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Storytellers of Stage and Screen
In Rose Eichenbaum’s latest book on the confluence of art making and human expression, she sits down with thirty-five modern day storytellers—the directors of theater, film, and television. Eichenbaum’s subjects speak with revealing clarity about the entertainment industry, the role and life of the director, and how theatrical and cinematic storytelling impacts our culture and our lives. The Director Within includes interviews with Peter Bogdanovich (The Last Picture Show), Julie Taymor (The Lion King), Mel Brooks (Blazing Saddles), Tim Van Patten (The Sopranos, Boardwalk Empire), Hal Prince (The Phantom of the Opera), Barry Levinson (Rain Man), and many others. The interviews are skillfully crafted, sensitively executed, and brimming with honesty and insight. The accompanying portraits demonstrate Eichenbaum’s mastery of photography and convey the truth, depth, and intimacy of their subjects. The Director Within is an inspirational, informative, and entertaining resource for anyone interested in creativity, art making, and artistic collaboration. The book includes a listing of works from each of the directors.
Surveillance Technologies in Performance
Discipline and Desire examines how surveillance technologies, when placed within the frames of theater and performance, can be used to critique and critically reimagine the politics of surveillance in everyday life. In this way, the rapid proliferation of surveillance technology including drones, CCTV cameras, GPS tracking systems, medical surveillance equipment, and a host of other commercially available technologies can be repurposed through performance to become technologies of ethical witnessing, critique, and action.
While the subject of surveillance continues to provoke fascination and debate in mainstream media and academia, opportunities to critically reflect upon and, more importantly, to imagine alternative, creative responses to living in a rapidly expanding surveillance society have been harder to find. Author Elise Morrison argues that such opportunities are being created through the growing genre of “surveillance art and performance,” defined as works that centrally employ technologies and techniques of surveillance to create theater, installation, and performance art. Introducing readers to a broad range of surveillance art works, including the work of artists and activists such as Surveillance Camera Players, Jill Magid, Steve Mann, Hasan Elahi, Wafaa Bilal, Blast Theory, Electronic Disturbance Theater, George Brant, Janet Cardiff, Mona Hatoum, and Zach Blas, Discipline and Desire provides a practical and analytical framework that can aid the diverse pursuits of new media-arts practitioners, performance scholars, activists, and hobbyists interested in critical and creative uses of surveillance technologies.
From the Chicago Conspiracy Trial and the O. J. Simpson trial to the Clarence Thomas/Anita Hill congressional hearings, legal and legislative proceedings in the latter part of the twentieth-century kept Americans spellbound. Situated on the shifting border between imagination and the law, trial plays edit, arrange, and reproduce court records, media coverage, and first-person interviews, transforming these elements into a performance. In this first book-length critical study of contemporary American documentary theater, Jacqueline O’Connor examines in depth ten such plays, all written and staged since 1970, and considers the role of the genre in re-creating and revising narratives of significant conflicts in contemporary history.
Documentary theater, she shows, is a particularly appropriate and widely utilized theatrical form for engaging in debate about tensions between civil rights and institutional power, the inconsistency of justice, and challenges to gender norms. For each of the plays discussed, including The Trial of the Catonsville Nine, Unquestioned Integrity: The Hill/Thomas Hearings, and The Laramie Project, O'Connor provides historical context and a brief production history before considering the trial the play focuses on. Grouping plays historically and thematically, she demonstrates how dramatic representation advances our understanding of the law's power while revealing the complexities that hinder society's pursuit of justice.
Reading la Comedie sans Tickets
The Drama of Fallen France examines various dramatic works written and/or produced in Paris during the four years of Nazi occupation and explains what they may have meant to their original audiences. Because of widespread financial support from the new French government at Vichy, the former French capital underwent a renaissance of theatre during this period, and both the public playhouses and the private theatres provided an amazing array of new productions and revivals. Some of the plays considered here are well known: Anouilh’s Antigone, Sartre’s The Flies, Claudel’s The Satin Slipper. Others have remained obscure, such as Cocteau’s The Typewriter, Giraudoux’s The Apollo of Marsac, and Montherlant’s Nobody’s Son; and two—André Obey’s Eight Hundred Meters and Simone Jollivet’s The Princess of Ursins—have remained virtually unread since the early 1940s. In examining French culture under the Vichy regime and the Nazis, Kenneth Krauss links the politics of gender and sexuality with the more traditional political concepts of collaboration and resistance. A final chapter on Truffaut’s 1980 film, The Last Métro, demonstrates how the present manages to rewrite and revision the complex and seemingly contradictory reality of the past.
From South Africa to the World
"Albert Wertheim's study of Fugard's plays is both extremely insightful and beautifully written... This book is aimed not only at teachers, students, scholars, and performers of Fugard but also at the person who simply loves going to see a Fugard play at the theatre." -- Nancy Topping Bazin, Eminent Scholar and Professor Emerita, Old Dominion University
Athol Fugard is considered one of the most brilliant, powerful, and theatrically astute of modern dramatists. The energy and poignancy of his work have their origins in the institutionalized racism of his native South Africa, and more recently in the issues facing a new South Africa after apartheid. Albert Wertheim analyzes the form and content of Fugard's dramas, showing that they are more than a dramatic chronicle of South African life and racial problems. Beginning with the specifics of his homeland, Fugard's plays reach out to engage more far-reaching issues of human relationships, race and racism, and the power of art to evoke change. The Dramatic Art of Athol Fugard demonstrates how Fugard's plays enable us to see that what is performed on stage can also be performed in society and in our lives; how, inverting Shakespeare, Athol Fugard makes his stage the world.
This was the age of the star. For the first time in the history of the theater, the playwright took second place to the actor; the interpretation of the role assumed primary importance in a assessing a performance. It was Mr. Kean's Hamlet first, and Mr. Shakespeare’s second.
What effects did this highly subjective, interpretive emphasis have on the drama? Where did it originate and how did it evolve? These questions are considered at length in the author's analysis of the nature of Romanticism itself as revealed in essays, novels, criticism, and by the actors themselves. The Jacobean origins of this revolutionary period are reviewed, followed by a close scrutiny of the critical writing of such contemporary thinkers as Hazlitt, Coleridge, Shelley, and Keats. This entirely new concept provides an important link between the practical theater and the contemporary philosophical thought of the time.
Originally published in 1970.
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.
The first-century Roman tragedies of Seneca, like all ancient drama, do not contain the sort of external stage directions that we are accustomed to today; nevertheless, a careful reading of the plays reveals such stage business as entrances, exits, setting, sound effects, emotions of the characters, etc. The Dramaturgy of Senecan Tragedy teases out these dramaturgical elements in Seneca's work and uses them both to aid in the interpretation of the plays and to show the playwright's artistry. Thomas D. Kohn provides a detailed overview of the corpus, laying the groundwork for appreciating Seneca's techniques in the individual dramas. Each of the chapters explores an individual tragedy in detail, discussing the dramatis personae and examining how the roles would be distributed among a limited number of actors, as well as the identity of the Chorus. The Dramaturgy of Senecan Tragedy makes a compelling argument for Seneca as an artist and a dramaturg in the true sense of the word: "a maker of drama." Regardless of whether Seneca composed his plays for full-blown theatrical staging, a fictive theater of the mind, or something in between, Kohn demonstrates that he displays a consistency and a careful attentiveness to details of performance. While other scholars have applied this type of performance criticism to individual tragedies or scenes, this is the first comprehensive study of all the plays in twenty-five years, and the first ever to consider not just stagecraft, but also metatheatrical issues such as the significant distribution of roles among a limited number of actors, in addition to the emotional states of the characters. Scholars of classics and theater, along with those looking to stage the plays, will find much of interest in this study.
Popular Front Ideals and Aethetics in Children's Plays of the Federal Theatre Project
Dreaming America: Popular Front Ideals and Aesthetics in Children’s Plays of the Federal Theatre Project by Leslie Elaine Frost traces how the tumultuous politics of the late 1930s shaped the stories and staging of federally funded plays for children. Indeed, children’s theater was central to the Federal Theatre Project’s vision of building a national theater. Frost argues that representations of the child and childhood in the FTP children’s plays stage the hopes and anxieties of a nation destabilized by both economic collapse and technological advances. A declining economy and the first stagnant birthrate in three centuries yoked the national economy to the individual family. Profound disagreements over appropriate models of education and parenting, as well as over issues of ethnicity and class, constituted fundamental arguments over democratic values and social norms. Frost locates these plays within the immediate context of the production materials in the FTP archives, as well as within the broader culture of the Great Depression, drawing on disparate primary materials—from parenting magazines to strike literature to political journals—and referencing a range of popular events—from the Joe Louis/Max Schmeling fights to Hollywood movies. As the focus of Depression-era adult anxieties and hopes and as the embodiment of vigor, dynamism, and growth, children carried symbolic value both as the future of America and as the America of the future. Frost examines representative plays’ connections to other media, culture, and politics to situate their singular trajectories in the social history of the Federal Theatre Project and Popular Front culture.
Performance in Crisis, 1970s New York