Listing 1 - 10 of 387 | << page >> |
Sort by
|
Choose an application
The San Samuele theatre company from Venice constitutes a perfect example of the extraordinary vitality of the early-eighteenth-century troupes, before the success of Carlo Goldoni's dramaturgy. Reconstructing the chronology of the training activity led by the theatre company manager Giuseppe Imer makes it possible to observe the extraordinary versatility of the actors from the Commedia dell'Arte, and the breadth of a repertoire which, between 1726 and 1749, spaced from dramas to musical interludes, passing through the "canovacci" of the commedia all'improvviso and tragedies. Thanks to unpublished documents and to a critical analysis of the repertoires, the author appoints the actors as the main protagonists of the spectacular Venetian scene, and offers important updates on the migrations of troupes in the second quarter of the 18th century.
Choose an application
In this volume Strindberg's accomplishments as a dramatist are set against his achievements in other fields, as an autobiographer, painter, letter writer and theatre director. There are studies of individual plays, in which Strindberg's theatre is related both to naturalism and the theatre of the absurd, and of the role played by his life-long interest in historical drama. Other essays range from studies of the problems posed by Strindberg's preoccupation with converting his own life into literature to a consideration of the importance he placed on letterwriting as a model for writing of all kinds. His letters are also used to explore his ideas about the theatre. A recurring concern is with the period of turmoil known as the Inferno Crisis, in which Strindberg refashioned himself as a writer. Robinson examines the importance of Strindberg's painting for his renewal as a writer and situates the achievement of his later works in relation to Symbolism and to Musical Expressionism.
Choose an application
Like a two-faced Janus, Siro Ferrone carried out both research on theatre and theatre criticism, combining academic research and stage experience. His reviewer activity, carried out without interruptions, is now for the first time transcribed and organically collected in a volume. The articles, which appeared on the pages of "l'Unità-Toscana", are today an important source for the analysis of significant shows staged in the main Tuscan theatres between 1975 and 1983. The result is the documentation of a period of fertile and avant-garde theatrical production, here retraced through the aware and illuminating testimonies of one of the main Italian historians of performing arts.
Choose an application
Choose an application
Choose an application
A little over 100 years ago, the first production of An-sky's The Dybbuk, a play about the possession of a young woman by a dislocated spirit, opened in Warsaw. In the century that followed, The Dybbuk became a theatrical conduit for a wide range of discourses about Jews, belonging, and modernity. This timeless Yiddish play about spiritual possession beyond the grave would go on to exert a remarkable and unforgettable impact on modern theater, film, literature, music, and culture. The Dybbuk Century collects essays from an interdisciplinary group of scholars who explore the play's original Yiddish and Hebrew productions and offer critical reflections on the play's enduring influence. The collection will appeal to scholars, students, and theater practitioners, as well as general readers.
Choose an application
This book is on four plays by John von Düffel, Peter Handke, and Franz Xaver Kroetz. The texts show a new understanding of direction and leadership, which is no longer related to hierarchical structured principles of organisation and to determining conceptions of planning and controlling.
Choose an application
La Società Teatrale Internazionale (STIn) rappresenta un caso di studio eccezionale nel panorama italiano. Fondata nel 1908 da un gruppo di speculatori convinti di risolvere la crisi del teatro attraverso i mezzi propri della grande industria, la STIn è nazionalizzata nel 1926 dal Governatorato fascista di Roma e liquidata nel 1931. Nei suoi 23 anni di vita la STIn gestisce i maggiori teatri italiani, dal Costanzi di Roma al Regio di Torino, stringe accordi con numerose sale internazionali e coinvolge i principali artisti, impresari e compositori della sua epoca, da Mascagni, che della società sarà azionista e direttore, all'editore Sonzogno. La complessa ed entusiasmante parabola della STIn può essere ricostruita attingendo ai numerosi fascicoli dell'archivio societario che, conservato presso l'Archivio Storico Capitolino di Roma, rappresenta uno dei pochi archivi di società teatrale giunto a noi integralmente per ampi tratti della sua storia. Dell'Archivio STIn, recentemente riordinato, questo volume pubblica l'inventario.
Choose an application
The essays in the present book, written by an international group of scholars, try to answer these - and many other - questions by inititing a dialogue between academic and artistic research. Behind all the essays is a mixture of fascination and dissatisfaction with today's performances of drama and opera classics, particularly those that take place in historic theatres, and those operating within the so-called Historically Informed Performance movement. The essays reflect a desire to develop and expand the methods traditionally used by theatre historians. And they present a variety of angles on today's performances in historic theatres and on today's attempts to revive theatrical practices of the past. The anthology is essential reading for theatre scholars and musicologists studying eighteenth-century performance as well as for theatre and opera artists concerned with period performance practice.
Choose an application
Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts is the outcome of a longstanding collaboration between two centers of applied theatre education and research in South-Africa and Norway, respectively (2017-2022). It presents knowledge, critical conversations and artistic work related to issues of democracy, both historical and contemporary. Within the global framework of our current (post)democracies, thirteen chapters contain stories and analyses from artists and researchers who all study, understand and facilitate theatre as a political-performative medium in dealing with community-specific democratic issues. The reader encounters studies and reports from specific cases of applied theatre, community culture development and performance activism in countries such as South-Africa, Pakistan, Zimbabwe and Norway. There is a common interest in theatre as a platform for active citizenry, as well as several attempts to explore theatre as a platform for "political subjectivation" (Rancière).
Listing 1 - 10 of 387 | << page >> |
Sort by
|