Theatre in America has had a rich history-from the first performance of the Lewis Hallam Troupe in September 1752 to the lively shows of modern Broadway.
Acclaimed playwright Terrence McNally's works are characterized by such diversity that critics have sometimes had difficulty identifying the pattern in his carpet.
Inspired by the verbal exuberance and richness of all that can be heard by audiences both on and off Shakespeare's stages, Shakespeare's Auditory Worlds examines such special listening situations as overhearing, eavesdropping, and asides.
In this funny, irreverent, unique, eccentric memoir, magician Steve Spill reveals how he managed to survive decades inside a rarely profitable, sometimes maddening, but often deliciously rewarding offbeat showbiz professionmagic!
Now in a fully updated second edition, How to Read a Play offers methods for analyzing play scripts from a diverse range of perspectives, giving directors practical tools as they prepare for production.
This book explores an unacknowledged gap in theatre study and praxis, and establishes an inceptive model for transforming a playscript into a theatrical production involving deaf and hearing artists.
Towards Embodied Performance invites directors and other generative performance makers to experiment with making their own original, visually stunning, sonically immersive, and physically rigorous embodied performance.
Towards Embodied Performance invites directors and other generative performance makers to experiment with making their own original, visually stunning, sonically immersive, and physically rigorous embodied performance.
This book marks a significant methodological shift in studies of black British women's theatre: it looks beyond published plays to the wealth of material held in archives of various kinds, from national repositories and themed collections to individuals' personal papers.
Over the course of Edit Kaldor's Inventory of Powerlessness, developed and performed in four European cities (Amsterdam, Berlin, Poznan, Prague) between 2013-16, a range of situations, states and feelings from quotidian frustrations to extremes of affliction, disadvantage and oppression were brought into the collective setting of the theatre as spoken testimony.
