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Author: Barbara Day
Publisher: Charles University in Prague, Karolinum Press
ISBN: 802463953X
Category : Literary Criticism
Languages : cs
Pages : 320
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Book Description
The motto Národ sobě – “From the Nation to Itself” – inscribed over the proscenium arch of Prague’s National Theatre symbolizes the importance theatre holds for the Czechs. During the National Awakening of the 19th century, theatre took the place of politics, becoming an instrument of national identity in the hands of the revivalists. In what was then part of a German-speaking empire, the Czechs devised a complex and evocative theatre language made up of allegory, allusion, juxtaposition, games, wordplay, legend, history, illusion and music. A sophisticated avant-garde theatre flowered in Czechoslovakia between the wars, and became a symbol of independence during the Nazi occupation. It survived Socialist Realism and Stalinism to blossom again in the “Golden Sixties” when Prague became “the theatre capital of Europe” (Kenneth Tynan) and a generation of theatre and film directors (Radok, Grossman, Schorm) and playwrights (Havel, Kundera, Topol) were at the forefront of the Prague Spring. Reprisals took place after the 1968 Soviet invasion when, under “normalization,” hardline Communists tried to silence the voices of the ‘60s; thousands were forced into internal and external emigration. The theatre culture, however, flexible and experienced from previous repression, again provided a basis of opposition to totalitarianism. For two decades it operated in the provisional spaces of culture houses, studios, gymnasiums, bars, trade union halls, art galleries and living rooms. Strategies were devised and implemented to bring freedom back to the theatre and society. A strong sense of justice and ethics intensified the mutual commitment of theatres and audiences, leading the way to the Velvet Revolution of 1989 and the installation of a playwright as President.
Author: Barbara Day
Publisher: Charles University in Prague, Karolinum Press
ISBN: 802463953X
Category : Literary Criticism
Languages : cs
Pages : 320
Get Book Here
Book Description
The motto Národ sobě – “From the Nation to Itself” – inscribed over the proscenium arch of Prague’s National Theatre symbolizes the importance theatre holds for the Czechs. During the National Awakening of the 19th century, theatre took the place of politics, becoming an instrument of national identity in the hands of the revivalists. In what was then part of a German-speaking empire, the Czechs devised a complex and evocative theatre language made up of allegory, allusion, juxtaposition, games, wordplay, legend, history, illusion and music. A sophisticated avant-garde theatre flowered in Czechoslovakia between the wars, and became a symbol of independence during the Nazi occupation. It survived Socialist Realism and Stalinism to blossom again in the “Golden Sixties” when Prague became “the theatre capital of Europe” (Kenneth Tynan) and a generation of theatre and film directors (Radok, Grossman, Schorm) and playwrights (Havel, Kundera, Topol) were at the forefront of the Prague Spring. Reprisals took place after the 1968 Soviet invasion when, under “normalization,” hardline Communists tried to silence the voices of the ‘60s; thousands were forced into internal and external emigration. The theatre culture, however, flexible and experienced from previous repression, again provided a basis of opposition to totalitarianism. For two decades it operated in the provisional spaces of culture houses, studios, gymnasiums, bars, trade union halls, art galleries and living rooms. Strategies were devised and implemented to bring freedom back to the theatre and society. A strong sense of justice and ethics intensified the mutual commitment of theatres and audiences, leading the way to the Velvet Revolution of 1989 and the installation of a playwright as President.
Author: Minou Arjomand
Publisher: Columbia University Press
ISBN: 0231545738
Category : Philosophy
Languages : en
Pages : 256
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Book Description
Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term “show trials” suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era’s great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on a rich archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions.
Author: Yann Robert
Publisher: University of Pennsylvania Press
ISBN: 0812250753
Category : Literary Criticism
Languages : en
Pages : 344
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Book Description
For most of the seventeenth and eighteenth centuries, classical dogma and royal censorship worked together to prevent French plays from commenting on, or even worse, reenacting current political and judicial affairs. Criminal trials, meanwhile, were designed to be as untheatrical as possible, excluding from the courtroom live debates, trained orators, and spectators. According to Yann Robert, circumstances changed between 1750 and 1800 as parallel evolutions in theater and justice brought them closer together, causing lasting transformations in both. Robert contends that the gradual merging of theatrical and legal modes in eighteenth-century France has been largely overlooked because it challenges two widely accepted narratives: first, that French theater drifted toward entertainment and illusionism during this period and, second, that the French justice system abandoned any performative foundation it previously had in favor of a textual one. In Dramatic Justice, he demonstrates that the inverse of each was true. Robert traces the rise of a "judicial theater" in which plays denounced criminals by name, even forcing them, in some cases, to perform their transgressions anew before a jeering public. Likewise, he shows how legal reformers intentionally modeled trial proceedings on dramatic representations and went so far as to recommend that judges mimic the sentimental judgment of spectators and that lawyers seek private lessons from actors. This conflation of theatrical and legal performances provoked debates and anxieties in the eighteenth century that, according to Robert, continue to resonate with present concerns over lawsuit culture and judicial entertainment. Dramatic Justice offers an alternate history of French theater and judicial practice, one that advances new explanations for several pivotal moments in the French Revolution, including the trial of Louis XVI and the Terror, by showing the extent to which they were shaped by the period's conflicted relationship to theatrical justice.
Author: David A. Ball
Publisher:
ISBN:
Category : Law
Languages : en
Pages : 400
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Book Description
In this new, third edition of Theater Tips and Strategies for Jury Trials, David Ball updates his methods and approaches to jury persuasion. This practical step-by-step guide helps you navigate the changes that occur in jury trials instead of being blindsided by them. Based on both research and the experience of lawyers and trial consultants across the country, Theater Tips and Strategies for Jury Trials, Third Edition, presents techniques of the stage and screen you can use to win in the courtroom. Ball tells how to use theater concepts to persuade and motivate jurors. He tells attorneys how to look, talk, and act naturally, and to communicate the truth clearly and memorably, so they gain trust and credibility from judges and jurors. Ball provides practical guidance for voir dire, openings and closings, testimony, and focus groups. He describes what practitioners can learn from actors about their manner, voice projection, and behavior. He explains how to grab the jury from the beginningjust as a good movie opening captures the audience. He details how to prepare your {28}cast.
Author: Agatha Christie
Publisher: Samuel French, Inc.
ISBN: 9780573618000
Category : Drama
Languages : en
Pages : 116
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Book Description
When a wealthy widow is found murdered, her married lover is accused of the crime. His only hope for acquittal is the testimony of his wife, proving his alibi. However, she has some secrets of her own to reveal.
Author: David A. Ball
Publisher:
ISBN: 9781941007716
Category : Trial practice
Languages : en
Pages : 382
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Book Description
In Theater for Trial, David Ball and Joshua Karton use their extensive professional theater experience to give you practical exercises and strategies for connecting yourself, your case, and your witnesses with the jury. They provide tools available to any attorney—such as voice, presentation, and story structure—and show how to empower juries to take responsibility for righting a wrong. This book teaches you how to turn every trial into a powerful production that authentically calls forth your best asset: the simple truth, clearly and effectively communicated. Ball and Karton also teach you how to arm jurors to fight for you in deliberations. They offer techniques to improve how you prepare witnesses, create exhibits, present your client, select jurors, and conduct yourself in ways that frame the facts and the law to best engage your audience: the jury. Ball and Karton combine decades of intensive trial experience with cases from the smallest counties to the halls of the Supreme Court, with lessons from the stage and screen to optimize every moment you’re in trial.
Author: Moisés Kaufman
Publisher: Dramatists Play Service Inc
ISBN: 9780822216490
Category : Biography & Autobiography
Languages : en
Pages : 92
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Book Description
THE STORY: In early 1895, the Marquess of Queensberry, the father of Wilde's young lover, Lord Alfred Douglas, left a card at Wilde's club bearing the phrase posing somdomite. Wilde sued the Marquess for criminal libel. The defense denounced Wild
Author: James Ijames
Publisher: Dramatists Play Service, Inc.
ISBN: 0822238179
Category : Drama
Languages : en
Pages : 68
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Book Description
The recently widowed “Mother of America” lies helpless in her Mount Vernon bed, ravaged by illness and cared for by the very slaves that will be free the moment she dies. As she begins to slip away, she falls deep into a fever dream of terrifying theatricality that investigates everything from her family to her historical legacy.
Author: Simon Stephens
Publisher: A&C Black
ISBN: 1408172445
Category : Drama
Languages : en
Pages : 65
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Book Description
In The Trial of Ubu, Simon Stephens takes the grotesque and amoral megalomaniac dictator from Alfred Jarry's proto-surrealist 1896 play Ubu Roi and places him before a twenty-first century international tribunal. Set in January 2010, at the International Criminal Tribunal sitting in The Hague, it is day 436 of the trial of the dictator Ubu. Sitting before a UN constituted International Tribunal, he is charged with Crimes against Humanity and other serious violations of international humanitarian law. Simon Stephens' virtuosic satire examines the often absurd legal wrangling of the international justice system. The Trial of Ubu is a savage comedy that interrogates the assumptions of a Court as it struggles to deal with defendants who are not only opposed to the morality of law, but exist in a different moral dimension altogether. Exploring the central legitimacy and effectiveness of international law, Stephens asks how a civilised society can deal with the perpetrators of unspeakable crime, and wherein lies the legitimacy of any internationally convened tribunal. Taking a wry and intelligent look at the international courts when reduced to senseless and convoluted legal altercations, this funny yet unsettling play asks important questions about legal against moral justice, and the futility of reasoned argument in the presence of a heinous malefactor.
Author: Franz Kafka
Publisher: Bloomsbury Publishing
ISBN: 1783198796
Category : Drama
Languages : en
Pages : 87
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Book Description
Josef K’s thirtieth birthday begins with a knock on his door from two sinister agents. They’re from an unidentified agency, here to arrest him for unidentified crimes.But this is no birthday prank - this is life or death. So begins K’s dark descent into a waking nightmare of bizarre humiliations and compulsive procedures. The Olivier Award-winning Rory Kinnear (Hamlet, Skyfall) leads the cast of this new production, directed by Richard Jones and designed by Miriam Buether in a new adaptation by Nick Gill.
