This textbook provides an introduction to cultural policy in the US, enabling both students and practitioners to understand how government impacts the arts and culture.
Anything Goes traces the life and career of John Barrowman, from his Glaswegian childhood and American adolescence to his first big break starring alongside Elaine Paige in Anything Goes.
This study offers a historicization of the 2010s in British theatre with a focus on the representation of systemic violence, exploring productions that engage with concerns of protest, climate crisis, neoliberalism, racism and gender-based violence.
Während früher in der Bühnentechnik einfache manuelle Antriebe angewendet wurden, wird in der modernen Bühnentechnik hoch spezialisierte Technik mit innovativem Know-how eingesetzt.
The Art of Broadsword Fighting for Stage and Screen provides historical and contemporary techniques and styles for the safe training and use of the European broadsword in a theatrical setting.
The Art of Broadsword Fighting for Stage and Screen provides historical and contemporary techniques and styles for the safe training and use of the European broadsword in a theatrical setting.
Esta obra es una reflexión de gran originalidad en su aproximación a la dramaturgia de cuatro autores afrocolombianos: Régulo Ahumada Zurbarán, Eddy Janeth Mosquera Hinestroza, Manuel Zapata Olivella y Candelario Obeso.
À travers l'analyse de l'entièreté des manuscrits de quatre pièces de théâtre de Herder issus de ses séjours à Riga et Bückeburg – Ein Skaldengesang, Sokrates, Brutus et Philoktetes.
Das Theater greift als säkularer Akteur in interreligiöse Dialogprozesse ein und fordert damit klassische Strukturen interreligiöser Dialogtheorien zu einem Perspektivwechsel heraus.
Gumppenbergs Zerrissenheit im Zentrum des Aufbruchs liefert eine neue, subjektive Perspektive auf die Widersprüchlichkeit einer Zeit, die der heutigen in vielen Facetten nicht unähnlich ist.
Teaching Practical Theatrical 3D Printing: Creating Props for Production is a cohesive and practical guide for instructors teaching 3D printing techniques in stagecraft, costume and props courses.
Teaching Practical Theatrical 3D Printing: Creating Props for Production is a cohesive and practical guide for instructors teaching 3D printing techniques in stagecraft, costume and props courses.
In this book, theatre historian Jason Price looks at the relationships and exchanges that took place between high and low cultural forms in Britain from 1880 to 1940, focusing on the ways in which figures from popular entertainments, such as music hall serio-comics, clowns, and circus acrobats, came to feature in modern works of art.
This book is a biography in the form of an oral history about a woman whose founding of Arena Stage in Washington, DC in 1950 shifted live professional theater away from Broadway and inspired the creation of non-profit theaters around the country.
In this book, theatre historian Jason Price looks at the relationships and exchanges that took place between high and low cultural forms in Britain from 1880 to 1940, focusing on the ways in which figures from popular entertainments, such as music hall serio-comics, clowns, and circus acrobats, came to feature in modern works of art.
Contemporary Farce on the Global Stage provides audiences and practitioners a detailed survey of how the genre of farce has evolved in the 21st century.
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 is a biography in the form of an oral history about a woman whose founding of Arena Stage in Washington, DC in 1950 shifted live professional theater away from Broadway and inspired the creation of non-profit theaters around the country.
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.
Contemporary Farce on the Global Stage provides audiences and practitioners a detailed survey of how the genre of farce has evolved in the 21st century.
At once strange and familiar, bearer of a narrative and initiator of a relationship, the theatrical object has a status in its own right within the performance, and constantly encourages the actor to reassess the quality of his relationship with his immediate environment.
