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Author: Alan Read
Publisher: Routledge
ISBN: 1000052230
Category : Performing Arts
Languages : en
Pages : 460
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Book Description
The Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology. The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London’s Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of ‘cultural cruelty’ wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss. In the harsh light of such loss is there an alternative to the market that profits from peddling ‘well-being’ and pushes prescriptions for ‘self-help’, any role for the arts that is not an apologia for injustice? What if culture were not the solution but the problem when it comes to the mitigation of grief? Creativity not the remedy but the symptom of a structural malaise called inequality? Read suggests performance is no longer a political panacea for the precarious subject but a loss adjustor measuring damages suffered, compensations due, wrongs that demand to be put right. These field notes from a fire sale are a call for angry arts of advocacy representing those abandoned as the detritus of cultural authority, second-order victims whose crime is to have appealed for help from those looking on, audiences of sorts.
Author: Alan Read
Publisher: Routledge
ISBN: 1000052230
Category : Performing Arts
Languages : en
Pages : 460
Get Book Here
Book Description
The Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology. The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London’s Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of ‘cultural cruelty’ wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss. In the harsh light of such loss is there an alternative to the market that profits from peddling ‘well-being’ and pushes prescriptions for ‘self-help’, any role for the arts that is not an apologia for injustice? What if culture were not the solution but the problem when it comes to the mitigation of grief? Creativity not the remedy but the symptom of a structural malaise called inequality? Read suggests performance is no longer a political panacea for the precarious subject but a loss adjustor measuring damages suffered, compensations due, wrongs that demand to be put right. These field notes from a fire sale are a call for angry arts of advocacy representing those abandoned as the detritus of cultural authority, second-order victims whose crime is to have appealed for help from those looking on, audiences of sorts.
Author: Adam Alston
Publisher: Bloomsbury Publishing
ISBN: 147425120X
Category : Performing Arts
Languages : en
Pages : 301
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Book Description
Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre responds to a rising tide of experimentation in theatre practice that eliminates or obscures light. It brings together leading and emerging practitioners and researchers in a volume dedicated to exploring the phenomenon and showcasing a range of possible critical and theoretical approaches. This book considers the aesthetics and phenomenology of dark, gloomy and shadow-strewn theatre performances, as well as the historical and cultural significances of darkness, shadow and the night in theatre and performance contexts. It is concerned as much with the experiences elicited by darkness and obscured or diminished lighting as it is with the conditions that define, frame and at times re-shape what each might 'mean' and 'do'. Contributors provide surveys of relevant practice, interviews with practitioners, theoretical reflections and close critical analyses of work by key innovators in the aesthetics of light, shadow and darkness. The book has a particular focus on the work of contemporary theatre makers – including Sound&Fury, David Rosenberg and Glen Neath, Lundahl & Seitl, Extant, and Analogue – and seeks to deepen the engagement of theatre and performance studies with what might be called 'the sensory turn'. Theatre in the Dark explores ground-breaking areas that will appeal to researchers, practitioners and audiences alike.
Author: Chris Hadfield
Publisher: Little, Brown Books for Young Readers
ISBN: 0316362824
Category : Juvenile Fiction
Languages : en
Pages : 49
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Book Description
Encouraging readers to dream the impossible, The Darkest Dark follows a young boy intrigued by space, but afraid of the dark, inspired by the childhood of real-life astronaut Chris Hadfield and brought to life by Terry and Eric Fan's lush, evocative illustrations. Chris loves rockets and planets and pretending he's a brave astronaut, exploring the universe. Only one problem. At night, Chris doesn't feel so brave. He's afraid of the dark. When he watches the groundbreaking moon landing on TV, Chris learns that space is the darkest dark there is, and through that lesson discovers that the dark isn't just scary, but beautiful and exciting—especially when you have big dreams to keep you company.
Author: Glen Berger
Publisher: Simon and Schuster
ISBN: 1451684584
Category : Performing Arts
Languages : en
Pages : 384
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Book Description
“One of the best literary works of this year” (Miami Herald-Tribune): The true story of a theatrical dream—or nightmare—come true…the making of the Spider-Man musical. As you might imagine, writing a Broadway musical has its challenges. But it turns out there are challenges one can’t begin to imagine when collaborating with two rock legends and a superstar director to stage the biggest, most expensive production in theater history. Renowned director Julie Taymor picked playwright Glen Berger to cowrite the book for a $25 million Spider-Man musical. Together—along with U2’s Bono and Edge—they would shape a work that was technically daring and emotionally profound, with a story fueled by the hero’s quest for love…and the villains’ quest for revenge. Or at least, that’s what they’d hoped for. But when charismatic producer Tony Adams died suddenly, the show began to lose its footing. Soon the budget was ballooning, financing was evaporating, and producers were jumping ship or getting demoted. And then came the injuries. And then came word-of-mouth about the show itself. What followed was a pageant of foul-ups, falling-outs, ever-more harrowing mishaps, and a whole lot of malfunctioning spider legs. This “circus-rock-and-roll-drama,” with its $65 million price tag, had become more of a spectacle than its creators ever wished for. During the show’s unprecedented seven months of previews, the company’s struggles to reach opening night inspired breathless tabloid coverage and garnered international notoriety. Through it all, Berger observed the chaos with his signature mix of big ambition and self-deprecating humor.
Author: Pikes Noah
Publisher: Whole Voice
ISBN: 9783952483503
Category :
Languages : en
Pages : 234
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Book Description
Beginning with his struggle with destructive forces, and his first meetings with Roy Hart, the author recounts the fantastic work of discovery and redress of the human voice which begins with the devastating experiences of Alfred Wolfsohn, a young German musician and singing teacher in the trenches of World War 1. There follows his meeting in London in 1947 with a gifted young actor, Roy Hart, on a scholarship at RADA, leading ten years later to medical and media recognition of the significance of Wolfsohn's teachings and its astounding results. After Wolfsohn's death in 1962, Hart continues both his own and the group's work of extending vocal range, singing, and personal development, while adding that of acting. In 1969 Hart emerges as a powerful, memorable, yet disturbing performer of works written for his voice by three contemporary composers, including 8 Songs for a Mad King, the founding work of music theatre. In 1969 the group also performs publicly for the first time, at a theatre festival in France. This 3rd edition retains all chapters from the 2nd, but with new front and back material, including reflections on the central role of several of C.J. Jung's concepts for Wolfsohn, Hart, and Roy Hart Theatre. Among others the notions of individuation, archetypes and opposites, came to be pivotal in their approach to voice. This book is essential for anyone interested in the expressive capacities of the human voice today and is also an inspiring book about creativity and self-realisation. Noah Pikes' narrative draws on his personal experiences, combined with his rigorously researched origins of Roy Hart Theatre. The inclusion of a greatly increased range of high-quality photos makes this 3rd edition particularly striking.
Author: Michael Mangan
Publisher: Intellect Books
ISBN: 184150985X
Category : Body, Mind & Spirit
Languages : en
Pages : 282
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Book Description
Magic and conjuring inhabit the boundaries and the borderlands of performance. The conjuror’s act of demonstrating the apparently impossible, the uncanny, the marvellous, or the grotesque challenges the spectator’s sense of reality. It brings him or her up against their own assumptions about how the world works; at its most extreme, it asks the spectator to re-evaluate his or her sense of the limits of the human. Performing Dark Arts is an exploration of the paradox of the conjuror, the actor who pretends to be a magician. It aims to illuminate the history of conjuring by examining it in the context of performance studies, and to throw light on aspects of performance studies by testing them against the art of conjuring. The book examines not only the performances of individual magicians from Dedi to David Blaine, but also the broader cultural contexts in which their performances were received, and the meanings which they have attracted.
Author: Adam Alston
Publisher: Bloomsbury Publishing
ISBN: 1474251196
Category : Performing Arts
Languages : en
Pages : 258
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Book Description
Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre responds to a rising tide of experimentation in theatre practice that eliminates or obscures light. It brings together leading and emerging practitioners and researchers in a volume dedicated to exploring the phenomenon and showcasing a range of possible critical and theoretical approaches. This book considers the aesthetics and phenomenology of dark, gloomy and shadow-strewn theatre performances, as well as the historical and cultural significances of darkness, shadow and the night in theatre and performance contexts. It is concerned as much with the experiences elicited by darkness and obscured or diminished lighting as it is with the conditions that define, frame and at times re-shape what each might 'mean' and 'do'. Contributors provide surveys of relevant practice, interviews with practitioners, theoretical reflections and close critical analyses of work by key innovators in the aesthetics of light, shadow and darkness. The book has a particular focus on the work of contemporary theatre makers – including Sound&Fury, David Rosenberg and Glen Neath, Lundahl & Seitl, Extant, and Analogue – and seeks to deepen the engagement of theatre and performance studies with what might be called 'the sensory turn'. Theatre in the Dark explores ground-breaking areas that will appeal to researchers, practitioners and audiences alike.
Author: Bruce D. Mcclung
Publisher: Oxford University Press
ISBN: 0199725128
Category : Music
Languages : en
Pages : 330
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Book Description
When Lady in the Dark opened on January 23, 1941, its many firsts immediately distinguished it as a new and unusual work. The curious directive to playwright Moss Hart to complete a play about psychoanalysis came from his own Freudian psychiatrist. For the first time since his brother George's death, Ira Gershwin returned to writing lyrics for the theater. And for émigré composer Kurt Weill, it was a crack at an opulent first-class production. Together Hart, Gershwin, and Weill (with a little help from the psychiatrist) produced one of the most innovative works in Broadway history. With a company of 101 and an astronomical budget, Lady in the Dark launched the career of a young nightclub performer named Danny Kaye and starred Gertrude Lawrence in the greatest triumph of her career. With standees at many performances, Lady in the Dark helped establish the practice of advance ticket sales on the Great White Way, while Paramount Pictures' bid for the film rights broke all records. New York Times drama critic Brooks Atkinson hailed the production as "splendid," anointed Kurt Weill 'the best writer of theatre music in the country,' and worshiped Gertrude Lawrence as "a goddess." Though Lady in the Dark was a smash-hit, it has never enjoyed a Broadway revival, and a certain mystique has grown up around its legendary original production. In this ground-breaking biography, bruce mcclung pieces together the musical's life story from sketches and drafts, production scripts, correspondence, photographs, costume and set designs, and thousands of clippings from the star's personal scrapbooks. He has interviewed eleven members of the original company to provide a one-of-a-kind glimpse into the backstage story. The result is a virtual ticket to opening night, the saga of how this musical play came to be, and the string of events that saved the experimental show at every turn. Although America was turned upside down by Pearl Harbor after the production was on the boards, Lady in the Dark played an important role for the war effort and rang up 777 performances in 12 cities. In what may be the most illuminating study of a single Broadway musical, this biography brings Lady in the Dark back to the spotlight and puts readers in the front row.
Author: Stuart Ostrow
Publisher: Hal Leonard Corporation
ISBN: 9781557836465
Category : Biography & Autobiography
Languages : en
Pages : 200
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Book Description
(Applause Books). "The best way I know to resuscitate the theatre is to produce dangerous new works." Stuart Ostrow. Producer Stuart Ostrow's manifesto of how intelligent life might be restored to the theatre is also a unique personal memoir of the producer-creator relationship and an evaluation of the essentials that can make a show fly, or remain earthbound. As a solo producer, Ostrow's many productions include M. Butterfly , which won the Tony Award for Best Play; Pippin ; and 1776 , which received both the New York and London Drama Critics Awards as well as the Tony Award for Best Musical. He produced the original Broadway production of the critically acclaimed La Bete , which won the Olivier Award in London for Best Comedy. Ostrow was brought in to fix the original production of Chicago , collaborated with Anthony Hopkins on a London production of M. Butterfly , that was not meant to be, and even had his own play, Stages , directed on Broadway by the avant-garde theatrical pioneer Richard Foreman. He riffs about the heroes and heels he's met along the way and that great cast includes Frank Loesser, Meredith Willson, Mel Brooks, Mike Nichols, Bob Fosse, David Geffen, Andrew Lloyd Webber, David Henry Hwang, John Kander, Fred Ebb, and many more.
Author: Adam Alston
Publisher: Springer
ISBN: 1137480440
Category : Performing Arts
Languages : en
Pages : 250
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Book Description
Immersive theatre currently enjoys ubiquity, popularity and recognition in theatre journalism and scholarship. However, the politics of immersive theatre aesthetics still lacks a substantial critique. Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny? Beyond Immersive Theatre contextualises these questions by tracing the evolution of neoliberal politics and the experience economy over the past four decades. Through detailed critical analyses of work by Ray Lee, Lundahl & Seitl, Punchdrunk, shunt, Theatre Delicatessen and Half Cut, Adam Alston argues that there is a tacit politics to immersive theatre aesthetics – a tacit politics that is illuminated by neoliberalism, and that is ripe to be challenged by the evolution and diversification of immersive theatre.
