Call Number: UCF Main Library General Collection - 4th Floor -- PN2570.S93 2013
Part 1: The Public Sphere as a Theatrical Arena of Mocking Contest: Comedy, Mask, Laughter 1. The Public & Its Masks: Permanent Hyper-Critique & Hypocritical Performance 2. Nietzsche’s Intuitions: From Theatre Through Humanist Philology to Richard Wagner, or the Genealogy of the Modern World As Stage 3. Ridiculing as Public Weapon Part 2: The Rebirth of Theatre as Comedy out of the Spirit of the Byzantium 4. The Byzantine Spirit & Its Sources 5. Transmitting, Receiving & Nurturing the Byzantine Spirit 6. The Rise of Theatre in Venice Part 3: The Effect Mechanism of Commedia dell’Arte: Visions & Realities of Commedification 7. Commedia dell’Arte: Schismogenic Sub-Plots & Irresistible Stock-Types 8. Shakespeare: The Tragedy of World History Being a Comedy 9. Representing Representation: Visionary Images of Commedia dell’Arte Part 4: The Rebirth of Commedia dell’Arte as the Avant-garde 10. The Rebirth of Pierrot as Suffering Victim 11. Obsessed with Paris & Public Fame: Richard Wagner, the Mimomaniac Revolutionary 12. Pierrot & Pulcinella in Between Paris & Petersburg: The Avant-Garde of Diaghilev & Meyerhold
Call Number: UCF ONLINE General Collection -- PG1038.28.A33 1998
Stanislav Stratiev, or how the theater has produced a playwright / Irina Kanusheva -- On the other side / Stanislav Stratiev ; translated by Stanimir Stratiev -- "Anathema" and "Glory be" to Stefan Tsanev / Anelia Yaneva -- The other death of Joan of Arc / Stefan Tsanev ; translated by Rosa Hays and Valeri Chukov -- The other death of Joan of Arc by Stefan Tsanev: production history
Call Number: UCF ONLINE General Collection -- PR739.H5F45 2013
"Locating its key texts within the traditions of historical drama, self-reflexivity in European theatre, debates in the politics and aesthetics of postmodernism, and currents in contemporary historiography, this book provides a new critical idiom for discussing the major works of the genre and others that utilize its techniques. Feldman studies landmarks in the theatre history of postwar Britain by Weiss, Stoppard, Brenton, Wertenbaker and others, focusing on European revolutionary politics, the historiography of the World Wars and the effects of British colonialism. The playwrights under consideration all use the device of the play-within-the-play to explore constructions of nationhood and of Britishness, in particular. Those plays performed within the framing works are produced in places of exile where, Feldman argues, the marginalized negotiate the terms of national identity through performance."
Call Number: UCF ONLINE General Collection -- PN1650.E26C54 2010
"Looking at European drama through an ecological lens, this book chronicles nature and the environment as primary topics in major plays from ancient to recent times. Cless focuses on the few, yet well-known plays in which nature is at stake in the action or the environment is a dramatic force. Though theater predominantly explores human and cultural themes, these plays fully display the power of the other-than-human world and its endangerment during the history of Europe. While offering a broad overview, the book features extensive case studies of several playwrights, plays, and eco-theater productions: Aristophanes’ The Birds, Marlowe’s Doctor Faustus, Shakespeare’s A Midsummer Night’s Dream and The Tempest, and Giraudoux’s The Madwoman of Chaillot. In each case, Cless connects nature in the play to nature in the life of the playwright based on biographical research into the understanding of natural philosophy and awareness of the immediate environment that influenced the specific play."
Call Number: UCF Main Library General Collection - 4th Floor -- PN2598.C85I562 1998
1. Prologue: The argument 2. Scene changes: Victorian theater, an acting career and points of departure 3. A rising action: Design and movement 4. Problem drama: Texts and performers 5. A play of ideas: Principles, theory and an Übermarionette 6. Toward a new theater: Masques, screens and a Hamlet 7. The theater of the future: Scene, puppets and a religious festival 8. Final bow: A school and the printed word 9. Curtain call: Craig's vision and contemporary theater 10. Programme notes: Craig on Theater
Call Number: UCF Main Library General Collection - 4th Floor -- PN2049.C63 2010
Contents: Playwrighting : putting plays to use -- Specta(c)ting : theatre of the oppressed, orthodoxy and adaptation -- Self-representing : testimonial performance -- Cultural organizing : multiple modes of communication -- Gathering assets : the art of local resources -- Particularizing place : revitalizing cities and neighborhoods -- Training : an engaged artist prepares
Call Number: UCF ONLINE General Collection -- PN2570.E84 2014
"Covering Germany, France, Poland, Italy, Spain and Sweden, as well as Britain, the book offers an historical and descriptive overview of developments across national boundaries, enabling the reader to compare and contrast acting and directing styles, administrative strategies and the relationship between ideology and achievement. Chapters trace the evolution of theatre in all its aspects, including such elements as the end of censorship in many countries, the upsurge in political and personal awareness of the 1960s, shifting patterns of state artistic policy, and the effects on companies, directors, performers and audiences."
Call Number: UCF ONLINE General Collection -- E184.I6 2013
"Kinship and Performance in the Black and Green Atlantic advances an innovative and compelling approach to writing comparative studies of performance in transnational, intercultural relation to one another. Its chosen subject in this case is the cultural and political intersection of African and Irish diasporic peoples and movements. Gough approaches her subject via five key "flashpoints" in Black/Green relations, moving from the mid-nineteenth century to the early twenty-first century. In turn, each of these is related to mediums of performance that were prevalent at the time, such as abolitionist oratory and melodrama, photography and tableaux, architecture and folk drama, television and political demonstrations, and visual art and dramaturgy. By examining the unlikely kinship between social actors such as Ida B. Wells and Maud Gonne, Lady Augusta Gregory and Zora Neale Hurston, and Bernadette Devlin and Alice Childress, along with a host of old and new theatrical "characters," this book explores how a transmedial investigation of gender, community, and performance allows for a revision of historiography in Atlantic studies, while the study itself revises and reimagines key concepts central to performance studies."
Call Number: UCF Main Library General Collection - 4th Floor -- PR739.S4
"In this challenging book, first published in 1987, Michelene Wandor looks at the best-known plays in the thirty years prior to publication, from Look Back in Anger onwards. Wandor investigates the representation of the family and different forms of sexuality in these plays and re-reviews them from a perspective that throws into sharp relief the function of gender as an important determinant of plot, setting and the portrayal of character. Juxtaposing the period before 1968, when statutory censorship was still in force, with the years following its abolition, Wandor scrutinises the key plays of, among others, Osborne, Pinter, Wesker, Arden, and Delaney. Each one is analysed in terms of its social context: the influence of World War II, the testing of gender roles, the development of the Welfare State and changes in family patterns, and the impact of feminist, Left-wing and gay politics."
Call Number: UCF ONLINE General Collection -- PN2594.G68 2011
Introduction: Around the World in Eighty Plays 1: Role Britannia, Britannia Rule the Stage: Imperial Theatricality Part I. The Nineteenth-Century Theatrical Robinsonade 2. When the Novel Isn’t Enough: Text & Performance in The Cataract of the Ganges 3. Adapting a Nation to Empire: The Evolution of the Crusoe Pantomime 4. Getting Crichton into Crusoe’s Clothes: Caste & the Castaway in The Admirable Crichton Part II. Theatrical Nabobery: Imperial Wealth, Masculinity, & Metropolitan Identities 5. From Historical Hype to Theatrical Hype: The Eighteenth-Century Origins of the Nineteenth-Century Theatrical Tiger 6. "The Yellow Beams of His Oriental Countenance": The Nabob as Racial & Cultural Hybrid 7. Australian Gold Rush Plays & the Anglo-Indian Nabob’s Antipodal Antithesis Part III. Staging the Mutiny 8. India in the Limelight: Empire & the Theatre of War 9. The Empire Needs Men: Mutiny Plays & the Mobilization of Masculinity 10. Forging a Greater Britain: The Highland Soldier & the Renegotiation of Ethnic Alterities Conclusion: The Boer War & the Shift from Stage to Cinema
Call Number: UCF ONLINE General Collection -- PN2726.S35M365 1998
"Off Nevsky Prospekt is the first study to be published in English of the exceptionally rich and diverse theatre studio movement which has flourished in St Petersburg during the 1980s and '90s. Professor Markova charts the development of the theatre studios - from their beginnings as a reaction to the repressive atmosphere of the Soviet period and through the "theatre bacchanalia" of the Perestroika years. She then surveys today's vibrant scene, with analyses of key productions and interviews with many of the central figures, and describes how theatre studios have subverted the conventions of the past to create a new dialogue with the changing society from which their audience is drawn."
Call Number: UCF ONLINE General Collection -- PN2748.C38
"Roberta Carreri is one of acclaimed theatre company Odin Teatret's longest-serving actors, and the last to be trained by Eugenio Barba himself. In this book, she relives the milestones of her professional journey, including: her first experiences of street theatre the discovery of Asian performance traditions pedagogical activities and character creation encounters with artists and spectators the inception of her solo performances, Judith and Salt Interwoven with rich photographic documentation and a wealth of biographical information, this inspiring handbook reveals the professional secrets of an Odin Teatret actor as well as the story of a life of work, research, and passion."
Call Number: UCF ONLINE General Collection -- PN2051.P47 2006
Section 1: Performance Theory & Cognition 1. Performance, Phenomenology, & the Cognitive Turn F. Elizabeth Hart 2. Cognitive Studies & Epistemic Competence in Cultural History: Moving Beyond Freud & Lacan Bruce McConachie 3. Performance Strategies, Image Schemas, & Communication Frameworks Tobin Nellhaus Section 2: Drama &Cognition 4. Essentialism & Comedy: A Cognitive Reading of the Motif of Mislaid Identity in Dryden’s Ampitryon (1690) Lisa Zunshine 5. `It Is Required/You Do Awake Your Faith’: Learning to Trust the Body through Performing The Winter’s Tale Naomi Rokotnitz Section 3: Acting & Cognition 6. Neuroscience & Creativity in the Rehearsal Process John Lutterbie 7. Image & Action: Cognitive Neuroscience and Actor Training Rhonda Blair Section 4: The Spectator & Cognition 8. See the Play, Read the Book Howard Mancing 9. Categories & Catcalls: Cognitive Dissonance in The Playboy of the Western World Neal Swettenham Glossary of Terms Jennifer Pierce
Call Number: UCF Main Library General Collection - 4th Floor -- PN1584.P44 2006
"Exploring thirty years of work by The Centre for Performance Research (CPR), A Performance Cosmology explores the future challenges of performance and theatre through a diverse and fascinating series of interviews, testimonies and perspectives from leading international theatre practitioners and academics. Contributors include: Philip Auslander, Rustom Bharucha, Tim Etchells, Jane Goodall, Guillermo Gomez-Pena, Jon Mckenzie, Claire MacDonald, Susan Melrose, Alphonso Lingis, Richard Schechner, Rebecca Schneider, Edward Scheer, and Freddie Rokem"
Call Number: UCF ONLINE General Collection -- PN2658.P5M35 2012
"Judith Malina and The Living Theatre have been icons of political theatre for over six decades. What few realise is that she originally studied under one of the giants of twentieth century culture, Erwin Piscator, in his Dramatic Workshop at The New School in New York. Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany. The Piscator Notebook documents Malina's intensive and idiosyncratic training at Piscator's school. Part diary, part theatrical treatise, this unique and inspiring volume combines: complete transcriptions of Malina's diaries from her time as a student at the Dramatic Workshop, as well as reproductions of various of Piscator's syllabi and teaching materials; notes on Malina's teachers, fellow students - including Marlon Brando and Tennessee Williams - and New School productions; studies of Piscator's process and influence, along with a new essay on the relationship between his teaching, Malina's work with the Living Theatre and "The Ongoing Epic"; an introduction by performance pioneer, Richard Schechner."
Call Number: UCF Main Library General Collection - 1st Floor -- DA485.B74 1997
Part 1. Contexts 1. Changing Places: The Court and the City 2. The Pleasures of the Imagination Part 2. Print 3. Authors, Publishers and the Making of Literary Culture 4. Readers and the Reading Public Part 3. Paint 5. The Market and the Academy 6. Connoisseurs and Artists 7. Painters' Practice, Artists Lives Part 4. Performance 8. The Georgian Stage 9. The Theatre, Power and Commerce 10. Performance for the Nation Part 5. Making a National Heritage 11. Borrowing, Copying and COllecting Part 6. Province and Nation 12. The English Provinces 13. Thomas Bewick: 'The Poet who Lives on the Banks of the Tyne' 14. 'The Harmony of Heaven': John Marsh and Provincial Music 15. 'Queen Muse of Britain': Anna Seward of Lichfield and the Literary Provinces Part 7. Britain 16. Culture and Nation
Call Number: UCF ONLINE General Collection -- PN2266.5.P75 2012
Part I. Mainstages: 1. The 2003-2004 season and Broadway musical theatre as a political conversant / Stacy Wolf; 2. The ubiquitous orange jumpsuit: staging iconic images and the production of the Commons / Josh Abrams; 4. America as rogue state: Caryl Churchill's Drunk enough to say I love you? / Amelia Howe Kritzer; 4. Terrorized by the War on Terror: Mark Ravenhill's Shoot/ Get Treasure/ Repeat / Jenny Spencer; 5. Unraveling the golden thread: performing the politics of Black Watch / Marcia Blumberg; 6. Voices of the other: documentary and oral history performance in post-9/11 British theatre / Ryan Claycomb -- Part II. Alternative Spaces: 7. Antiwar activism and the structures of trauma in the plays of Eve Ensler and Kathryn Blume / Emily Klein; 8. Why we have failed: Culture Project's Iraq War plays / Jeanne Colleran; 9. Descent as dissent: Arab American theatrical responses to 9/11 / Dalia Basiouny; 10. A view of The brig: from the cage to the street / Katy Ryan; 11. Camping on the streets, squares, and wastelands of power: theatrical protest and the "War On Terror" in the U.K. / Jenny Hughes; 12. Patriot acts: all-American tactical performance in the Age of Permawar / L.M. Bogad; 13. Performing citizenship: The Concert for New York City and the construction of post-9/11 America / Jennifer Chan; 14. The maladapted hothead paisan: a lesbian comedy of terrors / Sara Warner
Call Number: UCF Main Library General Collection - 4th Floor -- PN2277.S4B53 2013
"Herbert Blau founded, with Jules Irving, the legendary Actor's Workshop of San Francisco, in 1952, starting with ten people in a loft above a judo academy. Over the course of the next 13 years and its hundred or so productions, it introduced American audiences to plays by Brecht, Beckett, Pinter, Genet, Arden, Fornes, and various unknown others. Most of the productions were accompanied by a stunningly concise and often provocative programme note by Blau. These documents now comprise, within their compelling perspective, a critique of the modern theatre. They vividly reveal what these now canonical works could mean, first time round, and in the context of 1950s and 60s American culture, in the shadow of the Cold War."
Call Number: UCF ONLINE General Collection -- PN2078.G7R87 2012
another online version
"From Komisarjevsky in the 1920s, to Cheek by Jowl's Russian 'sister company' almost a century later, Russian actor training has had a unique influence on modern British theatre. Russians in Britain, edited by Jonathan Pitches, is the first work of its type to identify a relationship between both countries' theatrical traditions as continuous as it is complex."
Call Number: UCF Main Library General Collection - 4th Floor -- PR736.T34 1971
Newer than new -- Peter Nichols -- David Mercer -- Charles Wood -- Edward Bond -- Tom Stoppard -- Peter Terson -- Joe Orton -- David Story -- Three farceurs: Alan Ayckbourn, David Cregan, Simon Gray -- Three social realists: John Hopkins, Alan Plater, Cecil P. Taylor -- The legacy of realism: William Corlett, Kevin Laffan, Christopher Hampton, Barry England, Anthony Shaffer, Robert Shaw, David Caute -- The dark fantastic: Peter Barnes, Colin Spencer, David Pinner, David Selbourne, David Hare, Roger Milner, David Halliwell, Howard Brenton, Heathcote Williams
Call Number: UCF ONLINE General Collection -- PA3875.L8 2014
"Starting with the play’s first mainstream production in the U.S. in 1930, Emily B. Klein explores the varied iterations of Lysistrata that have graced the American stage, page, and screen since the Great Depression. These include the Federal Theatre’s 1936 Negro Repertory production, the 1955 movie musical The Second Greatest Sex and Spiderwoman Theater’s openly political Lysistrata Numbah!, as well as Douglas Carter Beane’s Broadway musical, Lysistrata Jones, and the international Lysistrata Project protests, which updated the classic in the contemporary context of the Iraq War."
Call Number: UCF Main Library General Collection - 4th Floor -- PN2728.S78A4 2014
"Laurence Senelick, one of the world's foremost scholars of Russian literature, mines the Moscow archives and the definitive Russian edition of Stanislavsky's letters, to produce the fullest collection of the letters in any language other than Russian. He sheds new light on this fascinating field. Senelick takes us from the earliest extant letter of an eleven-year-old Konstantin in 1874, through his work as actor, director and actor trainer with the Moscow Art Theatre, to messages written just before his death in 1938 at the age of seventy-five."
Call Number: UCF Main Library General Collection - 4th Floor -- PN2062.G66 2010
"Stanislavsky in America explores the extraordinary legacy that Constantin Stanislavski's system of actor-training has left on acting in the US. Mel Gordon outlines the journey of Stanislavski's theories through twentieth century American history, from the early US tours of the Moscow Art Theatre to the ongoing impact of 'The System' on modern American acting. This fascinating study by a leading theatre critic and practitioner provides hundreds of original acting exercises, used by the pivotal US figures who developed his teachings, such as Lee Strasberg, Stella Adler and Bobby Lewis."
Call Number: UCF ONLINE General Collection -- PN2960.S5C46 2011
1. Imagining the Singapore Theatre Field 2. The Arts in Singapore: Site of Ideologies, Fantasies, and Orthodoxies 3. The Singapore Theatre Field: "A different world…unique" but not completely so 4. Claiming Authenticity: Theatre-State Tensions 5. Cultural Intermediaries: The Media and The Arts Education Programme 6. "Because it’s in my blood": The Politics of Illusio 7. The Invisible State: Disciplining the Theatre Field 8. Resistance and Defiance: The Revenge of the Middle Class Artist 9. Conclusion
Call Number: UCF ONLINE General Collection -- PN2053.T45 2013
"This book discusses the delicate balance between translating and directing from an intercultural, semiotic, aesthetic, and interlingual perspective, taking a critical stance on approaches that belittle translation for the theatre or equate it to an editorial practice focused on literality. Chapters emphasize the idea of dramatic translation as a particular and extremely challenging type of performance, while consistently exploring its various textual, intertextual, intertranslational, contextual, cultural, and intercultural facets. The notion of performance is applied to textual interpretation as performance, interlingual versus intersemiotic performance, and (inter)cultural performance in the adaptation of translated texts for the stage, providing a wide-ranging discussion from an international group of contributors, directors, and translators."
Call Number: UCF ONLINE General Collection -- PN2859.P66S25 2013
"This book gives a new view on the legacy of Jerzy Grotowski (1933-1999), one of the central, and yet misunderstood, figures who shaped 20th-century theatre, focusing on his least known last phase of work on ancient songs and the craft of the performer. Salata posits Grotowski's work as philosophical practice, and more particularly, as practical research in the phenomenology of being, arguing that Grotowski's departure from theatrical productions (and thus critical consideration) resulted from his uncompromising pursuit of one central problem, "What does it mean to reveal oneself?" -- the very question that drove his stage directing work."
Call Number: UCF ONLINE General Collection -- PQ4159.V46J68 2013
"The Venetian Origins of the Commedia dell'Arte is a striking new enquiry into the late-Renaissance stirrings of professional secular comedy in Venice, and their connection to the development of what came to be known as the Commedia dell'Arte. The book contends that through a symbiotic collaboration between patrician amateurs and plebeian professionals, innovative forms of comedy developed in the Venice region, fusing 'high' and 'low' culture in a provocative mix that had a truly mass appeal. Rich with anecdotes, images, and literary - often ribald - comic passages, Peter Jordan's central argument has important implications for the study of Venetian art, popular theatre and European cultural history