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Books on the topic 'Group theatre productions'

Author: Grafiati
Published: 18 May 2024

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1

Identité(s) et territoire du théâtre politique contemporain: Claude Régy, le Groupe Merci et le théâtre du Radeau, un théâtre apolitiquement politique. Paris: Harmattan, 2011.

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2

1945-, Parker Scott J., and McCalmon George d. 1965, eds. Creating historical drama: A guide for communities, theatre groups, and playwrights. 2nd ed. Carbondale: Southern Illinois University Press, 2005.

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3

Omar Porras & le Teatro Malandro. Nantes: Joca seria, 2010.

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4

1949-, Smyth Robert, and Lamb's Players, eds. Lamb's Players presents Developing a drama group: A practical approach for director, actor & designer. Minneapolis, Minn: World Wide Publications, 1989.

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5

Cuerpo y arte contemporáneo en Colombia: Problemas políticos y sociales en teatro y performance : Horacio de Mapa Teatro. Bogotá: Trilce Editores, 2011.

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6

Megale, Teresa, ed. Occasioni malapartiane. Progetti teatrali della compagnia universitaria dei Corsi di Laurea in Pro.Ge.A.S e in Pro.S.M.Ar.T. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-864-2.

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This book appraises the multiple experiences connected with the dramatic activities of a group of students on two degree courses in the Faculty of Arts in Prato, namely: the three-year course in artistic events and enterprise management and the two-year course in music, art and textile production. This experiment, which greatly enhanced the creative and organisational skills of the young people, exploited theatre to inject new blood into the university teaching approach, translating theory into practice. Beyond the textbooks, the Prato theatre workshop experience illustrated here shows how drama can be transformed into an authentic switch point between university and life beyond.
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7

Antonio, Cibotto Gian, ed. Mezzo secolo di baruffe: Il Piccolo teatro città di Chioggia, 1945-1995. Venezia: Marsilio, 1996.

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8

Thistle, Louise. Dramatizing myths and tales: Creating plays for large groups. Palo Alto, CA: Dale Seymour Publications, 1995.

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9

Kubák, Ivo Kristián. Imerzivní divadlo a média: Immersive theatre and media : Golem: Meyerink, Štvanice, Cube. Praha: Pražská scéna ve spolupráci s Tygr v tísni, z.s., a s Výzkumným pracovištěm katedry alternativního a loutkového divadla Divadelní fakulty AMU, 2015.

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10

Créer, ensemble: Points de vue sur les communautés artistiques, fin du XIXe-XXe siècles. Montpellier: Entretemps, 2013.

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11

Vince, Ronald W. A Companion to the Medieval Theatre. Greenwood Press, 1989. http://dx.doi.org/10.5040/9798216183846.

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Vince has provided a useful and, for the most part, usable reference work. His introduction should be required reading for anyone approaching medieval theater. Choice Scholars increasingly see medieval theatre as a complex and vital performance medium related more closely to political, religious, and social life than to literature as we know it. Reflecting the current interest in performance, A Companion to the Medieval Theatre presents 250 alphabetically arranged entries offering a panoramic view of European and British theatrical productions between the years 900 and 1550. The volume features 30 essays contributed by an international group of specialists and includes many shorter entries as well as systematic cross-referencing, a chronology, a bibliography, and a full complement of indexes. Major entries focus on the theatres of the principal linguistic areas (the British Isles, France, Germany, Iberia, Italy, Scandinavia, the Low Countries, and Eastern Europe), and on dramatic forms and genres such as liturgical drama, Passion and saint plays, morality plays, folk drama, and Humanist drama. Other articles examine costume, acting, pageantry, and music, and explore the theatrical dimension of courtly entertainment, the dance, and the tournament. Short entries supply information on over one hundred playwrights, directors, actors and antiquarians whose contributions to the theatre have been documented. This informative guide brings new depth to our appreciation of the richness and color of medieval public entertainments and the symbolism and pageantry that were a part of daily life in the Middle Ages. Designed to appeal to general reader, this volume is also an attractive choice for libraries serving students and scholars of theatre history, English and European literatures, medieval history, cultural history, drama, and performance.
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12

Yaari, Nurit. Habima. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0002.

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This chapter focuses on the first encounters of the actors of Habima Theatre with classical Greek drama by examining two productions—Phaedra by Racine (1945) and Oedipus Tyrannus by Sophocles (1947). It describes the evolution of the Habima Theatre group in the early twentieth century under the director Yevgeny Vakhtangov, a disciple of Stanislavsky. It outlines the troupe’s ethos and its artistic journey as it made its way from Moscow to Berlin to New York until its final arrival in Palestine in 1931, and how this ethos was evident in the troupe’s work with the celebrated British director Tyrone Guthrie in 1947.
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13

Singleton, Brian. ANU Productions: The Monto Cycle. Palgrave Pivot, 2018.

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14

Valk and Quick. Wooster Group Book. Taylor & Francis Group, 2007.

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15

Hudes, Quiara Alegria. Water by the Spoonful (Acting Edition for Theater Productions). Dramatist's Play Service, 2013.

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16

Lewis, David, Dennis Rodgers, and Michael Woolcock, eds. New Mediums, Better Messages? Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780198858751.001.0001.

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Abstract The notion of development influences and is influenced by all aspects of human life. Social science is but one representational option among many for conveying the myriad ways in which development is conceived, encountered, experienced, justified, courted, and/or resisted by different groups at particular times and places. This wide-ranging collection from a diverse group of academic and non-academic authors engages with the broad field of development through twelve chapters that deal with music, theatre, fiction, photography, festivals, computer games, the arts, blogging, and other media. It explores three broad areas of alternative forms of knowledge about development, organized around the three themes of ‘translation’, ‘advocacy’, and ‘engagement’. The first of these is concerned with how popular representations of development can successfully compete with and complement formal social scientific representations; the second relates to the politics of popular representations of development, and the way that popular productions shape debates; and the third asks whether popular representations of development can generate alternative critiques that allow for the articulation of views that would be unacceptable to more orthodox means.
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17

Campbell, Patrick, and Jane Turner. Poetics of Third Theatre. Taylor & Francis Group, 2021.

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18

Turner, Jane. Poetics of Third Theatre. Taylor & Francis Group, 2021.

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19

Ruth Maleczech at Mabou Mines: Woman's Work. Bloomsbury Publishing Plc, 2016.

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20

Taylor-Batty, Mark, Enoch Brater, and Jessica Silsby Brater. Ruth Maleczech at Mabou Mines: Woman's Work. Bloomsbury Publishing Plc, 2016.

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21

Quick, Andrew. Wooster Group Work Book. Taylor & Francis Group, 2005.

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22

Quick, Andrew. Wooster Group Work Book. Taylor & Francis Group, 2005.

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23

Quick, Andrew. Wooster Group Work Book. Taylor & Francis Group, 2005.

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24

Quick, Andrew. Wooster Group Work Book. Taylor & Francis Group, 2005.

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25

Quick, Andrew. Wooster Group Work Book. Taylor & Francis Group, 2005.

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26

The Wooster Group Work Book. Routledge, 2007.

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27

The Wooster Group Work Book. Routledge, 2007.

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28

Campbell, Patrick, and Jane Turner. Poetics of Third Theatre: Performer Training, Dramaturgy, Cultural Action. Taylor & Francis Group, 2021.

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29

Campbell, Patrick, and Jane Turner. Poetics of Third Theatre: Performer Training, Dramaturgy, Cultural Action. Taylor & Francis Group, 2021.

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30

Sílvia, Fernandes, Audio Roberto, Carvalho Bernardo 1960-, and Teatro da Vertigem, eds. BR-3: Teatro da Vertigem. São Paulo: Perspectiva, 2006.

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31

Evans, Mark, and Smith Mark. Frantic Assembly. Taylor & Francis Group, 2021.

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32

Frantic Assembly. Taylor & Francis Group, 2021.

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33

Evans, Mark, and Smith Mark. Frantic Assembly. Taylor & Francis Group, 2021.

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34

Frantic Assembly. Taylor & Francis Group, 2021.

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35

Not Magic But Work An Ethnographic Account Of A Rehearsal Process. Manchester University Press, 2012.

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36

Shakespeare in the Theatre: Nicholas Hytner. Bloomsbury Publishing Plc, 2017.

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37

Karim-Cooper, Farah, Bridget Escolme, Stephen Purcell, Conor Hanratty, and Peter Holland. Shakespeare in the Theatre: Yukio Ninagawa. Bloomsbury Publishing Plc, 2020.

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38

Shakespeare in the Theatre: Peter Hall. Bloomsbury Publishing Plc, 2019.

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39

Shakespeare in the Theatre: Nicholas Hytner. Bloomsbury Publishing Plc, 2017.

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40

Shakespeare in the Theatre: Cheek by Jowl. Bloomsbury Publishing Plc, 2019.

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41

Karim-Cooper, Farah, Bridget Escolme, Peter Kirwan, Stephen Purcell, and Peter Holland. Shakespeare in the Theatre: Cheek by Jowl. Bloomsbury Publishing Plc, 2020.

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42

Kolin, Philip. Tennessee Williams. Greenwood Publishing Group, Inc., 1998. http://dx.doi.org/10.5040/9798216024286.

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The plays of Tennessee Williams are some of the greatest triumphs of the American theatre. If Williams is not the most important American playwright, he surely is one of the two or three most celebrated, rivaled only by Eugene O’Neill and Arthur Miller. In a career that spanned almost five decades, he created an extensive canon of more than 70 plays. His contributions to the American theatre are inestimable and revolutionary. The Glass Menagerie (1945) introduced poetic realism to the American stage; A Streetcar Named Desire (1947) explored sexual and psychological issues that had never before been portrayed in American culture; Cat on a Hot Tin Roof (1955) dared to challenge the political and sexual mores of the Eisenhower era; and his plays of the 1970s are among the most innovative works produced on the American stage. But Williams was far more than a gifted and prolific playwright. He created two collections of poetry, two novels, four collections of stories, memoirs, and scores of essays. Because of his towering presence in American drama, Williams has attracted the attention of some of the most insightful scholars and critics of the twentieth century. The 1990s in particular ushered in a renaissance of Williams research, including a definitive biography, a descriptive bibliography, and numerous books and scholarly articles. This reference book synthesizes the vast body of research on Tennessee Williams and offers a performance history of his works. Under the guidance of one of the leading authorities on Williams, expert contributors have written chapters on each of Williams’ works or clusters of works. Each chapter includes a discussion of the biographical context of a work or group of writings; a survey of the bibliographic history; an analysis of major critical approaches, which looks at themes, characters, symbols, and plots; a consideration of the major critical problems posed by the work; an overview of chief productions and film and television versions; a concluding interpretation; and a bibliography of secondary sources. The volume concludes with a selected, general bibliography and a comprehensive index.
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43

Holmes, Sean P. The Great Text in Our Economy Today. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0002.

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This chapter explores the origins of the organizational impulse that animated the American acting community in the early twentieth century. It begins by examining the transformation of the theatrical economy that was brought about by the rise of the theater trusts at the end of the nineteenth century. It goes on to consider production practices in the metropolitan theater industry, highlighting the growing emphasis on rationalization and standardization and exploring how this dual imperative impacted upon the creative process. It also looks at the experience of work in the early twentieth-century theater, documenting conditions on the theatrical shop floor and highlighting the role of race, ethnicity, and gender in determining the degree of opportunity available to individual performers. The chapter argues that while actors undoubtedly had grievances against their employers, the theater trusts had actually done a great deal to improve their lot by stabilizing a notoriously volatile employment market. The formation of the Actors' Equity Association in 1913 had less to do with conditions of employment than with a perception on the part of an influential section of the acting community that it had relinquished its accustomed autonomy to a group of employers whom they held responsible for declining standards in the theater.
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44

House of Games: Drama in the Community a Handbook. Nick Hern Books, 1998.

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45

House of Games. 2nd ed. Nick Hern Books, 2005.

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46

Karim-Cooper, Farah, Bridget Escolme, Paul Menzer, and Peter Holland. Shakespeare in the Theatre: The American Shakespeare Center. Bloomsbury Publishing Plc, 2017.

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47

Shakespeare in the Theatre: The American Shakespeare Center. Bloomsbury Publishing Plc, 2017.

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48

Kenny, Neil, ed. Literature, Learning, and Social Hierarchy in Early Modern Europe. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267332.001.0001.

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Before the ascendancy of the language of social class, European societies were conceived as hierarchies of orders, degrees, estates, dignities, and ranks. What was the relationship, from the fifteenth century to the seventeenth, between that social hierarchy and another major facet of early modern life—literature and learning (understood in a broad sense as literate cultural activity and production)? Literature and learning were not just contiguous with social hierarchy, but also overlapped with it. The volume fosters Europe-wide consideration of this relationship, rather than providing a systematic survey organized by territory, genre, discourse, or period. The territories featured are largely Western European—England, France, Germany and the Low Countries, Italy, and Portugal. The genres, discourses, and practices featured include poetry, theatre, masque, architecture, philosophy, law, printing, publishing, translating, and scribe-hiring. First, the volume examines the role of languages—especially elite written ones such as Latin, cosmopolitan vernaculars, or technical vocabulary—in enabling some groups to acquire social literacies and practices. The focus is not just on these processes of acquisition but also on the accompanying exclusions, resistances, doubts, and contradictions. Next, the role of cultural production in generating social status is examined in relation to printers and publishers, theatre actors, and a woman poet from an artisanal milieu. Some chapters then focus more on the literary and other representations themselves, examining how they represent social hierarchy and the place within it of certain groups. The closing chapters emphasize that the relationship of literature and learning to social hierarchy is profoundly two-way.
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49

Schoch, Richard, Farah Karim-Cooper, Amanda Eubanks Winkler, Stephen Purcell, and Peter Holland. Shakespeare in the Theatre: Sir William Davenant and the Duke's Company. Bloomsbury Publishing Plc, 2021.

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50

Galván, Javier A. Culture and Customs of Bolivia. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798400635205.

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In this book, contemporary representations of Bolivian art, music, religion, literature, festivals, theater, and cinema document how history and geography have shaped Bolivia's modern culture. Bolivia has long been neglected by North American historians and anthropologists. Now, author Javier A. Galván fills this gap with a book that analyzes the complex cultures of this South American nation within the context of its rich history and contemporary traditions. The first half of this text is dedicated to how and where people live—detailed geography, social traditions, religious practices, political institutions, and Bolivian cuisine and culture. The varied religious and linguistic traditions of the indigenous groups that comprise the majority of the national population are also described, giving readers a deeper appreciation for the diversity of Bolivia's character. The second half of the book explores the creative talent of Bolivians who are advancing the literary movements, painting styles, architectural design, theater productions, fashion design, and emerging film industry of the country. Culture and Customs of Bolivia also includes a detailed analysis of contemporary print and broadcasting media.
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