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Books on the topic 'Theater Theater Theater and state'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Theater & politics. Evanston, Ill: Northwestern University Press, 1992.

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2

Theater technology. New York: McGraw-Hill Book Co., 1988.

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3

Izenour, George C. Theater technology. 2nd ed. New Haven [Conn.]: Yale University Press, 1996.

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4

1893-1974, Knudsen Vern Oliver, and Newman Robert B. 1917-1983, eds. Theater design. 2nd ed. New Haven: Yale University Press, 1996.

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5

Shakespeare's theater. Chicago: Heinemann Library, 2000.

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6

Morley, Jacqueline. Shakespeare's theater. New York: P. Bedrick Books, 1994.

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7

Dukore, Bernard Frank. Shaw's theater. Gainesville: University Press of Florida, 2000.

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8

Environmental theater. New York: Applause, 1994.

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9

Morley, Jacqueline. A Shakespearean theater. Columbus, Ohio: Peter Bedrick Books, 2003.

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10

Nardo, Don. The Globe Theater. San Diego, Calif: Blackbirch Press, 2005.

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11

Sarasota's Asolo: A history of the state theatre of Florida. Charleston, S.C: History Press, 2011.

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12

Viagas, Robert. The Back Stage guide to Broadway. New York: Back Stage Books, 2004.

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13

History, Center of Military. Asiatic-Pacific theater. [Washington, D.C.]: United States Army Center of Military History, 2002.

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14

Rogoff, Gordon. Vanishing acts: Theater since the sixties. New Haven: Yale University Press, 2000.

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15

Chrisp, Peter. A Shakespearean theater. Austin, TX: Raintree Steck-Vaughn, 2000.

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16

Freeden, Herbert. Jüdisches Theater in Nazideutschland. Frankfurt/M: Ullstein, 1985.

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17

Kingdom for a stage: Magicians & aristocrats in the Elizabethan theatre. Stroud, Gloucestershire: Sutton, 2001.

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18

Theatre and state in France, 1760-1905. Cambridge [England]: Cambridge University Press, 1994.

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19

Theater of war. New York: New Press, 2002.

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20

Bellville, Cheryl Walsh. Theater magic: Behind the scenes at a children's theater. Minneapolis: Carolrhoda Books, 1986.

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21

Bellville, Cheryl Walsh. Theater magic: Behind the scenes at a children's theater. Minneapolis: Carolrhoda Books, 1986.

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22

Actors, audiences, and historic theaters of Kentucky. Lexington: University Press of Kentucky, 2000.

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23

Flotats, Josep Maria. Un projecte per al Teatre Nacional. Barcelona: Edicions de la Revista de Catalunya, 1989.

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24

Theaters. New York: W.W. Norton & Co., 2005.

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25

Morrison, Andrew Craig. Theaters. New York: W.W. Norton & Co., 2006.

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26

Veidlinger, Jeffrey. The Moscow State Yiddish Theater: Jewish culture on the Soviet stage. Bloomington: Indiana University Press, 2000.

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27

The St. Petersburg imperial theaters: Stage and state in revolutionary Russia, 1900-1920. Jefferson, NC: McFarland, 2000.

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28

Broadway plays and musicals: Descriptions and essential facts of more than 14,000 shows through 2007. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2009.

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29

Carolyn, Swift. Stage by stage. Swords, Co. Dublin, Ireland: Poolbeg, 1985.

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30

Mering, Alfred. Elu lugu: Teatrimälestused. Tallinn: Eesti Raamat, 1986.

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31

Stewart, Ross. Look around a Shakespearean theater. North Mankato, MN: Smart Apple Media, 2007.

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32

Ramos, Fernando Mora. Quatro ensaios à boca de cena: Para uma política teatral e da programação. Lisboa: Libros Cotovia, 2009.

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33

Socialist ensembles: Theater and state in Cuba and Nicaragua. Minneapolis: University of Minnesota Press, 1994.

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34

Wearing, J. P. The London stage, 1930-1939: A calendar of plays and players. Metuchen, N.J: Scarecrow Press, 1990.

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35

Wearing, J. P. The London stage, 1930-1939: A calendar of plays and players. Metuchen, N.J: Scarecrow Press, 1990.

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36

Wearing, J. P. The London stage, 1930-1939: A calendar of plays and players. Metuchen, N.J: Scarecrow Press, 1990.

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37

Wearing, J. P. The London stage, 1930-1939: A calendar of plays and players. Metuchen, N.J: Scarecrow Press, 1990.

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38

Wearing, J. P. The London stage, 1930-1939: A calender of plays and players. Metuchen, N.J: Scarecrow, 1990.

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39

Wearing, J. P. The London stage, 1930-1939: A calendar of plays and players by J. P. Wearing. Metuchen,N.J: Scarecrow, 1990.

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40

Stage Man and Theatre Admin (Phaidon Theater Manuals). Phaidon Press, 1994.

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41

Political Theater. Steidl Druckerei und Verlag, Gerhard, 2017.

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42

Taylor, Thomas J. American Theater History. The Scarecrow Press, Inc., 1992.

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43

Theatre and Politics (Theatre &). Palgrave Macmillan, 2009.

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44

Mitchell, Koritha. Redefining “Black Theater”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036491.003.0003.

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This chapter demonstrates that the first black-authored lynching play, Rachel, by Angelina Weld Grimké, emerged in 1914 partly because the mainstream stage accepted black actors but limited them to comedy or white-authored material. Grimké and others thus began privileging playwriting over acting in order to control the race's representation. Nevertheless, African American intellectuals and artists came to value black dramatists because of the success of performers—even minstrels and musical comedians. Moreover, Grimké's Rachel proved influential enough to initiate the genre of lynching drama because other poets and fiction writers also began writing plays. As Grimké's successors offered generic revisions, their efforts helped to redefine black theater again. The chapter therefore identifies the differences and commonalities between their work and Grimké's.

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45

Axel Manthey, Theater. Salzburg: Residenz Verlag, 1995.

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46

Savran, David. as Experimental Theater. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0005.

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Abstract:

Stephen Sondheim and his critics usually ascribe the failure ofAnyone Can Whistle, Sondheim’s most revered flop, to the volatile social and political context in the United States, claiming that it was ahead of its time. This chapter argues, in contrast, that it is very much of its time and that no other musical of the period epitomizes the social and cultural contradictions of the mid-1960s as vividly asWhistle. Attempting to bring the kind of theatrical and political provocation that was flourishing Off-Off-Broadway to Broadway audiences unfamiliar with experimental idioms,Whistlerepresents a determined hybrid: part satire, part romance, part musical comedy, part Broadway razzle-dazzle, part political polemic. It is also symptomatic of the contradictions inherent in the dominant political philosophy of the 1960s, liberal individualism, in its opposition to standardization and conformism and its inclination toward an arrogant egocentrism. ThatWhistlehad to wait decades to find an audience is a tribute less to Sondheim’s prescience than to his ascendency since the 1970s as his generation’s preeminent architect of experimental music theatre.

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47

Richmond Stage, 1784-1812. University of Virginia Press, 1988.

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48

Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine (Theater: Theory/Text/Performance). University of Michigan Press, 2003.

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49

Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine (Theater: Theory/Text/Performance). University of Michigan Press, 2001.

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50

teatrali, Associazione marchigiana attività, ed. I Teatri delle Marche: Storia e politiche dello spettacolo. Bologna: Lavoro Editoriale, 1989.

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