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Hannah Arendt, the Two Adornos, and Walter Benjamin
Hannah Arendt, Walter Benjamin, and Theodor W. Adorno were intellectual giants of the first half of the twentieth century. The drama Foreplay explores their deeply human and psychologically intriguing private lives, focusing on professional and personal jealousies, the mutual dislike of Theodor Adorno and Hannah Arendt, the association between Walter Benjamin and Georges Bataille, and the border between erotica and pornography.
Textual, Contextual, and Critical Interpretations
Martin Stevens examines the four extant complete cycles of Middle English mystery plays in light of the most recent research on the manuscripts, sources, and records relating to the medieval drama. The first comprehensive treatment of all four of the cycles, the book emphasizes the study of the surviving manuscripts as texts distinct from their performance history.
Originally published in 1987.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Tadeusz Kantor’s Theatre
[Re]claiming Performance Space in Kenya
Getting Heard: (Re)claiming Performance Space is the third in a series of publications on art, culture and society released by Twaweza Communications. The aim is to bring to the fore conversations taking place in Kenya about identity, creativity, nationalism and the generation of knowledge. The series is also about the pursuit of freedom through arts, media and culture. In Getting Heard the performance space is shown to offer wider possibilities for knowledge creation. It shows that in post-colonial Africa political leaders have consistently performed over their subjects at local and national levels. There is discussion of: Kenya National Theatre, Story Telling, Radio Theatre, Translation, African Languages, Music, Media and Mungiki This volume opens a window to our understanding of post-colonial Africa through performances.
Ghana's Concert Party Theatre
Catherine M. Cole
An engaging history of Ghana's enormously popular concert party theatre.
"... succeeds in conveying the exciting and fascinating character of the concert party genre, as well as showing clearly how this material can be used to rethink a number of contemporary theoretical themes and issues." -- Karin Barber
Under colonial rule, the first concert party practitioners brought their comic variety shows to audiences throughout what was then the British Gold Coast colony. As social and political circumstances shifted through the colonial period and early years of Ghanaian independence, concert party actors demonstrated a remarkable responsiveness to changing social roles and volatile political situations as they continued to stage this extremely popular form of entertainment. Drawing on her participation as an actress in concert party performances, oral histories of performers, and archival research, Catherine M. Cole traces the history and development of Ghana's concert party tradition. She shows how concert parties combined an eclectic array of cultural influences, adapting characters and songs from American movies, popular British ballads, and local story-telling traditions into a spirited blend of comedy and social commentary. Actors in blackface, inspired by Al Jolson, and female impersonators dramatized the aspirations, experiences, and frustrations of their audiences. Cole's extensive and lively look into Ghana's concert party provides a unique perspective on the complex experience of British colonial domination, the postcolonial quest for national identity, and the dynamic processes of cultural appropriation and social change. This book will be essential reading for scholars and students of African performance, theatre, and popular culture.
Catherine M. Cole is Assistant Professor in the Department of Dramatic Art at the University of California, Santa Barbara. She has published numerous articles on African theatre and has collaborated with filmmaker Kwame Braun on "passing girl; riverside," a video essay on the ethical dilemmas of visual anthropology.
256 pages, 26 b&w photos, 3 maps, 6 1/8 x 9 1/4, notes, bibl., index
cloth 0-253-33845-X $49.95 L /
In his last play published posthumously the late Francis Imbuga presents the dramatic dialogue of his characters as mind games. In addition to using a narrator, Sikia Macho, to fill us in on the broken politics of Kafira, centring around detention without trial, Imbuga deliberately delays the inciting action, the formation of the Green Party of Kafira which then challenges the hitherto political monolith called the National Party. The candidate of the new party, former detainee Pastor Mgei, wins the election, and thereby dethrones the so-called Chief of Chiefs. In The Green Cross of Kafira, Imbuga, with a renewed sense of urgency, addresses the theme of dictatorship in Africa, and completes his trilogy of the Kafira plays which begins with Betrayal in the city followed by Man of Kafira.
A Nahua Drama from Early Colonial Mexico
Identified only in 1986, the Nahuatl Holy Week play is the earliest known dramatic script in any Native American language. In Holy Wednesday, Louise Burkhart presents side-by-side English translations of the Nahuatl play and its Spanish source. An accompanying commentary analyzes the differences between the two versions to reveal how the native author altered the Spanish text to fit his own aesthetic sensibility and the broader discursive universe of the Nahua church. A richly detailed introduction places both works and their creators within the cultural and political contexts of late sixteenth-century Mexico and Spain.
Plays for Preschoolers
Young children love to explore their world through drama—characters, dialogue, story arcs, and props are all standard elements of a child’s play. It is no surprise then that professional theatre has long been regarded as a way to support children’s social-emotional, cognitive, and creative development. Increasingly, there is an international interest in theatre for very young audiences, and the Wall Street Journal reported on a “baby boom” in American theatre, with a marked upswing in the number of stage plays being written and produced for toddlers and preschoolers.
Fueled by ongoing research into developmental psychology and theatre arts, the Children’s Theatre Company (CTC) of Minneapolis presents in this book four of its newly commissioned plays for preschoolers. CTC is widely recognized as the leading theatre for young people and families in North America; it received the 2003 Tony award for regional theatre, and Time magazine rated it the number one children’s theatre in the United States. These four plays encompass a broad range of styles and subjects: Bert and Ernie, Goodnight! is a musical about Bert and Ernie’s unlikely but true friendship, written by Barry Kornhauser and based on the original songs and scripts from Sesame Street. The Biggest Little House in the Forest is a toy-theatre play about a group of diverse animals trying to share a very tiny home, adapted by Rosanna Staffa from the book by Djemma Bider. The Cat’s Journey is a dazzling shadow-puppet play with a little girl who rides on a friendly cat, written by Fabrizio Montecchi. And Victoria Stewart’s Mercy Watson to the Rescue!, adapted from the Kate DiCamillo Mercy Watson series, is a comic romp featuring the inadvertent heroics of everyone’s favorite porcine wonder.
While these plays are as different as they could be, they all help young children to develop a moral compass and critical-thinking skills—while also showing them the power of the theatre to amaze, delight, and inspire.