With the publication of Brian Gibbons's Jacobean City Comedy thirty-five years ago, the urban satires by Ben Jonson, John Marston and Thomas Middleton attained their 'official status as a Renaissance subgenre' that was distinct, by its farcical humour and ironic tone, from 'citizen comedy' or 'London drama' more generally.
The Routledge Anthology of Restoration and Eighteenth-Century Performance brings together a selection of particularly memorable performances, beginning with Nell Gwyn in a 1668 staging of Secret Love, and moving chronologically towards the final performance of John Philip Kemble's controversial adaptation of Thomas Otway's Venice Presever'd in October 1795.
This book discusses Irish Passion plays (plays that rewrite or parody the story of the Passion of Christ) in modern Irish drama from the Irish Literary Revival to the present day.
We no longer ascribe the term 'mermaid' to those we deem sexually or economically threatening; we do not ubiquitously use the mermaid's image in political propaganda or feature her within our houses of worship; perhaps most notably, we do not entertain the possibility of the mermaid's existence.
The Jewish-Israeli theatre is a complex and developed system in which the dispute with the Palestinians constitutes just one of the important components in its repertoire; while the Palestinian theatre, both within and outside of Israel, is being consolidated.
This volume explores illusionism as a much larger phenomenon than optical illusion, magic shows, or special effects, as a vital part of how we perceive, process, and shape the world in which we live.
A new contribution to studies in choreography, Writing Choreography: Textualities of and beyond Dance focuses upon language and writing-based approaches to choreographing from the perspectives of artists and researchers active in the Nordic and Oceanic contexts.
This book discusses the evolution of Commedia dell'Arte in the Asia-Pacific where through the process of reinvention and recreation it has emerged as a variety of hybrids and praxes, all in some ways faithful to the recreated European genre.
Originally published in German as Interpreting Mozart on the Keyboard in 1957, this definitive work on the performance of Mozart's works has greatly influenced students and scholars of keyboard literature and of Mozart.
Facial Hair and the Performance of Early Modern Masculinity is the first full-length critical study to analyse the importance of beards in terms of the theatrical performance of masculinity.
Teaching Strings in Today's Classroom: A Guide for Group Instruction assists music education students, in-service teachers, and performers to realize their goals of becoming effective string educators.
This revised edition incorporates plays accessible to students at high novice and intermediate levels, while retaining dramas that challenge and heighten the proficiency of the most advanced students.
Now in its Third Edition, Scenic Art for the Theatre: History, Tools and Techniques continues to be the most trusted source for both student and professional scenic artists.
Uncovering a Terrorist is the story of the FBI's investigation of Mohamed Mohamud led by Agent Ryan Dwyer, the agent who helped bring him to justice, creating room for the conversation surrounding religious terrorism and its effects around the world.
Revisiting Shakespeare's Italian Resources is about the complex dynamics of transmission and transformation of the Italian sources of twelve Shakespearean plays, from The Two Gentlemen of Verona to Cymbeline.
This book rediscovers a spiritual way of preparing the actor towards experiencing that ineffable artistic creativity defined by Konstantin Stanislavski as the creative state.
Whilst the greatest effort has been made to ensure the quality of this text, due to the historical nature of this content, in some rare cases there may be minor issues with legibility.
A work of startling originality when it debuted in 1938, Thornton Wilder's Our Town evolved to be seen by some as a vintage slice of early 20th Century Americana, rather than being fully appreciated for its complex and eternal themes and its deceptively simple form.
