charles Dickens, Richard Wagner, Émile Zola, August Strindberg, and Antonin Artaud—and recreates their conversations with a wide range of nineteenth-century neurologists. It is during the nineteenth century that the conception of the subject as essentially nervous went through what was its most intense period of formation and development, and thus it is during the same century that we discover the formation of a subject largely comprehensible, interpretable, and transformable through neurophysiological networks. This subject was magnetic; felt vibrations; was thrilled, electrified, and shocked; became hysterical; succumbed to neurasthenia and was re-energized. It was a site for the influx and efflux of nervous sensations, a site that was also understood as a subjectivity, a personality, and a person. Working between disciplines of theater studies and medical history, the book ultimately describes the formation of a new idea of personhood. We are already neural subjects, the book suggests, and have been for a long time.

APA, Harvard, Vancouver, ISO, and other styles

24

Holmes, Sean P. The Great Text in Our Economy Today. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0002.

Full text

Abstract:

This chapter explores the origins of the organizational impulse that animated the American acting community in the early twentieth century. It begins by examining the transformation of the theatrical economy that was brought about by the rise of the theater trusts at the end of the nineteenth century. It goes on to consider production practices in the metropolitan theater industry, highlighting the growing emphasis on rationalization and standardization and exploring how this dual imperative impacted upon the creative process. It also looks at the experience of work in the early twentieth-century theater, documenting conditions on the theatrical shop floor and highlighting the role of race, ethnicity, and gender in determining the degree of opportunity available to individual performers. The chapter argues that while actors undoubtedly had grievances against their employers, the theater trusts had actually done a great deal to improve their lot by stabilizing a notoriously volatile employment market. The formation of the Actors' Equity Association in 1913 had less to do with conditions of employment than with a perception on the part of an influential section of the acting community that it had relinquished its accustomed autonomy to a group of employers whom they held responsible for declining standards in the theater.

APA, Harvard, Vancouver, ISO, and other styles

25

Ng, Wing Chung. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039119.003.0001.

Full text

Abstract:

This introductory chapter sets out the book's purpose, which is to chart the historical formation Cantonese opera. It aims to fill a significant gap in the historical literature that has decidedly favored the kunqu style of local musical drama and Peking opera. The most recent publications on traditional theater, either in Chinese or English, have largely continued this trend. The existing literature remains modest for Cantonese opera, even though its significance as a foundation for this study is self-evident. It is hoped that this book will inspire a reimagination of China's theater scene to become more cognizant of other regional genres and inclusive of their complex and particular histories. An overview of the subsequent chapters is also presented.

APA, Harvard, Vancouver, ISO, and other styles

26

Lanters, José. Thomas Kilroy and the Idea of a Theatre. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.22.

Full text

Abstract:

In the late 1950s Thomas Kilroy wrote a series of formative articles, which collectively form something like a manifesto for Irish theatre since 1960. ‘In the past twenty years,’ Kilroy wrote in ‘Groundwork for an Irish Theatre’, ‘few Irish dramatists have been in any way exciting technically.’ Responding to Hugh Leonard’s scenographically originalStephen D(1962) and Brian Friel’s experiments with memory and subjectivity inPhiladelphia, Here I Come!(1964), Kilroy answered his own challenge in the innovative form and subjects of his drama: the metatheatrical history playThe O’Neill(1969); the radical treatment of the then taboo theme of homosexuality inThe Death and Resurrection of Mr Roche(1968); the surrealTea and Sex and Shakespeare(1976); and the brilliantly inventive use of scenic space in the dramatization of the life of Matt Talbot inTalbot’s Box(1977).

APA, Harvard, Vancouver, ISO, and other styles

27

Jouve Martin, José R., and Stephen Wittek, eds. Performing Conversion. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474482721.001.0001.

Full text

Abstract:

This volume asks, how did theatrical practice shape the multiplying forms of conversion that emerged in early modern Europe? Each chapter focuses on a specific city or selection of cities, beginning with Venice, then moving to London, Mexico City, Tlaxcalla, Seville, Madrid, Amsterdam, Zürich, Berne, and Lucerne (among others). Collectively, these studies establish a picture of early modernity as an age teeming with both excitement and anxiety over conversional activity. In addition to considering the commercial theatre that produced professional dramatists such as Lope de Vega and Thomas Middleton, the volume surveys a wide variety of other kinds of theatre that brought theatricality into formative relationship with conversional practice. Examples range from civic pageantry in Piazza San Marco, to mechanical statues in Amsterdam’s pleasure labyrinths, to the dramatic dialogues performed by students of rhetoric in colonial Mexico. As a whole, the volume addresses issues of conversion as it pertains to early modern theatre, literature, theology, philosophy, economics, urban culture, globalism, colonialism, trade, and cross-cultural exchange.

APA, Harvard, Vancouver, ISO, and other styles

28

Saha, Sharmistha. Theatre and National Identity in Colonial India: Formation of a Community through Cultural Practice. Springer, 2018.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

29

Smith, Matthew Wilson. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190644086.003.0001.

Full text

Abstract:

How did we come to think of ourselves not as souls and minds but as nerves and brains? The answer this book gives is a history of the neural subject—that is, a history of a subject understood as primarily and essentially a nervous system. The earliest formation of the neural subject lies at least as far back as Thomas Willis’s Pathology of the Brain, published in 1667, but it is above all during the nineteenth century that the discourse of nerves became foundational for myriad and not always compatible institutions and practices. One of the central institutions in the nineteenth-century rise of the neural subject was the theater, which, because of its peculiarly embodied and social nature, was one of the central sites for the staging and the formation of this subject.

APA, Harvard, Vancouver, ISO, and other styles

30

Rahimi, Babak. Theater State and the Formation of Early Modern Public Sphere in Iran: Studies on Safavid Muharram Rituals, 1590-1641 CE. BRILL, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

31

Wilks, Timothy. Poets, Patronage, and the Prince’s Court. Edited by Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.10.

Full text

Abstract:

This chapter examines Prince Henry’s emergent court during the years 1603 to 1612. It traces the development of a court culture that drew upon the contingent spheres of London publishing and public theatre to express the interests and ambitions of the prince’s circle. Both the patronage of writers and the establishment of libraries are presented as priorities of the court in its formative years. Shakespeare’s tragicomedies, all written in this period, respond to the interests in exploration, colonization, British identity and heritage being strongly advanced at Henry’s court; though unlike Jonson, Shakespeare appears not to have written for Henry. After Henry’s death, Protestant pastoral, having, in the Jacobean age, briefly found a court with which it could sympathize, is seen to change into an opposition poetry.

APA, Harvard, Vancouver, ISO, and other styles

32

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Prose and drama. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0036.

Full text

Abstract:

A central theme of narrative prose and dramatic theater remained the conflict between an individual and society, increasingly specified as the clash of a man or woman with ongoing historical destruction. Prose and drama, like poetry, tested the formation of new subjectivities in response to historical catastrophe. Alongside the manifestations of Socialist Realism and its derivatives, the century-long evolution of the utopian/dystopian is traced. Attention is paid to the aesthetics of the grotesque and to the poetics of skaz, to an emerging trend of existentialist narrative and the flourishing women’s prose. Also important is the quasi-fictional mode best described as “in-between prose.” The continuous exploration of identity through changing literary genres, including resurgent modernist forms, runs through the diverse case studies.

APA, Harvard, Vancouver, ISO, and other styles

33

Da Costa, Dia. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040603.003.0010.

Full text

Abstract:

The conclusion draws out main findings and contributions of a book that provides historical, spatial and ethnographic specificity to creative economy discourses and their critiques. It calls for provincializing creative economy discourses everywhere that they circulate; charting out and seeing the relational constitution of what counts as creativity in hegemonic and unrecognized creative practices; and attending to a visceral materialism that traces the complex formation of embodied knowledge produced in structures of production, rule and feeling. Ultimately, the praxis of the two troupes and the creative, transformative potential embedded in their suffering, despair and pessimism not only indicates and explains their hunger called theater, it also reminds us to reimagine creative economy in the image of creativity rather than the other way around.

APA, Harvard, Vancouver, ISO, and other styles

34

McGrath, Aoife. “Do You Want to See My Hornpipe?” Creativity and Irish Step Dance in the Work of Jean Butler and Colin Dunne. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.017.

Full text

Abstract:

This chapter considers the radical reimaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne, in which the Irish step-dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step-dance technique becomes a springboard for creative experimentation. To consider the importance of the creative potential revealed by these works, this chapter contextualizes them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the “modernization” of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland’s national folk theater, Siamsa Tíre.

APA, Harvard, Vancouver, ISO, and other styles

35

Alain, Porte, Hainaux René, Chevalier Alain 1964-, Pagnoux Michèle, Maison de Polichinelle, Centre international du mouvement scénique., and Centre de recherches et de formation théâtrales en Wallonie., eds. Les fondements du mouvement scénique: Colloque organisé dans le cadre de la Maison de Polichinelle avec la participation du Centre de recherches de la formation corporelle et du mouvement scénique de Moscou (Russie) et du Centre international du mouvement scénique de Liège (Belgique). La Rochelle, France: Rumeur des âges, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

36

Newark, Cormac, and William Weber, eds. The Oxford Handbook of the Operatic Canon. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190224202.001.0001.

Full text

Abstract:

This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany, the Netherlands, Denmark, and Canada. The volume is structured as a series of dialogues: each subtopic is addressed by two essays, introduced jointly by the authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways, for example by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting milieus. Part I consists of a selection of surveys of operatic production and consumption contexts in France, Italy, Germany, England, Russia, and the Americas, arranged in rough order from the late seventeenth century to the late nineteenth century. Part II is a (necessarily) limited sample of subjects that illuminate the operatic canon from different—sometimes intentionally oblique—angles, ranging from the influence of singers to the contiguous genres of operetta and musical theater, and the effects of recording and broadcast over almost 150 years. The volume concludes with two essays written by prominent figures from the opera industry who give their sense of the operatic canon’s evolution and prospects.

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic 'Formative theater'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles