Teater: instruktion og produktion

The Savior, the Flood, and the Beast, are three different plays all with various themes. The Savior, or The Carpenter, is about a young Carpenter, working in the porn industry for his brother, who ends up falling for the lead porn star, but his brother becomes secretly jealous of their affair. To the point that he won't let her quit the industry, either.The Flood, or The Parable of Defeat, is about a young girl whose life is destroyed by a rape in the aftermath of Hurricane Katrina In New Orleans. Coming to terms with it, but also finding out who the culprit is, too.The Beast, or Wight, is about a man who comes back from the Iraq/Afghanistan war with more than just scars to carry. Working in a grocery store, they learn the truth behind his awful secret.

David needs to get laid, Gary could use a drink, and Tim would like you to take your top off. Carla craves cocaine, Jeannie's got God, and Pamela keeps digging herself deeper into the funny and frightening world of hypochondria. But when one of their own gets sick for real, they're all going to have to face their greatest fears and grow up.NOMINEE, LA Weekly Award, Outstanding PlaywritingPlay DetailsSick is a 90-minute play with no intermission.Cast: 3 female, 3 male, 1 childGenre: comedic dramaKeywords: hypochondria, mothers, leukemia, sexCharacter BreakdownPAMELA, a twenty-eight-year-old woman.DAVID, her husband.MICHAEL, their ten-year-old son.BROWN, his doctor. Handsome, charming.GARY, Pamela's brother.CARLA, his wife.JEANNIE, an addict, a sales clerk.

Admirable en su solidez lingüística, poderosa en sus ricos nexos con la tradición, la dramaturgia de Abilio Estévez es hoy uno de los tesoros más fecundos de la cultura cubana. Dentro de su vasta obra de escritor total, el teatro le ha permitido a Abilio experimentar en formas del diálogo donde se mezclan, sin recato alguno, filosofía y cotidianidad, sarcasmo y convicción, solemnidad y desparpajo. Hondura intelectual y pulso escénico, siempre de la mano en sus textos, nos han legado monumentos dramáticos como La verdadera culpa de Juan Clemente Zenea, Perla marina, Santa Cecilia, El enano en la botella o La noche. La dimensión simbólica de la escritura de Abilio cobra espesor en Las palomas y el General (ceremonia de Tierra Caliente en trece episodios delirantes). La atomización del arquetipo, mediante la ironía, el juego intertextual y la mascarada, garantiza que la obra, heredera de las novelas del dictador, equilibre su vocación de universalidad con una exquisita paleta de colores locales. Abonados los cimientos de Tierra Caliente con tanto humor como dolor, esta ceremonia disecciona, desde las ruinas mismas de la Utopía, el entramado voraz de la barbarie, su esquema ineludible, su elenco perfecto: un ególatra, unos secuaces y una multitud exaltada que aplaude con frenesí.

This volume tells the fascinating history of a century of Broadway Theatre, exemplified by Pulitzer Prize-winning stage productions of plays from leading American playwrights like Eugene O'Neill, Tennessee Williams, Arthur Miller and many others. In addition, facsimile reproductions of theatre programs and posters give an impression of the casts on stage including movie stars like Deborah Kerr, Jessica Tandy, Anthony Perkins, Marlon Brando, Karl Malden or Morgan Freeman. Heinz-Dietrich Fischer, EdD, PhD, is Professor Emeritus at the Ruhr-University of Bochum, Germany.

Der Schweizer Bühnenbildner Adolphe Appia (1862 - 1928) war ein Bühnenrevolutionär: "Statt einer aus Pappe, Stoff und Draht zusammengeleimten und vorsintflutlich beleuchteten ¿Illusionsbühne¿ forderte Appia ¿rhythmische Räume¿, in denen die Musik die Quelle der Inszenierung sein müsse; statt Pseudowirklichkeit wollte er einen Bühnenraum kreieren, der die Wahrnehmung erweitert. Die Wirkungen dieser Reformen, von Emil Preetorius über Wieland Wagner bis zu Robert Wilson, sind bekannter als Appias Schriften selbst. [¿] Faszinierend nachvollziehbar wird, dass Appia seiner Zeit um ein halbes Jahrhundert voraus war." (Kurt Mulisch, in: Neue Zürcher Zeitung, 10. Oktober 2006). Dies belegt eindrucksvoll auch die hier vorliegende Schrift über das Verhältnis von Musik und Wort bzw. deren Inszenierung als Bühnenereignis anhand der Opern Richard Wagners. Nachdruck der Originalausgabe aus dem Jahr 1899.

Save me from the Grave and Wise is an Irish folk song. Beethoven based his 7th symphony on the song's dread of dull scholarship and love of life, culminating in the exhilarating coda. This work has young Adeodatus, St. Augustine's bastard son, escaping his father's clutches. Augustine with Jerome and Ambrose are said the be the pillars of the Church. Their largely unreadable scholarship dominated European political thinking for over a millennium. Augustine wanted Adeodatus to following in his footsteps. Adeodatus had other ideas and thought his father personified the scribes and pharisees Jesus condemned as hypocrites. Set in late fourth century Milan, western capital of the Roman Empire at its height. Augustine was spokesman for the emperor and the imperial court, role model for elegant mannerisms in dress and deportment as well as in speech. Save me from the Grave and Wise is a lively read as well as a play for acting.

A comic novel of love, lust, and life-threatening electrical shocks.

'In Bliss and other works' is a selection of plays, prose, and poetry by the author J. Donovan Steele.Including a revised addition of 'Pharaoh', this is the first time these works are available in print!

A contemporary dramatic take on a 4,000-year-old Sanskrit epic that is foundational to Indian culture. Why Not Theatre’s large-scale, once-in-a-generation retelling of Mahabharata brings together a cast of performers entirely from the South Asian diaspora, blending cultures and art forms in a spectacular production at the Shaw Festival and the Barbican Theatre in London. Over two parts (Karma and Dharma) and a communal meal (Khana), this translation and adaptation of Mahabharata spans generations and takes audiences into the hearts and minds of some of the most complex and enduring characters ever created. With warring families and devious revenge plots, Mahabharata tells the story of an ancient feud with philosophical and spiritual questions that are no less urgent today. In times of division, how do we find wholeness? Are we destined to repeat the mistakes of our ancestors? And how can we build a new world when we have nearly destroyed this one? Contains the full text of the play along with materials opening up the behind-the-scenes world of the production, including interviews with the creators, background and context about the source material, production photographs, a Mahabharata family tree, and glossary."Ravi Jain and Miriam Fernandes’s contemporary take on the Mahabharata is one of the most beautiful emotional journeys I have had the privilege to witness. It is inspiring, mind broadening, and speaks to all the senses. It even brings you back to the origins of theatre itself, when people would gather in the quarries around a bonfire to tell stories. With their tasteful use of technology, dance, and opera, the 4,000-year-old Sanskrit poem comes to life and feels more universal than ever. A captivating theatre experience, from the first flame to the last pixel." – Robert Lepage"In their stunning rendition of the great Indian epic Mahabharata, Ravi Jain and Miriam Fernandes brilliantly reverse the whole concept of what Bertolt Brecht famously advised theatre directors: to make the familiar, unfamiliar. Jain and Fernandes have turned the unfamiliar into the familiar. The 4,000-year-old saga most Indians grew up with is made accessible to a contemporary audience the world over. No mean feat. ‘The play, true to its source, crosses all boundaries of culture, class, and geography. Its timeless storytelling and evocative stage design is transformed into a saga for the world, with its fundamental emotions of human nature – power, hate, jealousy, greed, and lust. To be gob-smacked by this innovation would be an understatement. Immerse yourself in this take on the Mahabharata and travel with it in time into the past, present, and future of humanity." – Deepa Mehta

William Shakespeare's Troilus and Cressida, written in or around 1602, is referred to as one of Shakespeare's most troublesome plays, as its tone shifts fiercely, and the characters are introduced in a solid way, delivering them challenging to comprehend. The story opens quite a while into the Trojan War. A prince of the Trojans and the son of the Trojan lord Priam, Troilus is charmed by Cressida, a charismatic local girl. Cressida's father, the minister Calchas, has deserted the Greeks. Cressida has up until this point rebuked Troilus' advances, thus, Troilus reaches out to her uncle Pandarus to request his help in persuading Cressida to be with him. Pandarus endeavors to influence Cressida by commending Troilus more than the mightiest Trojan champions when she can hear him, however, she seems unaffected. Nonetheless, she uncovers she is drawn to Troilus. In the camp of the Greek armed force, the well-known legend Achilles won't leave his tent, where he is residing with Patroclus. Even though the war is continuing and Achilles is their most noteworthy contender, he denies stepping outside. Ulysses and the other Greek pioneers, Agamemnon and Nestor assemble to talk about this issue, which is weakening the whole Greek armed force because of an absence of discipline and a hazardous feeling of disorder. Ulysses reports that the best fighter on the Trojan side, Hector, has quite recently given a test to the Greeks for a one-on-one duel. He recommends them to appeal to Achilles' vanity by choosing another person to confront Hector, inferring that Achilles isn't their most skilled fighter. They hold a lottery and select Ajax, a strong fighter yet not in Achilles' league. In the Trojan camp, the military leaders discuss finishing the conflict by returning the Greek princess Helen, whom their ruler Paris abducted, starting the threats. Troilus is alarmed by this conversation, and in the wake of scolding his kindred Trojans, they choose to keep her, as sending her home currently would be disrespectful. The prophet Cassandra illuminates the Trojans that the Greeks will ultimately set Troy ablaze yet Troilus persuades everybody to continue to battle. Troilus goes to Cressida's home, where he is met by Pandarus, who accompanies them to the room to consummate their love. Once alone, Troilus and Cressida vow their adoration to one another, promising to be devoted. In the interim, Cressida's father, Calchas makes an arrangement to trade his daughter with the Greeks for a Trojan detainee. The following morning, Diomedes shows up and tells Cressida about her destiny. Showing up at the Greek camp, every one of the Greek military pioneers lines up to welcome Cressida, making passes and touching her. Cressida answers heartily to everyone, except Ulysses, who, considering her a wanton lady, won't touch her. Ajax has become proud and puffed-up after he was determined to battle Hector which has the ideal impact of making Achilles envious. The Greeks and Trojans assemble to watch Hector and Ajax battle, yet the battle is delayed when Hector finds that Ajax is half-Troja...

""Naked Playwriting" is a complete, comprehensive playwriting course-from developing a theme through plotting and structuring a play, developing characters, creating dialog, formatting a script, and plying methods that aid the actual writing and rewriting processes. It also offers guidance on marketing and submitting play scripts for both contests and production, getting an agent, protecting one's copyright, and working with directors, actors, and theater companies. This new edition, in addition to fully updating the material in the popular first edition, adds detailed information on such recent develops as "Zoom plays" and "devised theater"; writing non-formulaic plays that create their own structures; a new emphasis on writing 10-minute and one-act plays; completely revised play submission guidelines that reflect a process that has wholly changed since the first edition was published; an section on the now-popular trend of moving from playwriting to TV scripting; material on the growing trend toward playwrights directing their own plays; and much more. Well-written and filled with illustrative examples, it provides both innovative and tried-and-true writing techniques, sage advice from veteran writers, a short study of the major schools of dramatic thought, and pertinent writing anecdotes. This one-of-a-kind playwriting book will help both novices and working writers discover and improve their playwriting skills and get their plays produced"--

C'est une histoire d'amour.This is a love story. Like any good romance, there is a boy and a girl. The world conspires to keep them from one another. A Love Story: How the Heartland Fell in Love With a 400-Year-Old French Comedic Playwright is the retelling of the historical saga how Kansas City artists, actors, and businesses band together to bring one woman's vision to fruition: a much-anticipated 400th birthday celebration for one of the world's most produced comedic playwrights, Molière.Felicia Londré, Ph.D. and KC MOlière: 400 in 2022 endured the untimely death of two of their most ardent supporters, the pandemic, while overcoming the obstacle that many Americans had not heard of Molière. Despite the obstacles, Kansas City won international recognition for the number and variety of events related to his immortal comedy and their relation to Kansas City's French heritage.This is the story of two flyover states in the Heartland opening their arms to welcome the genius that is Molière.

The Tony Award-winning director gathers memories of people, productions, and problems surmounted from his fifty-year career in this one-of-a-kind how-to handbook. What do directors do? Jack O'Brien, the winner of Tony and Drama Desk Awards and the former artistic director of San Diego's historic Old Globe theatre, describes it like this: "You stand before a situation in which something is presented to you. You're afforded a challenge. Like catching an enormous ball. And you respond. You come up with a vision of some kind. That is, if you respond to the material at all, and one must, or it's doomed. You sort of feel that since you relate to the material at hand, you might as well try to be helpful."In Jack in the Box, O'Brien's follow-up to his memoir Jack Be Nimble, the director collects stories from the many productions he has worked on, the great talents he encountered and collaborated with (including Tom Stoppard, Mike Nichols, Jerry Lewis, Marsha Mason, and many others), and the choices he made, on the stage and off, that have come to define his career. With humor, warmth, and contagious excitement, O'Brien takes the reader by the shoulder, pulls them in, and tells them how to become a director-or, at the very least, relates an unfailingly honest story of how he did.

Through a series of reflections from internationally renowned performance-makers and contextualising essays from leading theatre and performance scholars, this is the first book to map the influence of Roland Barthes on performance. The contributions are framed through Barthes's notion of The Neutral - the suspension of binary choice that offers a welcome antidote to the political deadlock of our present moment. They cover the breadth of Barthes's work from Mythologies (1957) to 'The Death of the Author' (1967), A Lover's Discourse (1977), Camera Lucida (1980), to the more recently available lecture courses at the Collège de France. Together, they capture and rethink a range of Barthes's preoccupations, from his early writing on myths and meaning to personal reflections on love, loss and desire, and interrogate the intersections between Barthes's work and contemporary theatre and performance. This book invites readers to approach Barthes's writing from a breadth of creative-critical perspectives, to become more aware of the importance of his late thought for thinking through a range of dramaturgical forms, and to become more familiar with the work of internationally significant performance practitioners.

Sarah Kane was one of the landmark playwrights of 1990s Britain, her influence being felt across UK and European theatre. This is the first book to focus exclusively on Kane's unique approach to mind and mental health. It offers an important re-evaluation of her oeuvre, revealing the relationship between theatre and mind which lies at the heart of her theatrical project. Drawing on performance theory, psychoanalysis and neuroscience, this book argues that Kane's innovations generate a 'dramaturgy of psychic life', which re-shapes the encounter between stage and audience. It uses previously unseen archival material and contemporary productions to uncover the mechanics of this innovative theatre practice. Through a radically open-ended approach to dramaturgy, Kane's works offer urgent insights into mental suffering that take us beyond traditional discourses of empathy and mental health and into a profound rethinking of theatre as a mode of thought. As such, her theatre can help us to understand debates about mental suffering today.