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Books on the topic 'Shared Experience Theatre. Theater'
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Hinrichs, Carl M. The theatre experience: Appreciation of theatre. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1991.
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Text in contemporary theatre: The Baltics within the world experience. Newcastle upon Tyne: Cambridge Scholars Pub., 2013.
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De Spiegel: Theatre architecture as a mirror of experience. Amsterdam: Architectura & Natura Press, 2007.
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Le théâtre universitaire: Pratiques et expériences = The university theatre : practice and experience. Dijon: Éditions universitaires de Dijon, 2013.
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Esterhazy, The Town of. STAGe FRIGHT: The THRILLusion Show! Esterhazy, Canada: The Town of Esterhazy : A Great Community with Great People, 1989.
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Karantonis, Pamela, and Dominic Symonds. Legacy of Opera: Reading Music Theatre As Experience and Performance. Rodopi, 2013.
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Arjun, Ghosh, and Deshpande Sudhanva, eds. Theatre of the streets: The Jana Natya Manch experience. New Delhi: Janam, 2007.
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Volz, Jim. Introduction to Arts Management. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474239820.
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Introduction to Arts Management offers a unique, dynamic and savvy guide to managing a performing or visual arts organization, be that an arts center, theatre, museum, art gallery, symphony orchestra, or other arts company. For those training to enter the industry, workers in arts administration, or those seeking to set up their own company, the wealth of expert guidance and direct, accessible style of this authoritative manual will prove indispensable. Gathering best practices in strategic planning, marketing, fundraising and finance for the arts, the author shares practical, proven processes and valuable tools from his work with over 100 arts companies and professional experience producing over 100 music, dance, theatre and visual arts events. Unique features include: boilerplate guides for marketing and fundraisinga sample Board of Trustee contractspecific budget checklistsday-to-day working tools that can be immediately instituted in any arts organizationresources at the end of each chapter designed to help readers consider and implement the strategies in their own practice. Interviews with arts leaders offer insights into the beginnings and growth of significant arts institutions, while examples based on real situations and successful arts organizations from both North America and Britain illustrate and underpin the strategic and practical advice. Expanded from the author’s highly successful How to Run a Theatre, this edition offers both trainees and seasoned professionals the hands-on strategic leadership tools needed to create, build and nurture a successful career in the challenging world of arts administration and management.
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Knoll, Gillian. Conceiving Desire in Lyly and Shakespeare. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474428521.001.0001.
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Conceiving Desire in Lyly and Shakespeare explores the role of the mind in creating erotic experience on the early modern stage. To “conceive” desire is to acknowledge the generative potential of the erotic imagination, its capacity to impart form and make meaning out of the most elusive experiences. Drawing from cognitive and philosophical approaches, this book advances a new methodology for analysing how early modern plays dramatize inward erotic experience. Grounded in cognitive theories about the metaphorical nature of thought, Conceiving Desire in Lyly and Shakespeare traces the contours of three conceptual metaphors—motion, space, and creativity—that shape erotic desire in plays by John Lyly and William Shakespeare. Although Lyly and Shakespeare wrote for different types of theatres and only partially-overlapping audiences, both dramatists created characters who speak erotic language at considerable length and in extraordinary depth. Their metaphors do more than merely narrate or express eros; they constitute characters’ erotic experiences. Each of the book’s three sections explores a fundamental conceptual metaphor, first its philosophical underpinnings and then its capacity for dramatizing erotic experience in Lyly’s and Shakespeare’s plays. Conceiving Desire in Lyly and Shakespeare provides a literary and linguistic analysis of metaphor that credits the role of cognition in the experience of erotic desire, even of pleasure itself.
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Kim, Christine. National Incompletion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040139.003.0002.
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This chapter examines how the figure of the Asian is currently positioned within the project of Canadian multiculturalism in order to discern how differently racialized bodies experience affective and political citizenship. It critiques the assumption that Asian Canadian publics demand recognition in multicultural terms by turning to two contemporary Asian Canadian texts that explore the unfinished nature of these conversations about race: Theatre Replacement's 2007 production, Bioboxes, and Joy Kogawa's 1995 novel, The Rain Ascends. These texts, as they call for intimacy, demand recognition in different ways: the first forces the audience to be physically conscious of the racialized body with which it shares a confined space, and the second uses the genre of the confessional novel to compel the reader to witness the most mundane and personal details of the narrator's story.
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Sisman, Elaine. Symphonies and the Public Display of Topics. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.004.
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To the multiple audiences for whom Haydn, Mozart, Beethoven, and their contemporaries composed—patrons, publishers, players, and an expanding universe of listeners at different levels of knowledge—symphonies were the ubiquitous markers of public musical life in the later eighteenth century, opening and sometimes closing concerts and theatrical events. To heighten their appeal and intelligibility, classical composers found topics for their symphonies in the expressive worlds of opera and theater, as well as in the realms of human activity in nature, at court, or (less often) in the church. In so doing, they heightened their listeners’ range of musical experiences and the possibility of shared interpretations. Rereading contemporaneous opinion to find surprising topical correlations, this chapter develops an understanding of symphonic topics that draws both on referential musical styles and on the textures and colors of the orchestra itself.
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Winkler, Kevin. Big Deal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.001.0001.
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Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a choreographer, including the various dance influences he absorbed as a young performer. It examines key Fosse dances and contextualizes them across his career. It looks at how he influenced changes in the musical theater, particularly as a director, and how early mentors George Abbott and Jerome Robbins shaped his theatrical outlook. It compares his work to that of peers like Robbins, Gower Champion, Michael Bennett, and others. The book also examines his choreography for film and looks at how his film experiences influenced his stage work. It also considers the impact of his three marriages—all to dancers—on his career. Finally, the book investigates how Fosse’s evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
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White, Bretton. Staging Discomfort. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401544.001.0001.
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Staging Discomfort examines how queer bodies are theatrically represented on the Cuban stage in order to re-evaluate the role of categorization as one of the state’s primary revolutionary tools. These performances concentrate on an aesthetics of fluidity, and thus upset traditional understandings of performer and spectator, and what constitutes the ideal Cuban citizenry. New affective modes are produced when performing bodies highlight—often in uncomfortably intimate, grotesque, or raw ways—the unavoidability of spectators’ bodies, and their capacity for queerness. Here the imagining of new continuities and subjectivities can lead to a reconfiguration of forms of Cuban citizenship. The affective responses from the closeness experienced in the performances in Staging Discomfort are challenges to the Cuban state’s self-designated role as primary provider for the needs of its citizens’ bodies. Through the lens of queer theory, the manuscript explores the body’s centrality to the state’s deployment of fear to successfully marginalize gay life, which this group of works seeks to defuse through an articulation of intimacies, shame, the death drive, cruising, and failure. These affective experiences shape Cuban subjectivities that emerge out of queerness, but whose focus on inclusivity necessarily involves all Cubans. Several of the central questions that guide Staging Discomfort are: How is Cuban theater agile in its critiques considering the state’s limitations on expression? How do queer performances allow for new understandings about the effects of the state’s failing socialist utopian contract with its citizens? And, can Cuban bodies that come together in queer ways re-imagine Cuban citizenship?
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Frazier, Adrian. Irish Acting in the Early Twentieth Century. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.16.
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Frank Fay, with his brother William Fay, were primarily responsible for the development of what became known as the Abbey style of acting, Frank drawing upon his study of the French actor Coquelin and the director André Antoine, William with his experience of acting in fit-up touring companies. This style, conditioned by the limited playing resources available to them, centred on fine speech, teamwork, and restraint. In a later period, after the Fays had left in 1908, the tradition of ensemble playing in a permanent company allowed for the development of fine individual character acting represented by Sara Allgood, F. J. McCormick, and Barry Fitzgerald. The actor-manager Anew McMaster, with his large romantic style, helped to shape the tradition of the otherwise modernist Gate Theatre. Irish acting in the first half of the twentieth century was thus a hybrid compound of many different elements.
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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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Nelles, L. J., Peggy Hamilton, Paul Robert D’Alessandro, Sonia Anne Butterworth, Gerri Frager, Jeremy Rezmovitz, Lu Gao, Suvendrini Lena, and Anna Skorzewska. The Use of Theater with Medical Residents. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190849900.003.0007.
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This chapter looks at the use of theatre as a tool for teaching self-awareness, the effects of bias, the understanding of complex human conditions, empathy, attunement, self-confidence, and decision-making in medical resident education. While more common in undergraduate medical programs and used across the health professions, theatre is emerging as a meaningful tool for education and research in the resident experience. The chapter is set within a performance studies paradigm that includes current understanding of the neuroscientific effect of theater on the body and in relationship, information that provides an explanation of how and why theater is an effective educational tool. It includes a brief literature review and examines four different projects that reflect the ways that theater is being used with Canadian residents in programs across the country.
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Newlin, Nick, and William Shakespeare. Midsummer Night's Dream: Including Stage Directions for All Levels of Experience. Nicolo Whimsey Press, 2010.
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Warfield, Patrick. Into the Pit. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037795.003.0002.
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This chapter details John Philip Sousa's career as a violinist, his earliest efforts as a composer, and his first tours away from Washington as a professional theater musician. By 1874, Sousa had gained at least some experience as a violinist for light opera, the tradition in which he would soon make his mark as an arranger and composer. Sousa also worked at the Washington Theatre Comique. Moreover, he published three works during the early 1970s, all piano pieces on dance forms: Moonlight on the Potomac Waltzes, “Review,” and “Cuckoo.” While Sousa was conducting incidental music for Milton Nobles's play Jim Bludso, or, Bohemians and Detectives—which was presented at Kernan's Theatre Comique between June 21 and June 26, 1875—Nobles was impressed by the young conductor, and a few days later he sent Sousa a telegram asking that he join the troupe on tour. Sousa would then tour the Midwest and the southern United States for the next two months.