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Performances, Essays, and Travels
For a quarter century, Tim Miller has worked at the intersection of performance, politics, and identity, using his personal experiences to create entertaining but pointed explorations of life as a gay American man—from the perils and joys of sex and relationships to the struggles of political disenfranchisement and artistic censorship. This intimate autobiographical collage of Miller's professional and personal life reveals one of the celebrated creators of a crucial contemporary art form and a tireless advocate for the American dream of political equality for all citizens.
Here we have the most complete Miller yet—a raucous collection of his performance scripts, essays, interviews, journal entries, and photographs, as well as his most recent stage piece Us. This volume brings together the personal, communal, and national political strands that interweave through his work from its beginnings and ultimately define Miller's place as a contemporary artist, activist, and gay man.
Acting in Real Time by renowned Dutch director and acting teacher Paul Binnerts describes his method for Real-Time Theater, which authorizes actors to actively determine how a story is told---they are no longer mere vehicles for delivering the playwright's message or the director's interpretations of the text. This level of involvement allows actors to deepen their grasp of the material and amplify their stage presence, resulting in more engaged and nuanced performances. The method offers a postmodern challenge to Stanislavski and Brecht, whose theories of stage realism dominated the twentieth century. In providing a new way to consider the actor's presence on stage, Binnerts advocates breaking down the "fourth wall" that separates audiences and actors and has been a central tenet of acting theories associated with realism. In real-time theater, actors forgo attempts to become characters and instead understand their function to be storytellers who are fully present on stage and may engage the audience and their fellow actors directly. Paul Binnerts analyzes the ascendance of realism as the dominant theater and acting convention and how its methods can hinder the creation of a more original, imaginative theater. His description of the techniques of real-time theater is illuminated by practical examples from his long experience in the stage. The book then offers innovative exercises that provide training in the real-time technique, including physical exercises that help the actor become truly present in performance. Acting in Real Time also includes a broad overview of the history of acting and realism's relationship to the history of theater architecture, offering real-time theater as an alternative. The book will appeal to actors and acting students, directors, stage designers, costume designers, lighting designers, theater historians, and dramaturgs.
Intimate Conversations with Great Actors
In Rose Eichenbaum's third work on the confluence of art making and human expression, she delves into the lives of thirty-five celebrated actors through intimate conversations and photographic portraits. With her probing questions and disarming manner, she captures the essential character of her subjects while shining a light on the art that defines them. The work provides extraordinary insights on the craft of acting with discussions of process, techniques, tools of the trade, and how to advice for aspiring actors from seasoned veterans. These stars of stage and screen, known for signature roles and critically acclaimed performances, emerge in The Actor Within with masks and wardrobe removed. Here, they speak their own lines, tell their own stories, and raise the curtain on what it means to live the actor's life--the challenge of mastering their craft, the drama of big breaks and career woes, the search for meaningful roles, and above all, having the courage to bare their souls before theater audiences or the camera. For the artists featured in this work, acting is more than a profession; it is how they make their way in the world and artfully merge their inner sense of humanness with universal truths. This collection serves as an important inspirational resource for anyone interested in making art, regardless of medium.
The Actor Within includes interviews with Karl Malden, Ruby Dee, Ed Harris, Piper Laurie, Marcia Gay Harden, William H. Macy, Ellen Burstyn, Joe Mantegna, Debra Winger, Julia Stiles, Elliott Gould, Elijah Wood, Stockard Channing, Bill Pullman, Amanda Plummer, Marlee Matlin, Charles Durning, Marsha Mason, and many others.
LGBT Performance and the Politics of Pleasure
Acts of Gaiety explores the mirthful modes of political performance by LGBT artists, activists, and collectives that have inspired and sustained deadly serious struggles for revolutionary change. The book explores antics such as camp, kitsch, drag, guerrilla theater, zap actions, rallies, manifestos, pageants, and parades alongside more familiar forms of "legitimate theater." Against queer theory's long-suffering romance with mourning and melancholia and a national agenda that urges homosexuals to renounce pleasure if they want to be taken seriously by mainstream society, Acts of Gaiety seeks to reanimate notions of "gaiety" as a political value for LGBT activism. The book mines the archives of lesbian-feminist activism of the 1960s-70s, highlighting the outrageous gaiety that lay at the center of the social and theatrical performances of the era and uncovering original documents long thought to be lost. Juxtaposing historical figures such as Valerie Solanas and Jill Johnston with more recent performers and activists (including Hothead Paisan, Bitch & Animal, and the Five Lesbian Brothers), Warner shows how reclaiming this largely discarded and disavowed past elucidates possibilities for being and belonging. Acts of Gaiety explores the mutually informing histories of gayness as politics and as joie de vivre, along with the centrality of liveliness to queer performance and protest.
Transnational Theater, Literature, and Film in Contemporary Germany
The contemporary moment has been described in terms of both a “narrative” and a “performative turn,” but the overlap between these two has largely escaped attention. This curious gap is explained by the ways in which scholars across the humanities have defined narrative and performance as opposite forces, emphasizing their respective affiliations with time vs. space and identity constitution vs. its undoing. Although the opposition has been acknowledged as false by many in this simple form, its shifting instantiations continue to shape the ways we make sense of the arts as well as society. Instead, An Aesthetics of Narrative Performance: Transnational Theater, Literature, and Film in Contemporary Germany by Claudia Breger maps the complexities of imaginative worldmaking in contemporary culture through an aesthetics of narrative performance: an ensemble of techniques exploring the interplay of rupture and recontextualization in the process of configuration. Interlacing diverging definitions of both narrative and performance, the study outlines two clusters of such techniques—scenic narration and narrative “presencing” in performance vs. forms of narrative theatricalization—and analyzes the cultural work they do in individual works in three different media: literature, film, and theater. These readings focus on the rich configurations of contemporary worldmaking “at location Germany.” In the discussed representations of German unification, contemporary cultures of migration, and the transnational War on Terror, the aesthetics of narrative performance finds its identity as a multifaceted imaginative response to the post/modern crisis of narrative authority.
Cultural Mobility and Exchange in New York, 1952-2011
America’s Japan and Japan’s Performing Arts studies the images and myths that have shaped the reception of Japan-related theater, music, and dance in the United States since the 1950s. Soon after World War II, visits by Japanese performing artists to the United States emerged as a significant category of American cultural-exchange initiatives aimed at helping establish and build friendly ties with Japan. Barbara E. Thornbury explores how “Japan” and “Japanese culture” have been constructed, reconstructed, and transformed in response to the hundreds of productions that have taken place over the past sixty years in New York, the main entry point and defining cultural nexus in the United States for the global touring market in the performing arts. Thornbury crosses disciplinary boundaries in her wide range of both primary sources and published scholarship, making the book of interest to students and scholars of performing arts studies, Japanese studies, and cultural studies.
Patrons, Patronage, and Philanthropy
Literary Traces of Eugene O'Neill and Agnes Boulton
An engrossing biography about the marital breakdown of a major literary figure, of particular interest for what it reveals about O'Neill's creative process, activities, and bohemian lifestyle at the time of his early successes and some of his most interesting experimental work. In addition, King's discussion of Boulton's efforts as a writer of pulp fiction in the early part of the 20th century reveals an interesting side of popular fiction writing at that time, and gives insight into the lifestyle of the liberated woman. ---Stephen Wilmer, Trinity College, Dublin Biographers of American playwright Eugene O'Neill have been quick to label his marriage to actress Carlotta Monterey as the defining relationship of his illustrious career. But in doing so, they overlook the woman whom Monterey replaced---Agnes Boulton, O'Neill's wife of over a decade and mother to two of his children. O'Neill and Boulton were wed in 1918---a time when she was a successful pulp novelist and he was still a little-known writer of one-act plays. During the decade of their marriage, he gained fame as a Broadway dramatist who rejected commercial compromise, while she mapped that contentious territory known as the literary marriage. His writing reflected her, and hers reflected him, as they tried to realize progressive ideas about what a marriage should be. But after O'Neill left the marriage, he and new love Carlotta Monterey worked diligently to put Boulton out of sight and mind---and most O'Neill biographers have been quick to follow suit. William Davies King has brought Agnes Boulton to light again, providing new perspectives on America's foremost dramatist, the dynamics of a literary marriage, and the story of a woman struggling to define herself in the early twentieth century. King shows how the configuration of O'Neill and Boulton's marriage helps unlock many of O'Neill's plays. Drawing on more than sixty of Boulton's published and unpublished writings, including her 1958 memoir, Part of a Long Story, and an extensive correspondence, King rescues Boulton from literary oblivion while offering the most radical revisionary reading of the work of Eugene O'Neill in a generation. William Davies King is Professor of Theater at the University of California, Santa Barbara, and author of several books, most recently Collections of Nothing, chosen by Amazon.com as one of the Best Books of 2008. Illustration: Eugene O'Neill, Shane O'Neill, and Agnes Boulton ca. 1923. Eugene O'Neill Collection, Beinecke Rare Book and Manuscript Library, Yale University.
A Theater of Civil Disobedience
Civil disobedience has a tattered history in the American story. Described by Martin Luther King Jr. as both moral reflection and political act, the performance of civil disobedience in the face of unjust laws is also, Patrice Rankine argues, a deeply artistic practice. Modern parallels to King’s civil disobedience can be found in black theater, where the black body challenges the normative assumptions of classical texts and modes of creation. This is a theater of civil disobedience.
Utilizing Aristotle’s Poetics, Rankine ably invokes the six aspects of Aristotelian drama—character, story, thought, spectacle, song, and diction. He demonstrates the re-appropriation and rejection of these themes by black playwrights August Wilson, Adrienne Kennedy, and Eugene O’Neill. Aristotle and Black Drama frames the theater of civil disobedience to challenge the hostility that still exists between theater and black identity.