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Books on the topic 'Theater – Iran'

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Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

The history of theater in Iran. Washington, DC: Mage, 2005.

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2

Mufrijī, Aḥmad Fayyāḍ. Masraḥ al-thamānīnāt fī al-ʻIrāq: Al-masraḥ fī zaman al-maʻrakah. ʻAẓamīyah, Baghdād, al-ʻIrāq: Dār al-Shuʾūn al-Thaqāfīyah al-ʻAmmah "Āfāq ʻArabīyah", 1989.

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3

Mufarrijī, Aḥmad Fayyāḍ. Masraḥ al-thamānīnāt fī al-ʻIrāq: Al-masraḥ fī zaman al-maʻrakah. ʻAẓamīyah, Baghdād, al-ʻIrāq: Dār al-Shuʼūn al-Thaqāfīyah al-ʻAmmah "Āfāq ʻArabīyah", 1989.

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4

Komödiantische Volkstheatertraditionen in Iran und die Entstehung des iranischen Berufstheaters nach europäischem Vorbild von der Jahrhundertwende bis 1978. Frankfurt am Main: P. Lang, 1993.

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5

A different approach to a unique theatre: Taziyeh in Iran. Kista, Sweden: Kitab-i Arzan, 2008.

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6

Last scene underground: An ethnographic novel of Iran. Stanford, California: Stanford University Press, 2015.

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7

Tārīkh-i shafāhī-i namāyish dar Īrān: Mubtanī bar muṣāḥabahʹhā-yi tārīkh-i shafāhī = The oral history of theater in Iran. Tihrān: Sāzmān-i Asnād va Kitābkhānah-i Millī-i Jumhūrī-i Islāmī-i Īrān, 2015.

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8

Theater state and the formation of early modern public sphere in Iran: Studies on Safavid Muharram rituals, 1590-1641 CE. Leiden: Brill, 2011.

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9

Tiʼātr dar asārat. 2nd ed. Tihrān: Umīd-i Āzādigān, 2004.

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10

Kārgāh-i Namāyish: Az āghāz tā pāyān (1348-1357). Tihrān: Nashr-i Afrāz, 2008.

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11

Farhang-i jāmiʻ-i tiʼātr-i difāʻ-i muqaddas. Tihrān: Bunyād-i Ḥifẓ-i Ās̲ār va Nashr-i Arzishʹhā-yi Difāʻ-i Muqaddas, 2011.

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12

Special forces. New York: Broadway Play Pub., 2012.

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13

Von 'Adam und Eva' zu den 'Wurzeln der Liebe': Aspekte eines modernen Musiktheaters im Irak : die enge Verzahnung von Theater, Geschichte und sozio-politischer Realität. Frankfurt/Main: R.G. Fischer Verlag, 1997.

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14

Ira Aldridge: The early years, 1807-1833. Rochester, NY: University of Rochester Press, 2011.

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15

Power, Legitimacy and the Public Sphere: The Iranian Ta Ziyeh Theatre Ritual. Taylor & Francis Group, 2017.

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16

Rahmani-Nejad, Nasser. Man of the Theater: Survival as an Artist in Iran. New Village Press, 2019.

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17

Rahimi, Babak. Theater State and the Formation of Early Modern Public Sphere in Iran: Studies on Safavid Muharram Rituals, 1590-1641 CE. BRILL, 2011.

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18

Kurdish Nationalism on Stage: Performance, Politics and Resistance in Iraq. Bloomsbury Publishing Plc, 2019.

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19

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

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20

Pollack, Howard. The Ballad of John Latouche. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.001.0001.

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Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.
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21

Theatre, war and propaganda: 1930-2005. Tuscaloosa, AL: University of Alabama Press, 2007.

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22

Futter, Andrew. The Proliferation of Nuclear Weapons. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198790501.003.0030.

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Since the end of the cold war, the global landscape of weapons of mass destruction has changed considerably. Three additional states have openly acquired a nuclear capability—India, Pakistan, and North Korea—and a fourth, Iran, may be trying to do the same. Meanwhile, other states were forced to give up or agreed to abandon their nuclear capabilities or ambitions. At the same time, the threat of ‘loose nukes’ and the associated challenge of nuclear security have acquired existential significance given the possibility of nuclear terrorism, the impact of the 9/11 terrorist attacks, and the damage caused by the A. Q. Khan network. Europe remains a key ‘nuclear theatre’ with UK, French, Russian, and NATO nuclear forces deployed in the region, and this seems unlikely to change anytime soon. The aim of this chapter is to explore the nature and implications of a second nuclear age for European military thinking and strategy.
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23

Robeck, Ilene R., Stephen C. Hunt, Lucile Burgo-Black, Jeremiah McKelvey, Afreen Siddiqui, and Anthony J. Mariano. Pain and Addiction in Military Personnel and Veterans (DRAFT). Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190265366.003.0033.

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Veterans of military service pose a special case both in their susceptibility to addiction and their risk for a co-occurring disorder, posttraumatic stress disorder. The elements of a military history are provided; this is not intuitive, and is salient both for determining entitlement status and to assess the cumulative injury. Numerous pain syndromes can occur as the result of both long-term wear and tear and abrupt injury, requiring consideration for disability compensation. PTSD and traumatic brain injury are more common here than perhaps among any other occupational group. Unique risks and concerns accompany the experience of warfare in different theaters; special sections are devoted to Iraq and Afghanistan; the first and second Gulf wars; and to Vietnam. Women constitute a newly enfranchised military group as subject to injury as their male cohorts. Several pain care innovations have been championed by the Veterans Administration, and these are described.
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24

Ira Aldridge: The Great Shakespearean Tragedian on the Bicentennial Anniversary of his Birth. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2009.

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25

Ira Aldridge The Glory Years 18521855. Boydell & Brewer Ltd, 2013.

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