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Books on the topic 'Theatre history units'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Gawne, Jonathan. Ghosts of the ETO: American tactical deception units in the European theatre, 1944-1945. Havertown, PA: Casemate, 2002.

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2

Ghosts of the ETO: American tactical deception units in the European theatre, 1944-1945. London: Greenhill, 2002.

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3

The story of Unity Theatre. New York: St. Martin's Press, 1989.

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4

The story of Unity Theatre. London: Lawrence & Wishart, 1989.

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5

Chambers, Colin. The story of Unity Theatre. London: Lawrence and Wishart, 1989.

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6

Rottman, Gordon L. World War II US Cavalry units: Pacific theater. Oxford, New York: Osprey, 2009.

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7

Rottman, Gordon L. World War II US Cavalry units: Pacific theater. Oxford, New York: Osprey, 2009.

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8

World War II US Cavalry units: Pacific theater. Oxford, New York: Osprey, 2009.

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9

Fraden, Rena. Blueprints for a Black federal theatre, 1935-1939. Cambridge: Cambridge University Press, 1994.

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10

Weavers of dreams, unite!: Actor's unionism in early twentieth-century America. Urbana: University of Illinois Press, 2013.

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11

Woll, Allen. Black musical theatre: From Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press, 1989.

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12

United States. National Security Agency/Central Security Service. Center for Cryptologic History., ed. The quiet heroes of the Southwest Pacific Theater: An oral history of the men and women of CBB and FRUMEL. [Fort Meade, Md.]: Center for Cryptologic History, National Security Agency, 1996.

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13

Maneki, Sharon A. The quiet heroes of the Southwest Pacific Theater: An oral history of the men and women of CBB and FRUMEL. [Fort George G. Meade, MD]: Center for Cryptologic History, National Security Agency, 1996.

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14

Bill, Freeman. Glory Days: A Play and History of the '46 Stelco Strike. Toronto, Canada: Playwrights Canada Press, 2007.

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15

Dossett, Kate. Radical Black Theatre in the New Deal. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654423.001.0001.

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Between 1935 and 1939, the United States government paid out-of-work artists to write, act, and stage theatre as part of the Federal Theatre Project (FTP), a New Deal job relief program. In segregated “Negro Units” set up under the FTP, African American artists took on theatre work usually reserved for whites, staged Black versions of “white” classics, and developed radical new dramas. In this fresh history of the FTP Negro Units, Kate Dossett examines what she calls the Black performance community—a broad network of actors, dramatists, audiences, critics, and community activists—who made and remade Black theatre manuscripts for the Negro Units and other theatre companies from New York to Seattle. Tracing how African American playwrights and troupes developed these manuscripts and how they were then contested, revised, and reinterpreted, Dossett argues that these texts constitute an archive of Black agency, and understanding their history allows us to consider Black dramas on their own terms. The cultural and intellectual labor of Black theatre artists was at the heart of radical politics in 1930s America, and their work became an important battleground in a turbulent decade.

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16

US Airborne Units in the Pacific Theater 1942-45 (Battle Orders). Osprey Publishing, 2007.

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17

Ghosts of the ETO: American Tactical Deception Units in the European Theater, 1944 - 1945. Casemate, 2014.

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18

Riley, Kathleen, Alastair J. L. Blanshard, and Iarla Manny, eds. Oscar Wilde and Classical Antiquity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.001.0001.

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Few authors of the Victorian period were as immersed in classical learning as Oscar Wilde. He studied Classics at Trinity College Dublin and Oxford, winning academic prizes and distinctions at both institutions. His undergraduate notebooks as well as his essays and articles on ancient topics reveal a mind engrossed in problems in classical scholarship and fascinated by the relationship between ancient and modern thought. His first publications were English translations of classical texts. Even after he had ‘left Parnassus for Piccadilly’, antiquity continued to provide Wilde with a critical vocabulary in which he could express himself and his aestheticism, an intellectual framework for understanding the world around him, and a compelling set of narratives to fire his artist’s imagination. Wilde’s debt to Greece and Rome is evident throughout his writings, from the sparkling wit of Society plays like The Importance of Being Earnest to the extraordinary meditation on suffering that is De Profundis. This book unites scholars in Classics and ancient history, English, theatre and performance studies, and the history of ideas to investigate the varied and profound impact that Graeco-Roman antiquity had on Wilde’s life and work. This wide-ranging collection covers all the major genres of Wilde’s literary output; it includes new perspectives on his most celebrated and canonical texts and close analyses of unpublished material. It also encompasses the main aspects of the ancient world that Wilde engaged with, its literature, history, and philosophy.

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19

Glory Days. Playwrights Canada Press, 2008.

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