Search results for: theater-of-the-people

Theater of the People

Author : David Kawalko Roselli
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Greek drama has been subject to ongoing textual and historical interpretation, but surprisingly little scholarship has examined the people who composed the theater audiences in Athens. Typically, scholars have presupposed an audience of Athenian male citizens viewing dramas created exclusively for themselves—a model that reduces theater to little more than a medium for propaganda. Women's theater attendance remains controversial, and little attention has been paid to the social class and ethnicity of the spectators. Whose theater was it? Producing the first book-length work on the subject, David Kawalko Roselli draws on archaeological and epigraphic evidence, economic and social history, performance studies, and ancient stories about the theater to offer a wide-ranging study that addresses the contested authority of audiences and their historical constitution. Space, money, the rise of the theater industry, and broader social forces emerge as key factors in this analysis. In repopulating audiences with foreigners, slaves, women, and the poor, this book challenges the basis of orthodox interpretations of Greek drama and places the politically and socially marginal at the heart of the theater. Featuring an analysis of the audiences of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander, Theater of the People brings to life perhaps the most powerful influence on the most prominent dramatic poets of their day.

Radical People s Theatre

Author : Eugène Van Erven
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Technical Theater for Nontechnical People

Author : Drew Campbell
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Completely updated to reflect state-of-the-art standards in today's fast-changing theater technology, Technical Theater for Nontechnical People helps actors, dancers, playwrights, and directors to understand every aspect of a traditional and digitally supported backstage environment-from scenery, lighting, and sound to props, costumes, and stage management. All sides of production are clearly explained in jargon-free prose, and unfamiliar terms are highlighted and defined in an appended glossary. In addition to discussions on the more traditional elements of technical theater, this book gives equal weight to the new technologies that have become mainstream, including software (DMX, MIDI, and SMPTI) for show control systems, software to build audio cues, and PC-based audio play-back systems. • Affirmed by Library Journal as a book that "will certainly become a standard introductory text on trchnical theater." • "The most down-to-earth, stright-forward survey of technical theater practice I have ever read."--John R. Lucas, managing director of theater, Brown University • This replaces 1-58115-020-2

The Theatre of Nepal and the People Who Make It

Author : Carol C. Davis
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Examines Nepali theatre history, artists' personal lives, and political and social conditions that shape theatrical expression in Nepal.

People Theater and Grassroots Empowerment in Cameroon

Author : Gilbert Doho
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Profiles of African American Stage Performers and Theatre People 1816 1960

Author : Bernard L. Peterson
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Entries provide succinct biographical and theatrical information gathered from a variety of sources including library theater and drama collections, dissertations and theses, newspaper and magazine reviews and criticism, theater programs, theatrical memoirs, and earlier performing arts directories. Among the professional artists included in this volume are performers, librettists, lyricists, directors, producers, choreographers, stage managers, and musicians. The individuals profiled represent almost every major category and genre of the professional, semiprofessional, regional, and academic stage including minstrelsy, vaudeville, musical theater, and drama.

Theatre of the People

Author : Laurence Raw
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This book looks at how performances of Shakespeare in the Second World War (and post-war years) not only commented on the strife happening outside the theatre, but drew audiences together in a shared sense of community as a way of resisting the enemy. This examination is through the lens of one particular theatre actor/manager, Donald Wolfit, whose productions were extremely popular at the time. Wolfit was the model for “Sir” in Ronald Harwood’s play The Dresser and is remembered fondly by British audiences.

Attack of the Theater People

Author : Marc Acito
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In praising “the witty high school romp” How I Paid for College, the New York Times Book Review said, it “makes you hope there’s a lot more where this came from.” There is. In this hilarious sequel Attack of the Theater People, Edward Zanni and his merry crew of high school musical-comedy miscreants move to the magical wonderland that is Manhattan. It is 1986, and aspiring actor Edward Zanni has been kicked out of drama school for being “too jazz hands for Juilliard.” Mortified, Edward heads out into the urban jungle of eighties New York City and finally lands a job as a “party motivator” who gets thirteen-year-olds to dance at bar mitzvahs and charms businesspeople as a “stealth guest” at corporate events. When he accidentally gets caught up in insider trading with a handsome stockbroker named Chad, only the help of his crew from How I Paid for College can rescue him from a stretch in Club Fed. Laced with the inspired zaniness of classic American musical comedy, Attack of the Theater People matches the big hair of the eighties with an even bigger heart.

A Man of the Theater

Author : Nasser Rahmaninejad
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Life in Iran as an artist under the Shah and during the Iranian Revolution A Man of the Theater tells the personal story of a theater artist caught between the two great upheavals of Iranian history in the 20th century. One is the White Revolution of the 1960s, the incomplete and uneven modernization imposed from the top by the dictatorial regime of the Shah, coming in the wake of the overthrow of the popular Mosaddegh government with the help of the CIA. The other one is the Iranian Revolution of 1979, a great rising of Iranian society against the rule of the Shah in which Khomeini’s Islamist faction ends up taking power. Written in a simple direct style, Rahmaninejad’s memoir describes his fraught creative life in Tehran during these decades, founding a theater company and directing plays under the increasing pressure of the censorship authorities and the Shah’s secret police. After being arrested and tortured by the SAVAK and after spending years in Tehran’s infamous Evin prison and being a cause célèbre of Amnesty International, Rahmaninejad is freed by the Revolution of 1979. But his new-found freedom is short-lived; the progressive intellectuals and artists find themselves overpowered and outmaneuvered by the better organized Islamists, leading to renewed terror and to exile. In Western perception, the Iranian Revolution, which this year has its 40th anniversary, often overshadows the decades of Iran’s modern history that preceded it. A Man of the Theater fills this gap. The title derives from a time of torture in prison when interrogators ordered him to write everything about his activities. To avoid revealing anything incriminating he took pen in hand and wrote and wrote about all his artistic passions, beginning, "Here it is—this is my life! I am an artist! A man of the theater!"

Theatre of Real People

Author : Ulrike Garde
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Theatre of Real People offers fresh perspectives on the current fascination with putting people on stage who present aspects of their own lives and who are not usually trained actors. After providing a history of this mode of performance, and theoretical frameworks for its analysis, the book focuses on work developed by seminal practitioners at Berlin's Hebbel am Ufer (HAU) production house. It invites the reader to explore the HAU's innovative approach to Theatre of Real People, authenticity and cultural diversity during the period of Matthias Lilienthal's leadership (2003–12). Garde and Mumford also elucidate how Theatre of Real People can create and destabilise a sense of the authentic, and suggest how Authenticity-Effects can present new ways of perceiving diverse and unfamiliar people. Through a detailed analysis of key HAU productions such as Lilienthal's brainchild X-Apartments, Mobile Academy's Blackmarket, and Rimini Protokoll's 100% City, the book explores both the artistic agenda of an important European theatre institution, and a crucial aspect of contemporary theatre's social engagement.

The People s Theater

Author : Romain Rolland
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A curious phenomenon has occurred during the past ten years. French art, the most aristocratic of arts, has come to recognize the masses. French artists have, of course, known of the existence of the people before, but they have considered them only as subjects of conversation, as material for novels, plays, or pictures."An admirable subject to treat in Latin verses."But they never took the people into account as a living entity, a public, or a judge. The progress of Socialism has directed the attention of artists to this new sovereign whose politicians up to the present had been its sole spokesmen: authors and actors. And they have discovered the people—discovered, I venture to say, in much the same manner as explorers discover a new market for their wares. The authors wish to import their plays, the State its repertory, actors, and officials. It is a comedy in itself, with a part for each. This is not a fit subject for irony, for no one is quite exempt from its shafts. And we must take men as they are, nor seek to discourage their conscious or unconscious efforts to combine personal with public gain—provided the latter is assured. But such is the case; and from this movement which progresses so quickly that bad is bound to come hand in hand with good, and personal with public profit, I wish to call attention to but two points: first, the sudden importance assumed by the people in art (or rather, the importance ascribed to the people, for they never speak for themselves; everyone assumes the rôle of spokesman for them); and second, the extraordinary diversity of opinion as to the nature of democratic art itself.In fact, among those who claim to represent the aims of the people's theater, there are two diametrically opposed ideals: the adherents of the first seek to give the people the theater as it now exists, any theater so long as it is a theater; those of the second attempt to extract from this new force, the people, an entirely new theater. The first believe in the Theater, the others in the People. The two have nothing in common: one is the champion of the past, the other of the future.I need not tell you where the State stands. By its very definition, the State always belongs to the past. No matter how new the forms of life it represents, it arrests and congeals them. But you cannot fix life once for all. It is the function of the State to petrify everything with which it comes into contact, and turn living into bureaucratic ideals.

Why Not Theaters Made for People

Author : Per Edström
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Jatra the People s Theatre of Orissa

Author : Dhīren Dāśa
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Undesirable Elements

Author : Ping Chong
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A theatrical testament to individuals living between cultures.

Talking Theatre

Author : Richard Eyre
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Grassroots Theater

Author : Robert Edward Gard
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ROBERT GARD'S TIMELESS BOOK is a moving account of one man's struggle to bring his dream of community-building through creative theater to citizens around the country. He traveled across America -- from New York's Finger Lakes to the prairies of Alberta, Canada, to the backwoods of northern Wisconsin -- discovering and nurturing the folklore, legends, history, and drama of the region. He talked to ballad singers, painters, tellers of tall tales, and farm women, whose poetry and painting reflected the elemental violence of nature and quiet joys of neighborliness. Readers will discover in Grassroots Theater a spiritual autobiography of Robert Gard, a rare chronology of a little-known era in theater history, useful projects for local community groups, and lively discussion of such cultural themes as the role of the arts in American democracy. Grassroots Theater reminds us that an individual's creative vision transcends technology, current events, and changing demographics. Writes Gard, "The knowledge and love of place is a large part of the joy in people's lives. There must be plays that grow from all the countrysides of America, fabricated by the people themselves, born of their happiness and sorrow, born of toiling hands and free minds, born of music and love and reason".

Directing Young People in Theatre

Author : Samantha Lane
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This book guides readers in taking a play from page to stage with young people. Advice from professional theatre directors, including Richard Eyre and Indu Rubasingham is combined with practical games and exercises to help both experienced and first-time directors create a play with young actors.

USSR Information Bulletin

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The Ultimate Musical Theater College Audition Guide

Author : Amy Rogers Schwartzreich
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In The Ultimate Musical Theatre College Audition Guide, author, acting teacher, and musical theatre program director Amy Rogers offers an honest, no-nonsense guide to the musical theatre audition. Written for high school students and their parents, teachers, and mentors, the book demystifies what can be an overwhelming process with step-by-step explanations of audition checkpoints to answer every student's question, "where do I begin?" Chapters explore degree types, summer programs and intensives, audition coaches, what to sing, what to wear, headshots, how to prepare your monologue, the dance call, the university and program applications, prescreens, on-campus auditions, Unifides, resumes, acceptances/waitlists/rejections, and more. The book also includes advice from over 10 top-tier program directors and faculty, as well as examples from students, parents, and experts currently working on Broadway. Written with compassion, experience, and a love of the industry, Rogers' essential all-in-one guide is guaranteed to prevent surprise throughout the audition process.

Popular Theater and Society in Tsarist Russia

Author : E. Anthony Swift
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This is the most comprehensive study available of the popular theater that developed during the last decades of tsarist Russia. Swift examines the origins and significance of the new "people's theaters" that were created for the lower classes in St. Petersburg and Moscow between 1861 and 1917. His extensively researched study, full of anecdotes from the theater world of the day, shows how these people's theaters became a major arena in which the cultural contests of late imperial Russia were played out and how they contributed to the emergence of an urban consumer culture during this period of rapid social and political change. Swift illuminates many aspects of the story of these popular theaters—the cultural politics and aesthetic ambitions of theater directors and actors, state censorship politics and their role in shaping the theatrical repertoire, and the theater as a vehicle for social and political reform. He looks at roots of the theaters, discusses specific theaters and performances, and explores in particular how popular audiences responded to the plays.