Teater

In the summer of 1864, an entrepreneur built an observation tower just outside the walls of the federal prison at Elmira, New York. He charged 15 cents for citizens to climb the tower and observe the Confederate prisoners below. Ginger cakes and drinks were sold. The venture paid for itself in a matter of weeks. Then winter came. Shortly afterward another observation tower was constructed by another business interest, and competition being what it is, the cost for admission was driven to 10 cents. Business was booming. A generation ago, television entertainment ventured into shock modes regarding outlandish relational turmoil and screams for validation from guests who longed for an escape from anonymity. Audiences laughed at the absurdity, confidently comforted by the normalcy that supposedly governed their lives. But the guests left with the assertion that at least their story made it to the screen. Television ratings remained strong enough to maintain the genre for a few more years. Then came social media forms lending themselves to some of the same attention-getting over-reaches.

"This collaborative history testifies to the central part theatre has played in French culture for over a thousand years. Through a range of diverse contributions, it places centre-stage the genders, ethnicities and classes that have had to wait in the wings both of theatres and of theatre history"--

With the first appointment of the outstanding performance artist Marina Abramovic to the Pina Bausch Professorship at the Folkwang University of the Arts, the focus in the 2023-23 academic year was placed on transdisciplinarity, artistic daring and social awareness.The project supervised by Abramovic, entitled "Free Interdisciplinary Performance Laboratory (FIPL)", was realised in a class put together by her, in which she brought together over 20 students from the fields of music (classical and jazz, instrumental, vocal and composition), dance, design, photography, (physical) theatre and directing. The students developed individual or collective concepts for performances and learnt how to develop a long-term performative work form in an experience-based process. In a workshop entitled "Cleaning the House", which was organised according to a method developed by Marina Abramovicmethod developed by Marina Abramovic, the students developed a sense of the presence required in performances, including the exploration of their individual physical and mental limits. The outstanding performance artist Marina Abramovic was the first holder of the new Pina Bausch Professorship at the Folkwang University of the Arts in Essen in 2022/23. She focused on transdisciplinarity, artistic daring and social awareness. In her Free Interdisciplinary Performance Laboratory (FIPL), Abramovic brought together over twenty students from the fields of music, dance, design, photography, (physical) theater and directing. Over two semesters, they realized artistic-performative projects that dealt with agency, resilience and body awareness and explored physical and mental boundaries.

1930 hatte im Großen Schauspielhaus in Berlin, dem von Max Reinhardt als "Theater der Fünftausend" konzipierten Bau, ein Stück Premiere, das nicht nur bei Kritikern und Publikum größten Zuspruch fand, sondern dem auch eine beispiellose Nachkriegskarriere in der deutschsprachigen Theaterlandschaft beschieden war: "Im weißen Rößl", ein von dem Regisseur Erik Charell und dem Autor Hans Müller umgearbeitetes Lustspiel von Oscar Blumenthal und Gustav Kadelburg, das im Stil der Charell-Revue mit Musik von Ralph Benatzky, Robert Stolz, Robert Gilbert u. a. den Berlinerinnen und Berlinern eine ländlich-exotische (und erotische) Alpenidylle in die Hauptstadt zauberte. Durch die Kette an Aufführungen, die seit 1930 bis in die Gegenwart hinein nicht abreißt, erfuhr das Werk eine Vielzahl an Neufassungen, die mit ihren Zugängen nicht nur Plot, Musik und Ästhetik immer wieder aktualisierten, sondern, zumal in Produktionen wie in der "Bar jeder Vernunft" in Berlin (1994) oder der Verfilmung von Christian Theede (2013), auch die Rezeptionsgeschichte des Stückes mitreflektieren. Dieser Band thematisiert neben Deutungen, Figuren und der Aufführungsgeschichte des Werkes auch Aspekte der Verfilmungen.

Frühere Textversionen und unfertige Übersetzungen von "Communicate EinFach"Russische, chinesische, englische, deutsche, spanische, italienische, portugiesische, arabische, französische Texteprevious text versions and unfinished translations of 'Communicate EinFach'Russian, Chinese, English, German, Spanish, Italian, Portuguese, Arabic, French texts

This Element argues for the importance of extended reality as an innovative force that changes our understanding of theatre and Shakespeare. It shows how the inclusion of augmented and virtual realities in performance can reconfigure the senses of the experiencers, enabling them to engage with technology actively.

Acting Out: How A Prison Theatre Workshop Broke Free is Richard Hoehler's account of the transformative work he's witnessed leading theatre workshops in a federal prison.

The world of the theater has had a magical allure for me, ever since that afternoon as an eighteen-year-old wandering around mid-town with several hours of my hands before my bus's departure, I purchased a matinee ticket to see, 'Man of La Mancha.' Although I've spent almost all of my life as a writer creating novels and short fiction, I have always loved seeing live theater and reading the works of O'Neill, Miller, Williams, Lorraine Hansberry, Chekhov, Shaw and Shakespeare, among others. Great theater brings together great writing and all the brilliant effects of the live stage; actors whose voices, gestures, laughter, shouts, and whispers are as close and tangible as those of the people you live with; the genius of costume design, lighting and stage sets that carry you to a completely different realm, using no more space than the area of your living room. The three of mine in this volume, a comedy and two others, mixing comedy with elements of tragedy, make up my second book of plays. Together with the first, they are my contribution to that magical world I love no less than I love the world of great fiction.

This book explores a heretofore unremarked linkage between Bernard Shaw, the twentieth-century French thinker Paul Ricoeur, and Jesus of Nazareth. The ties that bind them are a foundational interest in the social teachings of the Nazarene and their use of a shared dialectics with respect to living the kind of compassionate life that holds out the promise in our contemporary world of achieving something approximating universal wellness on a healthy planet at peace with itself. This work argues that the three principal subjects of the study¿independently of one another¿used the same dialectical method to reach the same dialectically derived conclusion about how humans can live redemptively in a fractured world.

Have you ever dreamed of becoming a Pornstar? Do you want to be a stud for any partner you come across? "Men and women will obsess about fame, fortune, and fucking; Forever!" In, How To Be A Male Pornstar in 6-9 Days you will learn to use simple yet irreplaceable tactics ANY MAN can use to achieve stardom in the bedroom.How To Be A Male Pornstar in 6-9 Days will teach you:- Why female strategies for getting gigs do not work for men- The best practices for rising up as a pornstar- How to achieve recognition and porn status in as few as six days- Secrets no top pornstar would ever revealGuy's, capitalize on this time in history while you can. Get this book, it's the perfect bathroom reader to achieve your pornstar dreams.

Extending from the seventeenth to the twenty-first century, The Cambridge History of Cuban Literature is the first book in English to tell the intricate story of Cuban literary-intellectual culture from the seventeenth-century to the twenty-first century. This landmark book highlights the intricacies of linguistic and cultural translation embodied in telling a story in English about a body of work expressed predominantly in Spanish, but also French, Haitian Kreyòl, Angolan Portuguese, and English. Broad in its scope, this book encompasses such major figures as Gómez de Avellaneda, Heredia, Plácido, Manzano, Villaverde, Martí, Casal, Carpentier, L. Cabrera, Mañach, Loynaz, Piñera, Lezama Lima, and Cabrera Infante, as well as theatre and performance groups, film, post-revolutionary projects, post-1989 Special Period writers, and literature of Cuba's diasporas. It highlights four key features weaving through Cuban literary history: its engagement with international networks; its key role in cultural identity debates throughout Latin America; persistent debates about race, gender, and class; and the tropes of travel and movement-voluntary, exploratory, enslaved, migratory, or exilic.

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.

"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.

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.

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.

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.

Narrative strategies, immersion, interaction, participation, identification, multimodality, characters and the connection between physical and fictional or virtual worlds: the fields of inquiry into the complex relationship between live performance and video games are numerous and diverse. For the first time, this collection brings together international researchers and artists to explore this relationship in a variety of essays. The contributors to this volume focus on reciprocal inspirations, appropriations and transfers applied by theatre artists, game designers and researchers. They analyze several artistic forms such as VR performance, immersive theatre, speedrunning or Game-Theatre.

Examines the nature and socialization of disabled performers in the medieval and early Tudor periods.

Nyeste udgivelse i serien Iscenesat - et samarbejde mellem Selskabet for Dansk Teaterhistorie og Kronstork.Erik Hvidt og Per Lykke tager os i Skuespil med på dansk teaters lange begivenhedsrige rejse fra de første forestillinger i Lille Grønnegade for 300 år siden til 2000-tallets nye talenter.Erik Hvidt er fhv. redaktør og museumsdirektør og har udgivet en række teater- og revyhistoriske bøger. Per Lykke er ansat på Politiken og har udgivet bøger om blandt andet teaterhistorie og -kritik.

Dario Fo var et kunstnerisk fænomen. Skuespiller, dramatiker, instruktør, scenograf, billedkunstner, aktivist... en rabiat satiriker, der sammen med sin partner i livet og på scenen, Franca Rame, tog nogle kampe, de betalte en høj politisk og personlig pris for. Men Fo opnåede også en pris. I 1997 modtog han Nobelprisen i litteratur. Fos groteske komik vandt en særlig genklang i Danmark. Som oversætter, tolk og forsker fulgte Bent Holm hans arbejde gennem et halvt århundrede, hvor der også udviklede sig en personlig relation imellem dem. Bogen skildrer Fos brogede liv og værk fra opvæksten blandt fiskere og fabulanter over hans tid som kontroversiel kritiker af et forbenet regime, altid i anarkistisk opposition, og sluttelig frem til hans fokus på kunst, kultur og historie. Alt sammen indsat i et landskab af Italiens nyere politiske historie, hvor grænserne mellem utopisme, ekstremisme og terrorisme skred fatalt – og tilsat forfatterens egne oplevelser med fænomenet Fo

This book reinterprets British dramas of the early-nineteenth century through the lens of the star actors for whom they were written. Unlike most playwrights of previous generations, the writers of British Romantic dramas generally did not work in the theatre themselves. However, they closely followed the careers of star performers. Even when they did not directly know actors, they had what media theorists have dubbed "e;para-social interactions"e; with those stars, interacting with them through the mediation of mass communication, whether as audience members, newspaper and memoir readers, or consumers of prints, porcelain miniatures, and other manifestations of "e;fan"e; culture. This study takes an in-depth look at four pairs of performers and playwrights: Sarah Siddons and Joanna Baillie, Julia Glover and Samuel Taylor Coleridge, Edmund Kean and Lord Byron, and Eliza O'Neill and Percy Bysshe Shelley. These charismatic performers, knowingly or not, helped to guide the development of a character-based theatre-from the emotion-dominated plays made popular by Baillie to the pinnacle of Romantic drama under Shelley. They shepherded in a new style of writing that had verbal sophistication and engaged meaningfully with the moral issues of the day. They helped to create not just new modes of acting, but new ways of writing that could make use of their extraordinary talents.

Oplev en helt nyskrevet forestilling – inspireret af nutidens unge mennesker og deres tanker og historier.I ”byen ved fjorden” møder vi de unge mennesker, og vi oplever deres hemmelige drømme, håb, bekymringer, længsler, frygt og lidenskab.Inspireret af Dylan Thomas’ poetiske mesterværk ’Under Milk Wood’ lader Sjællands Teater os lytte ved døren til sindet hos et mylder af mennesker, der i virkeligheden nok er fuldstændig ligesom os selv. På én og samme tid hyldes hverdagens trummerum, ungdommens længsler og livets magi.UNDER MÆLKEVEJEN er en forestilling til unge (og voksne) om det at turde leve drømmene ud.Også de drømme, man skal finde mod til at stå ved.Udover at handle om de unges drømme, tager forestillingen også fat på emner som angst, selvskade, klimakrise, ensomhed, sammenhold, livets skrøbelighed og søgen efter fællesskab.

Fair Plays 50 års jubilæumsbog er en farverig og gennemillustreret bog med masser af minder fra det forgangne halve århundrede. Her er fotos fra tiden med opfindsomt indrettede turnébiler og evige tirsdagsmøder i kollektivet. Og her er udtalelser fra en stor gruppe tidligere medarbejdere ved teatret – fortællinger fra de gode gamle dage og anekdoter med glimt af både anarki, urimelige offentlige støttenedskæringer og ualmindeligt godt humør.

1935. Franklin D. Roosevelt is under pressure to combat the skyrocketing levels of unemployment inpost-war America. He announces a sweeping range of revolutionary initiatives, known collectively asthe New Deal. Among these initiatives is a landmark programme designed to bring innovative,experimental theatre to the American masses.The Federal Theatre Project

Dorota Mas¿owska is a Polish writer, playwright, and journalist. She was 19 when her debut novel Snow White and Russian Red was published and garnered massive critical acclaim in Poland. The book was translated into more than 20 languages, it won the prestigious Paszport Polityki Prize and was made into a movie directed by Xawery ¿üawski. Since then, she has written several novels and plays and has become a celebrated literary figure in Poland.