Scenekunst

This Element focuses on Sleep No More, the iconic immersive theatre production of Macbeth produced by the British company Punchdrunk. Sleep No More and the Discourses of Shakespeare Performance frames this Shakespeare adaptation as part of a system of ghostly citationality through which audiences understand the significance of the past in performance today. Moreover, despite its seemingly analog format, Sleep No More is discussed as a valuable site for media research. And the concept of 'uncanny spectatorship' is introduced to describe audience practice in Sleep No More and other performance contexts. Ultimately, this Element offers readers the opportunity to explore a set of concepts that are significant to the study of Shakespeare in performance and to consider the ways in which audiences interact with bodies, spaces, text, and media in Sleep No More and other immersive experiences.

This Element turns to the stage to ask a simple question about gender and affect: what causes the shame of the early modern rape victim? Beneath honour codes and problematic assumptions about consent, the answer lies in affect, disgust. It explores both the textual "performance" of affect, how literary language works to evoke emotions and the ways disgust can work in theatrical performance. Here Shakespeare's poem The Rape of Lucrece is the classic paradigm of sexual pollution and shame, where disgust's irrational logic of contamination leaves the raped wife in a permanent state of uncleanness that spreads from body to soul. Staging Disgust offers alternatives to this depressing trajectory: Middleton's Women Beware Women and Shakespeare's Titus Andronicus perform disgust with a difference, deploying the audience's revulsion to challenge the assumption that a raped woman should "naturally" feel intolerable shame.

A young finni loses their entire village to a giant monster. To seek revenge, the learn ballet in order to claim their divine power. A coming of age story about dance, found family and the battle between good and evil.

"I adored this summer novel! My favorite beach reads are written by Meg Mitchell Moore, and Summer Stage is her brand new smash hit. If you like my books, you'll love this!" ?Elin HilderbrandFrom the bestselling author of Vacationland, a spirited summer page-turner following a family of actors grappling with fame, scandal, and ambition.The Trevino family hasn't spent much quality time together lately. But as the summer months arrive, they find themselves all together on Block Island.Amy Trevino, a high school teacher and occasional theater director, has stayed close to her Rhode Island hometown while her famous brother, Timothy, pursued and achieved his Hollywood dreams. When Timothy returns to Block Island to direct a summer play, Amy agrees to be the production manager in an effort to mend rifting family relationships. Sam, Amy's daughter, was a Disney child star who continued her pursuit for fame in a Manhattan TikTok house. Now she's also returned home unexpectedly, her sudden arrival shrouded in secrets. Sam refuses to open up to her mother, deciding instead to live with her uncle for the summer. As the three Trevinos work together to ensure the production is a success, Amy, Sam, and Timothy are forced to grapple with their desires for recognition and fortune, stand up for what they believe art and fame actually mean, and discover what they really want out of life.A bighearted and delicious novel about family, ambition, and opportunity, Summer Stage is the must-read book of the summer.

"Life Is a Dream" ("La vida es sueño" in Spanish) is a philosophical allegorical play written by Spanish playwright Pedro Calderón de la Barca. It was first published in 1635 during the Spanish Golden Age, a period of flourishing literature and arts in Spain. The play revolves around the character of Segismundo, a Polish prince who has been imprisoned since birth based on a prophecy that foretells he will become a tyrant. The central theme of the play explores the nature of free will, fate, and the consequences of one's actions. The plot is intricate and features dramatic elements, including political intrigue, betrayal, and complex relationships. Segismundo is eventually released from prison to test the validity of the prophecy, and the play unfolds as he grapples with questions about the nature of reality and the meaning of life. The characters and events in the play contribute to a larger philosophical exploration of existential themes. "Life Is a Dream" is considered one of the masterpieces of Spanish Golden Age drama, showcasing Calderón de la Barca's skill in blending poetic language, philosophical depth, and theatrical spectacle. The work is highly regarded for its exploration of the human condition and its enduring relevance in addressing profound questions about destiny and the choices individuals make in their lives.

Once dismissed as a fading genre with little to say to contemporary audiences, the giant monster movie roared back to life in the new millennium. In one of modern cinema's most surprising turnarounds, a wave of 21st-century kaiju films has delivered exciting and thought-provoking viewing to global audiences. In a variety of works that range from action-packed CGI spectacles to more personal, introspective productions commenting on real-world issues of the day, the new millennium has witnessed some of the most intriguing films in any genre, including movies from such acclaimed directors such as Guillermo del Toro, Bong Joon-ho and Peter Jackson. This book takes a sober, multidimensional look at the new class of giant monster movies. It examines the making of these films and their sometimes-obscure meanings. It also covers efforts to reinvent storied kaiju characters from the past, including Godzilla and King Kong, and to transform the genre with movies such as Cloverfield, The Mist, Colossal, and Pacific Rim that feature all-new creatures.

This book offers an approach which unites choreographic and spectatorial perspectives, and argues for dance itself¿its materials, its structures¿as a medium of emotional communication. Contemporary dance often seems to contend with issues of understanding, regularly being ¿read¿ in ¿languages¿ which alienate it. Even if emotion seems a significant part of people¿s engagement with dance, its workings are often surrounded by an air of mysticism. Engaging with these issues, this study investigates the experience of emotion in Euro-American contemporary dance theatre. It questions its dependence on the artist¿s personal emotions, and the assumption that it is mediated by representational meaning. Instead, this book proposes that the emotional import of dance emerges from an interplay between perceptual properties and symbolic elements in an embodied affective cognitive experience. This experience includes the background of the spectator as well as the context of work, choreographer, performer(s) and other creative agents.

This book examines how Italian Americans have been represented in cinema, from the depiction of Italian migration in New Orleans in the 1890s (Vendetta) to the transition from first- to second-generation immigrants (Ask the Dust), and from the establishment of the stereotype of the Italian American gangster (Little Caesar, Scarface) to its re-definition (Mean Streets), along with a peculiar depiction of Italian American masculinity (Marty, Raging Bull). For many years, Italian migration studies in the United States have commented on the way cinema contributed to the creation of an identifiable Italian American identity. More recently, scholars have recognized the existence of a more nuanced plurality of Italian American identities that reflects social and historical elements, class backgrounds, and the relationship with other ethnic minorities. The second part of the book challenges the most common stereotypes of Italian Americanness: food (BigNight) and Mafia, deconstructing the criminal tropes that have contributed to shaping the perception of Italian-American mafiosi in The Funeral, Goodfellas, Donnie Brasco, and the first two chapters of the Godfather trilogy. At the crossroads of the fields of Italian Culture, Italian American Culture, Film Studies, and Migration Studies, Italian Americans in Film is written not only for undergraduate and graduate students but also for scholars who teach courses on Italian American Cinema and Visual Culture.

This book explores the representation of real-life serial murders as adapted for the screen and popular culture. Bringing together a selection of essays from international scholars, Serial Killing on Screen: Adaptation, True Crime and Popular Culture examines the ways in which the screen has become a crucial site through which the most troubling of real-life crimes are represented, (re)constructed and made accessible to the public. Situated at the nexus of film and screen studies, theatre studies, cultural studies, criminology and sociology, this interdisciplinary collection raises questions about, and implications for, thinking about the adaptation and representation of true crime in popular culture, and the ideologies at stake in such narratives. It discusses the ways in which the adaptation of real-life serial murder intersects with other markers of cultural identity (gender, race, class, disability), as well as aspects of criminology (offenders, victims, policing, and profiling) and psychology (psychopathy, sociopathy, and paraphilia). This collection is unique in its combined focus on the adaptation of crimes committed by real-life criminal figures who have gained international notoriety for their plural offences, including, for example, Ted Bundy, Ian Brady and Myra Hindley, Aileen Wuornos, Jack the Ripper, and the Zodiac, and for situating the tales of these crimes and their victims' stories within the field of adaptation studies. 

This book is a phenomenological approach to film sound and film as a whole, bringing all sensory impressions together within the body as a sense of movement. This includes embodied listening, felt sound and the audiovisual chord as a dynamic knot of visual and auditory movements. From this perspective, auditory spaces in film can be used as a pivot between an inner and an external world.

Exploring emotions as social relations through the lens of dramatic television serials, this book investigates the profound role emotions play in popular mediated narratives. E. Deidre Pribram argues that collective emotions, activated through aesthetic attributes, play a crucial role in cultural storytelling.

March of the Wooden Soldiers, the 1934 Laurel and Hardy film originally titled Babes in Toyland, has been a holiday classic on TV since the early 1950s. The annual showing on WPIX in New York has kept this film alive in American popular culture, when for many years that film was all but unavailable anywhere else.The film exudes warmth, charm, happiness and a wish for love to conquer evil. The hundreds of people who contributed to making the movie certainly shared those emotions. But, as with any creative collaboration, there were conflicts.Behind the scenes, there were injuries, a divorce, a not-quite-legal marriage, a secret romance, a barroom fistfight, illnesses and a rift that nearly spelled the end of the Laurel and Hardy team. The film was made at great cost - and not just financial. The Laurel and Hardy film is an enduring classic, but it's only part of the fascinating story of Babes in Toyland.Featuring nearly 400 rare photographs, March of the Wooden Soldiers: The Amazing Story of Laurel & Hardy's Babes in Toyland brings the whole story to life.

What do Euphoria, Normal People, Atlanta, Ramy, Vida, I May Destroy You, Stranger Things, and Lovecraft Country have in common? In the 2016-2020 time period they were created, these TV shows exemplified one (or more) of four noteworthy trends: authenticity, diversity, sexual candor, and retrospection. This is the first book to examine live action, fictional television shows produced within a five-year period through the lens of the trends that they epitomize. For each show, the following is discussed: the significance of the platform and the format; the intentions of the creators and showrunners; pertinent background information; similar shows and precedents; the storytelling approach; the cinematic form; and finally, how the show is emblematic of that particular trend. Since trends have the possibility of becoming part of the mainstream, they are important to identify as they emerge, especially for viewers who have a keen interest in narrative television shows.

In der Post-Wahrheit-Ära verschwimmen Wahrheit und Fiktion in bisher ungekanntem Ausmaß. Die Verlässlichkeit unabhängiger Medien wird seit den 1960er/70er Jahren angezweifelt. Dies führt zu Schwierigkeiten bei der Interpretation der komplexen soziopolitischen Realität und einem verstärkten Verlangen nach Authentizität und einem Trend hin zum Dokumentarischen in der Kunst. Die Autoren der dokumentarischen Dramen verknüpfen Literatur mit investigativem Journalismus und Geschichtsschreibung. Die Publikation untersucht Strategien zur dramatischen Umsetzung historischer Stoffe und das Verhältnis von Fakten zu Fiktionen in Werken wie «Trotzki im Exil» (1970) von Peter Weiss, «Bruder Eichmann» (1982) von Heinar Kipphardt und «Hitlers. Dr. Faust» (2000) von Rolf Hochhuth.

During the last three decades, Europe has undergone numerous periods of economic and political instability. The process of European integration, once hailed as a beacon of a peaceful co-operation between many, if not all, European nations appears to be stagnating, giving rise to notoriously more frequent manifestations of xenophobic violence, nationalism and right-wing fundamentalism. This book evaluates the portrayal of the migrant Other in selected examples of contemporary French and German cinema from the period 1989¿2020 in the context of the ongoing debate about European identity and its socio-political significance. It focuses on the films of some of Europe¿s most prolific contemporary filmmakers, such as Michael Haneke, Claire Denis and Fatih Akin. It examines cinemäs importance not only in reference to various theoretical evaluations of the concept of European identity, but also many notable events that have taken place in Europe in the last thirty years, such as the collapse of the ¿Iron Curtain¿ in 1989, the historical expansion of the European Union in 2004, the migration ¿crisis¿ of 2015, ¿Brexit¿ and the war in Ukraine.

Explores the "torture" of mannered behavior and the prevalence of etiquette as a theme in classical and contemporary Hollywood and European cinema.

Considers how popular Haitian films not only provide entertainment but also help audiences in Haiti and the diaspora think through daily challenges.

Examines how philosophical concepts like free will, personal identity, and goodness are given an artistic life in films and television programs.

"The screenplay for the cult classic film by the legendary writer-director returns to print in time for its thirtieth anniversary. Pulp Fiction is arguably the most influential American film of the 1990s. Winner of the Palme d'Or at the Cannes Film Festival, the 1994 Academy Award for Best Original Screenplay and later selected by the Library of Congress for preservation on the National Film Registry, Quentin Tarantino's second film was immediately hailed as a masterpiece ("a triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination" -Janet Maslin, The New York Times). Now, on the heels of Tarantino's bestselling forays into both the novel and essay form, this iconic screenplay returns to print in a 30th anniversary edition"--

Teniendo en cuenta la frecuente invisibilidad del cine de mujeres y del cine queer en los manuales de historia del cine, el presente volumen se dedica a un estudio transnacional de cuestiones de construcción de género, cuerpo, mirada, queerness y deseo femenino en la cultura fílmica y televisiva de lenguas románicas desde un punto de vista estético, epistemológico, y transmedial. El volumen se entiende como una invitación a viajar por nuevas cartografías del deseo: siguiendo las huellas de una historiografía transnacional del cine y de la cultura audio-visual que ofrece figuras del pensamiento y del deseo nómadas y que huye voluntariamente de los conceptos binarios de una biopolítica normativa para proponer una cartografía alternativa del deseo femenino y queer.

Desde hace unos años hemos visto cómo la figura del vampiro ha pasado de ser una que infunde terror, a una que desata pasiones, un don Juan. El vampirismo es el nuevo donjuanismo, por lo que hablaremos de un arquetipo: el don vampiro. Pero ¿cómo es posible? El libro "Don Vampiro: De monstruo a amante" te lo cuenta. Revisando obras como "El Vampiro" de John William Polidori, pasando por los donvampiros cinematográficos más emblemáticos de Hollywood o por los del cine de terror español de los años 70 (el fantaterror), en este libro verás trazada una línea desde los orígenes del vampiro seductor hasta llegar a versiones recientes y al análisis del panorama actual del relato español."Don Vampiro" es una monografía que investiga la creación y desarrollo del arquetipo del vampiro seductor haciendo un recorrido por las obras literarias y cinematográficas que forjaron el personaje. Asimismo, explora la tradición del arquetipo en el cine y el relato español, haciendo hincapié en las representaciones más recientes y en la convergencia de elementos globales y españoles en las diversas iteraciones del mito. Además, el libro se centra en revelar cómo las representaciones del vampiro van amoldándose a los cambios socioculturales. Con los cambios sociales se necesitan nuevos monstrous para fascinar y poner a prueba los valores anteriores. Los donvampiros aparecen para retar especialmente al patriarcado y, con ello, poner en evidencia la opresión que ha ejercido sobre las personas que no han encajado en sus moldes tradicionales. Este libro puede ser de interés tanto para académicos como para aficionados a la literatura y al cine donjuanescos y de vampiros.

Back to the Ballroom traces the life of Ballroom Dancer, Margaret Reeve, who along with her husband Ray, created a legacy in Australia and around the World. Beginning in 1956, at just seventeen, she attended her first Saturday night dance. Margaret instinctively knew that her world was about to change! Within three years she became a professional dancer, formidable competitor and disciplined teacher.Margaret shares what it took to create a successful competitive studio that is recognised throughout the world. Margaret and Ray created something truly magical. No other studio in Australia has achieved the same level of success. It was a golden era, a glamorous time where the elegance on the dance floor was supreme. Celebrating 70 years in the business, their legacy of teaching and their Champions live on. So, we invite you to peruse these pages and journey with us - back to the ballroom!

The official tag.An account of my publicity tour to advertise a book and musical workshop by Chris Henson recorded in words and pictures, as we travelled and promoted. The unofficial tag. Up Against It is the book that possibly, finally puts a writer under the microscope following the launch of a book. A creative analysis of promotion, it examines topics such as what it takes for a book to get read, the encouragement it entails and what lays behind the scenes of everything promotional. As well as a keen critical edge, the book along with its predecessors Tour De Europa and Versus America gives dialogue, gossip, scandal and word for word conversations are unearthed and reexamined. In an attempt to uncover the heart of sales, Up Against It rummages frantically through an impossible film script, a publishing dinner, various book signings, radio interviews, a recording session, a London rehearsal and the launch of a theatre workshop. It is also a partial history, respect and love of friendship.

The sensational, lurid, and wickedly entertaining true story of the brothers who invented Hollywood to become the godfathers of cinema - movie moguls Nicholas and Joseph Schenck - studded with glamorous stars, scandals, mobsters, murders, and one legendary blond bombshell. . .Groundbreaking pioneers of the Hollywood Dream Factory, Joseph and Nicholas Schenck may not have been household names like the Warner brothers or Louis B. Mayer, but they were infinitely more powerful, influential—and ruthless. A pair of Russian immigrants with giant ambitions, the Schencks turned their small nickelodeon business in New York’s Bowery into a partnership with Loew’s movie theaters and a controlling interest in three major studios: MGM, 20th Century Fox, and United Artists. They painted the silver screen silver, laid the foundations for the all-powerful studio system, and ruled a global movie empire from their Gatsby-sized mansions on the East and West coasts. The Schencks had become moguls.Their story is the stuff of legends—and their scandals are among the greatest stories Hollywood never told. This riveting, behind-the-scenes account reveals the suprising truth about:The union-busting mob deal that landed Joe Schenck in federal prison for four years—on tax evasion charges including deductions for a menage a trois.The cutthroat and merciless political maneuvering that defined the Hollywood studio heads.The lurid murder charges against silent film star “Fatty” Arbuckle—whose legal defense was paid for by Joe Schenck.Joe’s secret infatuation with Marilyn Monroe, even though Marilyn’s mother named her Norma after Joe’s wife!The brothers’ ingenious creation of the Academy of Motion Pictures and the Oscars—and indomitable control over the entire film industry.From the earliest days of silent films and the swinging era of the Roaring Twenties, through the Golden Age of the studio system and the patriotic call of WWII, to the Red Scare paranoia of the McCarthy years, the history of the Schenck brothers is the story of Hollywood itself—and the endurng power of the American Dream. Moguls is a must-read for film fans, history buffs, and anyone who loves the movies.

This book draws on theories of aesthetics, post-colonialism, multiculturalism and transnationalism to explore salient aspects of perpetuating traditional dance customs in diaspora. It is the first book to present a broad-ranging analysis of cultural dance in Australia. Topics include adaptation of dance customs within a post-migration context, multicultural festivals, prominent performers, historiographies and archives, and the relative positionings of cultural and Western theatrical dance genres. The book offers a decolonized appraisal of dance in Australia, critiquing past and present praxes and offering suggestions for the future. Overall, it underscores the highly variegated nature of the Australian dance landscape and advocates for greater recognition of amateur community dance practices. Cultural Dance in Australia makes a substantial contribution to the catalogue of work about immigrants and cultural dance styles that continue to be preserved in Australia. This book will be of interest to scholars of dance, performance studies, migration studies and transnationalism.

Punchdrunk on the Classics: Experiencing Immersion in The Burnt City and Beyond draws attention to Punchdrunk¿s use of ancient Greek literature in their creation of immersive theatre. The book documents and analyses the effects of utilising Greek tragedy within both Punchdrunk¿s creative development windows, and the company¿s final staged productions. It features material stretching from The House of Oedipus (2000) right through to The Burnt City (2022-23), on which the author worked as dramaturg. Chapters include rehearsal studies, explorations of how Greek literature can shape an audience¿s experience in immersive theatre, and considerations of how The Burnt City might change our understanding of the poetics of immersion in antiquity. Overall, Punchdrunk on the Classics provides an unparalleled depth of insight into an individual Punchdrunk production, and highlights the until-now overlooked significance of antiquity within Punchdrunk¿s practice.