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Livros sobre o tema "Power performances"

Autor: Grafiati

Publicado: 12 de abril de 2025

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1

Heidrun, Brückner, Schömbucher Elisabeth e Zarrilli Phillip B. 1947-, eds. The power of performance: Actors, audiences, and observers of cultural performances in India. New Delhi: Manohar Publishers & Distributors, 2007.

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2

Lidia, Guzy, e Skoda Uwe 1973-, eds. Power plays: Politics, rituals and performances in South Asia. Berlin: Weissensee, 2008.

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3

Callahan, Erin C., e Court Carney. The Politics and Power of Bob Dylan’s Live Performances. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003310204.

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4

Lidia, Guzy, e Skoda Uwe 1973-, eds. Power plays: Politics, rituals and performances in South Asia. Berlin: Weissensee, 2008.

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5

Jewell, Evan Luke. Youth and Power: Roman Performances of Age and Ageing from Plautus to Nero. [New York, N.Y.?]: [publisher not identified], 2019.

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6

Orlović, Slaviša. Comparative analysis of democratic performances of the parliaments of Serbia, Bosnia and Herzegovina and Montenegro. Beograd: Univerzitet u Beogradu, Faculty of Political Sciences (Center for Democracy), 2012.

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7

Larrard, François de. Un exemple d'ingénierie du matériau: Amélioration de l'étanchéité à l'air des enceintes internes de centrales nucléaires, intérêt de l'emploi d'un béton à hautes performances de formulation spéciale. [Paris]: Ministère de l'équipement, du logement, des transports et de la mer, Laboratoire central des ponts et chaussées, 1990.

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8

Silvia, Tony, e Terry Anzur. Power Performance. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444342192.

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9

Corporation, Canadian Broadcasting. Play, performance and power. Montreal: CBC Transcripts, 1986.

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10

J, Sarmiento Charles, e United States. National Aeronautics and Space Administration., eds. Low power arcjet performance. [Washington, DC]: National Aeronautics and Space Administration, 1990.

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11

P, Winkle, ed. Power generation retrofitting: Optimizing power plant performance. Bury St Edmunds: Professional Engineering Pub., 2002.

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12

Wortman, A. Alex. The 13th power. Ann Arbor, Mich: Powers Press, 2006.

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13

Wortman, A. Alex. The 13th power. Ann Arbor, Mich: Powers Press, 2006.

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14

World Energy Engineering Congress (26th 2003 Atlanta, Ga.). Energy & high performance facility sourcebook. Lilburn, GA: Fairmont Press, 2003.

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15

Jana, Ricketts Flanagan, Association of Energy Engineers e World Energy Engineering Congress (26th : 2003 : Lilburn, Ga.), eds. Energy & high performance facility sourcebook. Lilburn, GA: Fairmont Press, 2003.

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16

de Souza, Gilberto Francisco Martha, ed. Thermal Power Plant Performance Analysis. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-2309-5.

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17

Rawlin, Vincent K. High power ion thruster performance. [Washington, DC]: National Aeronautics and Space Administration, 1987.

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18

United States. National Aeronautics and Space Administration., ed. High-power hydrogen arcjet performance. [Washington, DC]: National Aeronautics and Space Administration, 1991.

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19

Rawlin, Vincent K. High power ion thruster performance. [Washington, DC]: National Aeronautics and Space Administration, 1987.

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20

Miller, Susann C. Porsche: Power, performance, and perfection. New York, NY: MetroBooks, 1996.

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21

Gilberto Francisco Martha de Souza. Thermal Power Plant Performance Analysis. London: Springer London, 2012.

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22

M, Curran Francis, e United States. National Aeronautics and Space Administration., eds. Medium power hydrogen arcjet performance. [Washington, DC]: National Aeronautics and Space Administration, 1991.

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23

Cheetham, Craig. Power cars: High-performance machines. Hoo: Grange, 2003.

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24

Ben, Duncan. High performance audio power amplifiers: For music performance and reproduction. Oxford: Newnes, 1997.

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25

Australia. Bureau of Industry Economics., ed. International performance indicators. Canberra: Australian Government Pub. Service, 1992.

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26

Applegate, Elizabeth Ann. Power foods: High-performance nutrition for high-performance people. Emmaus, Pa: Rodale Press, 1991.

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27

Mason, Lee S. A Solar Dynamic power option for Space Solar Power. [Cleveland, Ohio]: National Aeronautics and Space Administration, Glenn Research Center, 1999.

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28

Company, Caterpillar Tractor. Caterpillar performance handbook. 2^a ed. Peoria, Ill: Caterpillar Inc., 1991.

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29

Suryaprasad, K. Article 356 of the Constitution of India: Promise and performance. New Delhi: Kanishka Publishers, Distributors, 2001.

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30

Power up Your Performances: Theatre Anywhere. Independently Published, 2020.

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31

Lybbert, Tracy. Power up Performances: Middle School Theatre Three. Independently Published, 2019.

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32

Kelly, Gillian. Tyrone Power. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474452946.001.0001.

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One of the most popular actors of the Classical Hollywood period, Tyrone Power’s appeal was initially based around his outstanding beauty, his looks remaining key to his star persona throughout his 25-year career and almost 50 films, most of which were made at Twentieth Century-Fox, before his untimely death in 1958 at the age of 44. Although Power was one of Classical Hollywood’s major stars of the pre- and post-war years, he remains academically neglected. This book presents the first substantial academic study of Power and employs a range of approaches, including stardom and genre theory, to reappraise his career from various angles including gender, genre and image. Textual analysis coincides with discussions of Power’s multi-layered performances in a variety of genres while engaging with industry systems, specifically Twentieth Century-Fox, his home studio for almost two decades, and situates Power’s performances within the contexts of industry regulations, such as the Production Code, and industry technological advances, such as CinemaScope. A key historical figure of American cinema, Power’s significant career trajectory from pretty boy ‘pin-up’ in the 1930s to mature, virile action-adventure star at the close of his career demonstrates the natural progression of a ‘normal’ life and his ability to remain relevant across the decades. This book is part of a welcome new wave of scholarly studies on overlooked stars, such as Power, whose careers were initially based around their looks but who maintained a career as they aged.

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33

Lybbert, Tracy. Self Study Guide for Power up Performances: Student Self Study Guide. Independently Published, 2019.

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34

Navarro-Farr, Olivia C., e Michelle Rich. Archaeology at el Perú-Waka': Ancient Maya Performances of Ritual, Memory, and Power. University of Arizona Press, 2015.

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35

Callahan, Erin C. Politics and Power of Bob Dylans Live Performances: Play a Song for Me. Routledge, 2023.

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36

Archaeology at El Perú Waka': Ancient Maya performances of ritual, memory, and power. Tucson: The University of Arizona Press, 2014.

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37

Callahan, Erin C. Politics and Power of Bob Dylans Live Performances: Play a Song for Me. Routledge, 2023.

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38

Seham, Amy. Performing Gender, Race, and Power in Improv Comedy. Editado por George E. Lewis e Benjamin Piekut. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.27.

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As taught by Viola Spolin, Keith Johnstone, and others, improv is a mode of playing that depends on group consensus, through such concepts as “agreement” and “groupmind,” as a basis for the release of individual creativity and the freedom to bypass both internal and external censorship. Improv comedy on stage, however, most often reflects the white, male, heterosexual perspective of its dominant players. This article explores the “spontaneous” performances of gender and race in improv comedy in light of power dynamics that often silence difference and encourage shallow stereotypes. Using Judith Butler’s theories and other approaches, the chapter then discusses improv’s potential for deconstructing gender performance. Detailed analysis of the work of the all-female improv troupe, JANE, reveals the wealth and variety of characters that can be improvised when choices of gesture, voice, and body language are playfully recombined across conventions of gender and sexuality.

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39

Strolling Players of Empire: Theater and Performances of Power in the British Imperial Provinces, 1656. Cambridge University Press, 2022.

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40

Wilson, Kathleen. Strolling Players of Empire: Theater and Performances of Power in the British Imperial Provinces, 1656-1833. Cambridge University Press, 2022.

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41

Strolling Players of Empire: Theater and Performances of Power in the British Imperial Provinces, 1656-1833. Cambridge University Press, 2022.

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42

Performance Power. Heinemann Educational Publishers, 2001.

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43

Gordon, Colette. Open and Closed. Editado por James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.12.

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The force of ‘Shakespeare’ as a source of cultural authority in South Africa has been extensively discussed. This chapter looks at a phenomenon that is less often acknowledged: the persistence of directorial power in post-apartheid Shakespearean performance. Renewed ties with British theatre after apartheid brought actors and directors trained in a more actor-centred approach into dialogue with local theatre practitioners, but this did little to shift South African Shakespeare away from dependence on spectacle and on directors as inheritors of institutional power. Focusing on South African performances in 2011 and 2012 across the different institutional spaces in which Shakespeare is made to work (theatres, schools, and prisons), in productions that promise to create democratic, liberating, ‘open’ Shakespeare, one finds both defiance and a striking restatement of the status quo. While connections with British theatre give authority and legitimacy to post-apartheid performances, the potential for ‘open Shakespeare’ has been squelched.

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44

Larry, H. I. Lunar strike. 2013.

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45

Atkinson, Paul. Everyday Arias: An Operatic Ethnography (Welsh National Opera). AltaMira Press, 2006.

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46

Atkinson, Paul. Everyday Arias: An Operatic Ethnography. AltaMira Press, 2006.

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47

Stone Peters, Julie. Law as Performance. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192898494.001.0001.

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Tirades against legal theatrics are nearly as old as law itself, and yet so is the age-old claim that law must not merely be done, but “seen to be done.” Law as Performance traces the history of legal performance and spectatorship through the early modern period. Viewing law as the product not merely of edicts or doctrines but of expressive action, it investigates the performances that literally created law: in civic arenas, courtrooms, and judges’ chambers; on scaffolds; and in the streets. It examines the legal codes, learned treatises, trial reports, lawyers’ manuals, execution narratives, rhetoric books, images (and more) that confronted these performances, praising their virtues or denouncing their evils. In so doing, it recovers a long, rich, and largely overlooked tradition of jurisprudential thought about law as a performance practice. This tradition not only generated an elaborate poetics and politics of legal performance. It provided western jurisprudence with a set of constitutive norms that shaped the very identity of law. That identity emerged, in part, through an opposition: law stood for cool deliberation, by-the-book rules, and sovereign discipline; theatre stood for deceptive artifice, entertainment, histrionics, melodrama. And yet legal performance, even at its most theatrical, also appeared fundamental to law’s realization—a central mechanism for shaping legal subjects, key to persuasion, essential to deterrence, indispensable to law’s power—as it still does today.

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48

Stone Peters, Julie. Law as Performance. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192898494.001.0001.

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Tirades against legal theatrics are nearly as old as law itself, and yet so is the age-old claim that law must not merely be done, but “seen to be done.” Law as Performance traces the history of legal performance and spectatorship through the early modern period. Viewing law as the product not merely of edicts or doctrines but of expressive action, it investigates the performances that literally created law: in civic arenas, courtrooms, and judges’ chambers; on scaffolds; and in the streets. It examines the legal codes, learned treatises, trial reports, lawyers’ manuals, execution narratives, rhetoric books, images (and more) that confronted these performances, praising their virtues or denouncing their evils. In so doing, it recovers a long, rich, and largely overlooked tradition of jurisprudential thought about law as a performance practice. This tradition not only generated an elaborate poetics and politics of legal performance. It provided western jurisprudence with a set of constitutive norms that shaped the very identity of law. That identity emerged, in part, through an opposition: law stood for cool deliberation, by-the-book rules, and sovereign discipline; theatre stood for deceptive artifice, entertainment, histrionics, melodrama. And yet legal performance, even at its most theatrical, also appeared fundamental to law’s realization—a central mechanism for shaping legal subjects, key to persuasion, essential to deterrence, indispensable to law’s power—as it still does today.

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49

Alexander, Jeffrey C. Performance and Power. Polity Press, 2011.

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50

Alexander, Jeffrey C. Performance and Power. Polity Press, 2013.

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