Teater

Karin Michaëlis levede et for sin tid atypisk liv som krigsreporter og kunstner. Hun var berømt, talte for store forsamlinger og skrev kontroversielle bøger om bl.a. kvinderollen og erotisk begær. I bogen om Karin Michaëlis lærer vi en mangefacetteret kunstner og kvinde at kende. Hun blev født i Randers i 1872 og brød som ung ud af det småborgerlige miljø og tog til København med et stærkt ønske om at blive pianist. Livet igennem skrev hun mere end 50 bøger, og i 1910 fik hun sit internationale gennembrud som forfatter med skandaleromanen Den farlige alder om en kvinde fra det bedre borgerskab på tærsklen til overgangsalderen, der flytter fra sin kedelige ægtemand for at realisere sig selv. Karin Michaëlis’ bøger blev udgivet i mere end 20 lande, og hun var en efterspurgt foredragsholder i Europa,indtil bøgerne blev forbudt i Tyskland i 1939. Hun deltog aktivt i hjælpearbejde under både Første og Anden Verdenskrig, dels i Østrig og dels på Thurø nær Svendborg, hvor hun husede en lang række flygtninge fra det nazistiske Tyskland og bl.a. gav husly til den tyske dramatiker Bertolt Brecht. Hendes hjælpearbejde og rolle som samfundsdebattør gjorde hende selv til politisk flygtning i USA i 1939-1946. I februar 2020 har BaggårdTeatret i Svendborg premiere på en stor musikalsk forestilling om Karin Michaëlis. Manuskriptet er skrevet af Julie Maj Jakobsen, der i 2018 vandt en Reumert som årets dramatiker, mens den danske sangerinde Katinka, som også medvirker på scenen, har skrevet helt ny musik til forestillingen. Både manuskript og sangtekster er en del af bogen, som også rummer uddrag fra Den farlige alder samt en række personlige essays om Karin Michaëlis og de spor, hun har sat sig.

Klassikerserien udgivet af DSL – Det Danske Sprog- og Litteraturselskab – og relanceret af Gyldendal. I hver udgave gengives som udgangspunkt førsteudgaven, og hvert værk indeholder efterskrift, fyldigt noteapparat, er indbundet, udstyret med læsebånd og forsynet med et ekstra omslag, der kan foldes ud til en plakat med forfatterportræt.   Med sine to skelsættende bøger om dansk og fremmed skuespilkunst fra 1880 og 1881 skabte Edvard Brandes (1847-1931) en markant fornyelse i dansk teaterkritik gennem en række psykologisk nærgående portrætter af prominente hjemlige og udenlandske scenekunstnere. Hans essays kredser om den symbiose, der opstår, når kendte spillemønstre og rollefortolkninger brydes og omformes i mødet med kunstnerens personlige forudsætninger og individuelle særpræg.De to bøger udgives samlet. Udgiver, tekstudgivelse, efterskrift og noter: Sten Rasmussen

Bog med biografi + cd med Carl Alstrup-sange og monologerJubelen ville ingen ende tage, når revyskuespilleren Carl Alstrup (1877-1942) viste sig på en scene med sine pudsige monologer og morsomme viser. Han var tidens store komiker, der tog publikum med storm, når han sang Maggidudi eller Bobby, du må ha’ ondt i håret. I dag huskes han især for Manden på risten – en vise om den fattige mands glæder på risten foran en restaurant.Men Carl Alstrup var langtfra selv tilfreds med sin karriere som revystjerne. Han havde intet højere ønske end at blive seriøs skuespiller, fordi han mente, at der skulle være en vis balance mellem det komiske og det tragiske. I begyndelsen af 1920’erne forsøgte han sig som seriøs skuespiller ved at optræde i Shakespeares Othello og Dumas’ Kean, men den hårde kritik førte ham ned i en dyb afgrund. Først efter mange års kamp lykkedes det ham at få sit gennembrud som karakterskuespiller i Den gode soldat Svejk.Man har ofte sagt, at revygenren er den sværeste af dem alle. For Carl Alstrup var revygenren nok sværest at frigøre sig fra. Denne biografi fortæller, hvordan han gjorde det.

Jenny Rossander debuterer med roman om utroskab, magt og teater.Jenny Rossander, kendt af mange som sangeren og musikeren Lydmor, debuterer med romanen Jeg har tænkt mig at skrige hele vejen.En ung, ambitiøs musiker bliver hyret til at komponere musikken til en tea-terforestilling. Alt er nyt, da hun første gang træder ind på teatret og skal gøre sig gældende foran skuespillere, teater-chef, forestillingsleder og instruktør. Hun gennemskuer snart teatermiljøets koder, men fortaber sig i den magtfulde og karismatiske instruktørs blik. Og forelsker sig hovedkulds.Instruktøren hyrer den unge kunstner til flere opsætninger, men teaterforestil-lingernes ulykkelige kærlighedshistorier begynder at væve sig ind i hendes eget liv, og skubber hende til randen af vanvid. Hendes egen virkelighed og teatrets fiktion flyder sammen, da hun mister evnen til at adskille sig fra fore-stillingernes tragiske kvindefigurer.Jeg har tænkt mig at skrige hele vejen er en roman om magt, der misbruges, om elskerindens betingelser. Om kunst, vanvid og grotesk kærlighed.

I sin dramatik har Svend Åge Madsen været vidt omkring i medier og genrer, fra hørespillets usynlige stemmer til iøjnefaldende scener, fra det intime kammerspil til det grotesk myldrende total-teater og operaen som Gesamtkunstwerk. Hans dramaer er på samme tid underholdende og urovækkende, fyldt med følelser og filosofi. De dristigeforsøg med nye dramatiske former har altid eksistentielbetydning og er båret af en dyb respekt for dramaets essens: den dramatiske handling, der konfronterer os med vanskelige livsvalg og mennesker i krise.Stemmen, scenen og sangen er den første samlede fremstilling af Svend Åge Madsens dramatik. Bogen rummerlæsninger og karakteristikker af alle hans opførte dramatiskeværker, både radiospil og andre former for audiodrama, tv-dramaer, skuespil for scene og operaer – og udfylder en tom plads i dansk litteraturhistorie.Klart formuleret og henvendt til alle lader bogen tæppet gå op og sætter spotlys på Svend Åge Madsens fascinerendedramatiske verden.

’"Jeg har aldrig hørt ham sige noget ondskabsfuldt om andre." Det er den replik der er gået hyppigst igen, når jeg har været ude og snakke med folk, der har kendt ham. Et smukt eftermæle, vil jeg mene.’Gennem samtaler med folk, der har kendt Poul Reichhardt (1913-1985), og et grundigt kig på hans livsforløb, fortæller Carsten Borch historien om en af danmarkshistoriens mest folkekære skuespillere og instruktører. Bogen fortæller om hans ukuelige gåpåmod, der fik ham frem i teater- og filmbranchen, selvom han igen og igen fik at vide, at han på trods af sit kønne udseende ikke ejede skyggen af talent. Carsten Borch tegner et alsidigt og smukt portræt af en af sine egne store helte, som kom til at betyde så meget for så mange mennesker.Carsten Borch (f. 1970) er en dansk forfatter, foredragsholder og iværksætter. Han har udgivet flere bøger og arrangeret læseklubber rundt omkring på virksomheder. Carsten Borch står blandt andet bag en biografi om den danske skuespiller Poul Reichhardt.

Der gik rystelser gennem branchen, da Birgitte Reimer i 1964 forlod dansk film og teater.Hun var kun 38 og havde arbejdet med alle koryfæerne – fra Dirch Passer til Bodil Udsen – men var træt af at spille duller i netstrømper og ønskede et liv ude af offentlighedens søgelys. Baseret på samtaler med Birgitte Reimer fortæller denne biografi historien om den teatertossede bankdirektørdatter, der i befrielsesdagene 1945 slipper gennem nåleøjet til Det Kongelige Teaters elevskole og i de festlige efterkrigsår katapulteres til revydronning. Hun filmer for Bergman, danser i Cranks og synger lungerne ud i Laser og pjalter. Men det er revyviserne, der gør hende til folkeeje – ikke mindst Så ta’r vi den én gang til for prins Knud. Reimer fortæller om den lette genre, som er så svær, og udfordringerne ved at få et familieliv til at fungere ved siden af. Og om sit liv i Sydfrankrig, hvor hun til sin egen overraskelse – og med paparazzier i hælene – ender bag kødgryderne som i Ballings Vi som går køkkenvejen.

Numerous books have been written on the art of directing from the classical to contemporary times. Many of these works have concentrated on different facets of the discipline of directing such as the definition, history, and development of directing, as well as the qualities, functions, and types of directors. However, areas of directing that have not received much scholarly attention include works that serve as manuals for budding directors and studies that reflect the theory and practice of directing in Africa, especially from Nigerian theatre practitioners. While studies on directing, such as Wainstein's 'Stage Directing: A Director's Itinerary' (2012), Dean and Carra's 'Fundamentals of Play Directing' (2009), and Johnson's 'Visions Towards a Mission: The Art of Interpretative Directing' (2003), provide general insights on the art of directing plays, Emasealu's 'The Theatre of Ola Rotimi: Production and Performance Dynamics' (2010) and Uwatt's 'Playwriting and Directing in Nigeria: Interviews with Ola Rotimi' (2004), document the directorial practice of the Nigerian director, Ola Rotimi. Aside from documenting the directing techniques of key Western directors, this book's advantage over existing works is that it documents the directorial styles of Ola Rotimi and other West African directors, as well as the directorial techniques of directors from South, North, and East Africa. It also traces the evolution of the theatre stage, examines the directorial implications of the arena, proscenium, thrust, traverse and African traditional theatre stage orientations, and engages the notions of blocking, movement, directorial concept and directorial approach.In particular, this book aspires to contribute to the discourse on play directing with perspectives from African theatre. It also fills gaps in previous studies by delving into the notions of theatre and directing, the director's history, qualities, and tools. It examines types of directors, functions of the director, directing principles, and key Western and African theories of performance. It also evaluates the history of the theatre stage, the characteristics, benefits and drawbacks, and directorial implications of the arena stage, proscenium stage, thrust stage, traverse stage, African traditional theatre stage, the use of blocking, movement, and the meaning of directorial concept and directorial approach.

Studienarbeit aus dem Jahr 2023 im Fachbereich Theaterwissenschaft, Tanz, Note: 2,7, Gottfried Wilhelm Leibniz Universität Hannover, Veranstaltung: Forschung Kinder- und Jugendtheater, Sprache: Deutsch, Abstract: Der von Elise von Bernstorff verfasste Text "Das Undisziplinierte im Transdisziplinären" gab den Anstoß zu folgender Fragestellung: Wo liegt die Übertragbarkeit von Theaterunterricht, wie ihn Lehrmaterialien und Fachliteratur präsentieren, in das wirkliche Leben von Theaterlehrkräften und Schülern? Um diese Problematik und weitere Komplikationen aufzuzeigen, werde ich im ersten Schritt darlegen, worauf es im Theaterunterricht im Bereich Schule ankommt. Anschließend die Widersprüchlichkeit einiger Fachliteratur aufzeigen und mit der Realität konfrontieren, um schlussendlich funktionale und motivierende Methoden zu benennen. Zudem werde ich mich in dieser Arbeit neben ausgewählter Lektüre auf eigene Praxiserfahrung an einer Brennpunktschule (Ganztagsgymnasium) der Stadt Hannover beziehen.Kindertheater ist vielseitig. Es macht einen Unterschied, ob es sich um Theater mit Kindern als Darsteller*innen handelt oder es für ¿ möglicherweise sogar mit ¿ Kindern entwickelt wurde. In dieser Arbeit soll es vor allem um die Theaterarbeit mit Kindern und Jugendlichen im Schulumfeld gehen. Dabei kommt es sowohl auf die Herangehensweise bei der Entwicklung einer Performance an als auch auf die Ausführung der Darstellung von den Schülerinnen und Schülern. Theater ¿ unerheblich, ob als Zuschauer oder Darsteller erlebt ¿ kann die soziale Fantasie anregen, Kontakte knüpfen und verstärken und Schüler dabei unterstützen Umfeld und Umwelt besser wahrzunehmen. "Außerdem richtete sich das Theater ja eigentlich einmal gegen Leistung, Druck und auch Schulstress." Im Laufe der Jahre steht dieser Glaubenssatz aber nicht mehr an erster Stelle. Die Fachliteratur zu Schultheater und Darstellendes Spiel scheint an Bodenhaftung zu verlieren, da der Realitätsbezug in der Umsetzung ¿ insbesondere an einer Brennpunktschule ¿ praktisch nicht vorhanden ist.Im Rahmen einer kooperierenden Ringvorlesung namens "Zwischen Bildung und Künsten" der Leibniz Universität Hannover und den Hochschulen Braunschweig und Hildesheim wurden verschiedene Gedanken zu Themen der Theaterpädagogik im Allgemeinen und in Bezug auf Kinder- und Jugendtheater platziert.

Culled from Tony Barr's 40 years' experience as a performer, director and acting teacher in Hollywood, this highly praised handbook provides readers with the practical knowledge they need when performing in front of the camera. This updated edition includes plenty of new exercises for honing on-camera skills; additional chapters on imagination and movement; and fresh material on character development, monologues, visual focus, playing comedy and working with directors. Inside tips on the studio system and acting guilds make it particularly helpful for people new to the business, and numerous anecdotes from actors such as Morgan Freeman and Anthony Hopkins and examples from current movies illustrate its many lessons. It is perfect for acting classes, workshops, all actors who work in front of the camera -- and all those who want to.

In a terrifyingly short time, a male college instructor and his female student descend from a discussion of her grades into a modern reprise of the Inquisition. Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship, and abuse.

"Erik Patterson's strange new play is one that takes you by surprise and ravishes you."-Rob Kendt, Backstage WestElliot is lost in a world of sex workers-late night house calls from hustlers and phone calls with call girls. Becky is torn between two worlds-her day job as a stripper and being a mom to fifteen-year-old Rose (a Goth girl who wants nothing to do with her). And then there's Little B, who has stripped away every piece of herself until all she has left is her obsession with Icelandic pop singer Bjork. This troubled family's shared past holds unspeakable horrors and they must join forces if they ever want to heal.WINNER, Backstage West Garland Award, Best PlaywritingFINALIST, PEN USA Literary AwardPlay DetailsYellow Flesh / Alabaster Rose is a full-length play in five acts, with one intermission.Cast: 5 female, 4 maleGenre: dark comedyKeywords: family, Bjork, LGBTQ, abuse, love, sex work, siblings, trauma, healingCharacter BreakdownELLIOT, a man in his early thirties. Sometimes known as Tom.LITTLE B, his sister, fifteen.BECKY, a woman in her thirties. Sometimes known as Hunter.ROSE, her daughter, fifteen.MOM, a mother in her fifties. Named Rose Silverstein.JUSTIN, a hustler in his late twenties to thirties.BROOKE/KRISTEN, a phone-sex operator in her twenties to thirties.MIKE, a hustler in his fifties.DR. MARTIN PERKINS, DR. ALBERT ELLIS, DR. STEARN, a professor, a psychologist, and an ER doctor (all played by the same actor)FATHER, a voice/memory (played by the same actor who plays Mike).

Do you love acting but loathe being online? Learn how to improve your career with a strong social media presence. Are you happy playing a role but uncomfortable doing self-promotion? Do you spend hours on Insta but get no engagement or new followers? Hate trying to figure out what to even post? With over a decade of experience working with clients ranging from Emmy Award-winners to Broadway stars, Backstage Magazine writer and film festival speaker Heidi Dean is widely regarded as the go-to expert for transforming social media rookies into rockstars. And now she's here to show you how your network is your net worth. Social Media For Actors is your one-stop guide for fueling your success through strategic online management and taking your career to the next level. Breaking each subject into accessible but comprehensive bites, Dean provides time-tested tips, fun guided homework, and plenty of positive motivation. Whether you work in film, stage, or TV, you'll find easy-to-follow tactics that will help you make connections, increase your following, and land you the roles you crave. In Social Media For Actors, you'll discover:- Why putting yourself out there is important and how it gives you control over your career- What to post and how often, so you can make the most out of your time and focus on your craft- The art of connecting with casting directors online to boost your visibility and stand out- How to make a great first impression on the web and build an audience hungry to follow your journey- the real reason behind hashtags, how to balance public and private life, strategy for creating better videos, and much, much more! Social Media For Actors is your essential handbook for sharing your star power. If you like comprehensive knowledge made simple and enough nuggets of wisdom for performers of all levels, then you'll love Heidi Dean's ovation-worthy game-changer. Buy Social Media For Actors to take a bow online today!

Immortal mages have ruled the Nation's of Sideon peacefully for over a thousand years, ever since humankind nearly destroyed itself. Now their leader, Allamon, has decided it is time to give the mortals back their sovereignty. Maghareen however, Queen of Elreth, is not inclined to relinquish her throne so easily. Spurned and chastised by her ancient lover, Spurion of Susia, she gathers her people for war. But the Witch Queen has threats from inside her own realm to worry about. Maghareen's own general is willing to use any means necessary, natural or dark and most unnatural, to have her for himself. Her only real advisor, the Head Matron of her palace, has an annoying habit of preventing her from burning the world to the ground with a spell. And an unassuming girl with a sharp knife has been told that the only way to save her family is to plunge her blade into the queen's back. It's enough to drive a powerful queen to desperate measures.

"IN THE UPPER ROOM" is a biblical one-act drama that theatricalizes the events surrounding the Passover meal Jesus shared with his disciples the night before he was crucified. This high-energy play can utilize as many as 13 male actors. In the third original production, the director used both men and women to make up the 13 cast members.

An intimate portrait of a genius: the late Stephen Sondheim in a series of illuminating and deeply personal interviews from the last years of his life?conversations that show the composer-lyricist as he has likely never been seen before.In 2017, New Yorker staff writer D.T. Max began working on a major profile of Stephen Sondheim that would be timed to the eventual premiere of a new musical Sondheim was writing. Sadly , that process ? and the years of conversation ? was cut short by Sondheim's own hesitations, then the global pandemic, and finally by the great artist's death in November 2021.Now, Max has taken the raw version of these conversations and knit them together into an unforgettable work of literature and celebration. Finale reveals Sondheim?a star who disliked the spotlight?at his most relaxed, thoughtful, sardonic, and engaging, as he talks about work, music, movies, family, New York City, aging, the creative process, and much more.Max brings you into the room and gives you a front row seat for their unusual and intimate three-year-long ?pas de deux.? The two bond, spar, separate, and reunite, as Max elicits from Sondheim a candor and vulnerability he seldom displayed in public. This is a unique portrait of an artist in his twilight, offering remarkable insight into the mind and heart of a genius whose work changed American musical theater and popular culture forever.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Infinite Monkey Theorem is an idea frequently encountered in mass market science books, discourse on Intelligent Design, and debates on the merits of writing produced by chatbots. According to the Theorem, an infinite number of typing monkeys will eventually generate the works of Shakespeare. Shakespeare and Nonhuman Intelligence is a metaphysical analysis of the Bard's function in the Theorem in various contexts over the past century. Beginning with early-twentieth century astrophysics and ending with twenty-first century AI, it traces the emergence of Shakespeare as the embattled figure of writing in the age of machine learning, bioinformatics, and other alleged crimes against the human organism. In an argument that pays close attention to computer programs that instantiate the Theorem, including one by biologist Richard Dawkins, and to references in publications on Intelligent Design, it contends that Shakespeare performs as an interface between the human and our Others: animal, god, machine.

This Element offers suggestions for how teachers might re-think the ways in which they present Shakespeare performed to their students particularly as a powerful way of building personal and critical responses to the plays.