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Theater HORA, 1993 in Zürich als Kulturwerkstatt für Menschen mit einer geistigen Behinderung entstanden, erobert heute als «freie Republik» die Bühnen weltweit. Dem breiten Spektrum der künstlerischen Arbeit und den aktuellsten Entwicklungen dieses einzigartigen Projekts gilt das vorliegende Buch. Le Théâtre HORA, créé à Zurich en 1993 comme atelier culturel pour personnes en situation de handicap mental, conquiert aujourd'hui les scènes du monde en tant que « République libre ». Le présent ouvrage se penche sur le large spectre du travail artistique de ce projet unique et sur ses audaces les plus actuelles. Il Theater HORA, fondato nel 1993 come laboratorio artistico per persone con una disabilità mentale, è divenuto oggi una «Libera Repubblica» alla conquista della scena internazionale. Il presente volume analizza l'ampio ventaglio dell'espressione artistica e l'evoluzione più recente di questo progetto unico nel suo genere. Theater HORA, which began in Zurich in 1993 as a cultural workshop for people with a mental disability, is today conquering stages around the world as a «free republic». The present book is devoted to the broad spectrum of artistic work and most recent developments of this unique project.

Theaters. --- Actors --- Opera-houses --- Playhouses (Theaters) --- Theatres --- Arts facilities --- Auditoriums --- Centers for the performing arts --- Music-halls

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Ballads, Dutch --- Dutch poetry --- Music-halls (Variety-theaters, cabarets, etc.) --- Songs, Dutch --- #ACA --- Dutch songs --- Cabarets --- Café theater --- Concert gardens --- Concert rooms --- Concert saloons --- Variety shows (Theater) --- Variety-theaters --- Theaters --- Vaudeville --- Dutch ballads --- Theatrical science --- Dutch literature --- Netherlands

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Donald Oenslager's working career spanned fifty years of the New York stage and during those years his influence extended across the country in the work of the many distinguished stage designers who had been his students at the Yale School of Drama. His autobiographical introduction to this book is, therefore, both a history of and a commentary on the theatre in New York from 1920 to the 1970s, and it admits us to the reflections of one of the most versatile artists who worked at the center of that development. This is a designer's book, and Donald Oenslager chose his subjects with a designer's eye. Over thirty-five productions are discussed in the light of the problems of interpretation and realization that they posed to the set designer. More than ninety illustrations illuminate Oenslager's mastery of the principles of design and his ability to exploit the technical possibilities of his theatre.

Stage design. Scenography --- Oenslager, D. --- Set designers --- Theater --- Theaters --- Biography --- History --- Stage-setting and scenery --- Oenslager, Donald, --- History. --- Biography. --- Stage designers --- Designers --- Opera-houses --- Playhouses (Theaters) --- Theatres --- Arts facilities --- Auditoriums --- Centers for the performing arts --- Music-halls --- Scenographers --- Set designers - United States - Biography --- Theater - New York (State) - New York - History --- Theaters - Stage-setting and scenery - United States --- Oenslager, Donald, - 1902-1975 --- Theatre studies

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"Out of a small, hand-to-mouth, women's theater collective called the WOW Cafe located on the lower east side of Manhattan, there emerged some of the most important theater troupes and performance artists of the 1980s and 1990s, including the Split Britches Company, the Five Lesbian Brothers, Carmelita Tropicana, Holly Hughes, Lisa Kron, Deb Margolin, Reno, Peggy Shaw, and Lois Weaver. The WOW (Women's One World) Cafe Theatre appeared on the cultural scene at a critical turning point in both the women's movement and feminist theory, putting a witty, hilarious, gender-bending and erotically charged aesthetic on the stage for women in general and lesbians in particular. The storefront that became the WOW Cafe Theatre saw dozens of excitingly original and enormously funny performances created, performed, and turned over at lightning speed--a kind of "hit and run" theater. As the demands on the space increased, the women behind WOW organized as a collective and moved their theater to an abandoned doll factory where it continues to operate today. For three decades the WOW Cafe has nurtured fledgling women writers, designers, and performers who continue to create important performance work. This book provides a critical history of this avant-garde venture whose ongoing "system of anarchy" has been largely responsible for its thirty-year staying power, after dozens of other women's theaters have collapsed. WOW artists were creating a wholly original cultural landscape across which women could represent themselves on their own terms. Parody, cross-dressing, zany comedy, and an unbridled eroticism are hallmarks of WOW's aesthetic, combined--importantly and powerfully--with a presumptive address to the audience as if everyone onstage, in the audience, and in the world is lesbian. The author's research included in-depth interviews with WOW veterans; newspaper reviews of the earliest productions; and rare, unpublished photographs. The book also includes a chronology of productions that have highlighted WOW's performance schedule since the early '80s."--Publisher

Lesbian theater --- Music-halls (Variety-theaters, cabarets, etc.) --- Lesbian theater. --- Theâtre lesbien --- History --- WOW Cafe Theatre (New York, N.Y.) --- New York (State) --- Cabarets --- Café theater --- Concert gardens --- Concert rooms --- Concert saloons --- Variety shows (Theater) --- Variety-theaters --- Theaters --- Vaudeville --- Gay theater --- Women's One World Café Theatre (New York, N.Y.) --- WOW Café Theater (New York, N.Y.) --- WOW --- New York (City)