Theatrical Events. Borders, Dynamics and Frames is written to develop the concept of 'Eventness' in Theatre Studies. The book as a whole stresses the importance of understanding theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects. The Theatrical Event concept means not only that performers and spectators meet, but also that the specific mental sets, backgrounds and cultural contexts they bring in, strongly contribute to the character of a particular event. Moreover, this concept gives space to the study of the role societal developments - such as technological, political, economical or educational ones - play in theatrical events.
In the beginning of the 21st century, European theatre-makers have sought to consider the disastrous events of the 20th century as the unfinished business of the contemporary. In this book, Kear argues that by thinking through the logic of the event, contemporary performance offers an affective interrogation of 'the event' of the European century.
Throughout the world festivals are growing - in numbers, in size, in significance - and serve as spaces where aesthetic encounters, religious and political celebrations, economic investments and public entertainment can take place. In this sense, festivals are theatrical events. Exploration of the theoretical frames of reference for the discussion about the present festival culture. Survey of 14 festival events throughout the world.
Theatre scandals may cause dynamic changes within cultural systems. The case studies in this volume present a wide cultural and chronological variety of such scandals, illustrating the various causes, processes and interactions that characterize these shocking moments in theatre history.
As the symbolists, constructivists and surrealists of the historical avant-garde began to abandon traditional theatre spaces and embrace the more contingent locations of the theatrical and political ‘event’, the built environment of a performance became not only part of the event, but an event in and of itself. Event-Space radically re-evaluates the avant garde’s championing of nonrepresentational spaces, drawing on the specific fields of performance studies and architectural studies to establish a theory of ‘performative architecture’. ‘Event’ was of immense significance to modernism’s revolutionary agenda, resisting realism and naturalism – and, simultaneously, the monumentality of architecture itself. Event-Space analyzes a number of spatiotemporal models central to that revolution, both illuminating the history of avant-garde performance and inspiring contemporary approaches to performance space.
The contemporary drama critic discusses various aspects of American and international theater and criticizes the dramatic styles of specific playwrights and actors
Theatre: Its Art and Craft is intended for use in theatre appreciation and introduction to theatre courses. This new edition features updated statistics and references that keep the text current. The first chapter of the text introduces readers to the broad issues of artistic practice, while the second chapter inspects the specific area of live theatre. The remainder of chapters examine in detail the various functionaries of the theatre (audience, critics, playwrights, directors, actors, designers, historians, and dramaturgs). As in previous volumes, readers are encouraged to examine the complex interaction of all theatrical elements. Just as in music some instruments supply the basic structure and some embellish that structure, so in the theatre the elements of script, directing, acting, and design interact in shifting configurations to offer a new work of art at every performance. Examining these relationships will enrich the theatrical experience. A Collegiate Press book
This book investigates the expanding parameters for site-specific performance to account for the form's increasing popularity in the twenty-first century. Leading practitioners and theorists interrogate issues of performance and site to broaden our understanding of the role that place plays in performance and the ways that performance influences it
Susan Bennett's highly successful Theatre Audiences is a unique full-length study of the audience as cultural phenomenon, which looks at both theories of spectatorship and the practice of different theatres and their audiences. Published here in a brand new updated edition, Theatre Audiences now includes: • a new preface by the author • a stunning extra chapter on intercultural theatre • a revised up-to-date bibliography. Theatre Audiences is a must-buy for teachers and students interested in spectatorship and theatre audiences, and will be valuable reading for practitioners and others involved in the theatre.
Using the experience of authors Richard Hahlo and Peter Reynolds in a variety of educational, business and theater settings, Dramatic Events: How to Run a Workshop for Theater, Education or Business investigates the connection between practical theater work and drama theory, and its effect on the development and dynamic of any working group.
Travel back in time to the early days of vaudeville, nickelodeons, movies, theatre organs and stars. Theatre Row on Dallas Elm Street is bustling and alive with beautiful theatres, crowds of enthusiastic patrons and movies, movies and more movies. But there is something murderously mysterious going on at the fabulous Rivertree Theatre. A cast of villains and other characters fill the pages of this intriguing saga, along with more startling stories of the many theatres that were along the fabulous Elm Street Theatre Row and the theatre organs that were in them. Shocking events and incredible performances await the reader on this journey through seven decades of Dallas entertainment history. Brilliant imagery fills each chapter. Extra features include a history of the theatre organ, an updated list of the theatre organs that were in Dallas, and a detailed list of all of the theatres that were along Elm Streets Theatre Row during 70 years of Dallas entertainment history. Special treats are the complete specifications and history of the famous Palace Publix Theatre Organ, its final resting place and many other exciting details of those unforgettable times and places.
The experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano, and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage's work in theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952, and continuing through 1992. Much of the information in this study comes from previously undocumented material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as author's interviews with Cage and with individuals closely associated with his work, including David Tudor, Merce Cunningham, Bonnie Bird, Mary Caroline Richards, and Ellsworth Snyder.
The Theatrical Event discusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectator—the theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performance—on stage or in the street, historical or contemporary—that is watched by an audience is a theatrical event. The concept underlines the “eventness” of all encounters between performers and spectators. In the first part of the book, Willmar Sauter presents various models for the analysis of theatrical events, examining the relationship between performance and perception and the interaction between the performative event and its context. Using examples from ancient and recent theatre history and discussing traditional and nontraditional approaches to theatre theory, he builds a paradigmatic change in the concept of theatre. Constructs such as playing culture (as opposed to written culture), theatrical communication, theatricality, and theatre as a model of cultural event are brought into focus and their methodological advantages explored. The second part of the book uses the theoretical groundwork of the first part to enhance a variety of topics, including such legends as Sarah Bernhardt and other historical phenomena such as a Swedish Renaissance play, Strindberg's ideas on acting, the question of ethnicity in the political theatre of the 1930s, and critical writings on contemporary performances. Sauter examines how Robert Lepage's staging of A Dream Play is viewed by critics and scholars and analyzes Dario Fo's intercultural transfer to outdoor performances in Stockholm and the unusual sensationalism of Strindberg's Miss Julie.
Through the use of four model plays—Macbeth, Our Town, A Raisin in the Sun, and Rent—this textbook informs the student about theatre arts, stimulates interest in the art form, leads to critical thinking about theatre, and prepares the student to be a more informed and critical theatregoer. Structured into seven chapters, each looking at a major area or artist—and concluding with the audience and the students themselves—this textbook looks at both the theoretical and practical aspects of theatre arts, from the nature of theatre and drama to how it reflects society to explaining the processes that playwrights, actors, designers, directors, producers, and critics go through.
Recounting the many live vaudeville acts and films that graced the theatre’s stage and screen, The Gillioz "Theatre Beautiful” presents a social history of entertainment through the Roaring Twenties, the Great Depression, the Second World War, the Cold War, the Sixties and the Seventies. Of note is the Springfield theatre’s hosting of three movie world premieres--with future U. S. president Ronald Reagan appearing in each.
How have theatre and performance research methods and methodologies engaged the expanding diversity of performing arts practices? How can students best combine performance/theatre research approaches in their projects? This book's 29 contributors provide