Bøger af Daniel Meyer-Dinkgrafe

In The View Across the Bay, Caleb and Kaya meet in the supermarket car park, strangers but veryfamiliar to each other, and fall in love at first sight. The novel explores their first long weekendtogether, and from there expands to include Kaya's mother, Grace, and Caleb's father, Henry, astheir lives develop. Kaya and Caleb reassess their relationship after their children have left home to study.

Examines nascent movements, genre shifts, developing authors/playwrights and controversial themes as they emerged in both drama and theatre. It focuses on the creative nexus of London from the end of the nineteenth century up to the beginning of the Great War (1914), discussing, among others Wilde, Shaw, Pinero, Strindberg, Harley Granville Barker, Ford Madox Ford, D.H. Lawrence, Galsworthy, Sims, women playwrights, and popular theatre.

Twenty major German cities have a total of twenty-four theatres specializing, at a high level of sophistication, in presenting light comedy. They have their own typical ambience, principles of artistic management and casting. There are playwrights, actors, directors and designers who work almost exclusively in the genre, called boulevard comedy, developing highly specialised approaches to their work. In almost all cases, the predominantly privately run boulevard comedy theatres in Germany have been able to attract larger audiences than municipal or state theatres in the same cities. The book provides a description and an analysis of this phenomenon, which is unique to Germany. Chapters focus on an analysis of ambience, artistic managers, artistic policies and artistic structures, on major characteristics of the plays presented on the stages of German boulevard comedy theatres, on aspects of translation and the cultural transfer of comedy and laughter and on aspects of production and reception, dealing in turn with actors, directors, media coverage and audiences.