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Morris S: Physicality and Acting

Physicality and Acting

Movement Training as a Catalyst for Change

Routledge Research in Art History

Through a rereading of the available textual and visual sources of Symbolist theater and of the work of Nabi artists, as well as through an analysis of sources and paintings previously unexamined in the existing literature, this book rewrites the history of the cross-fertilization between Nabi art and Symbolist theater.

Through a rereading of the available textual and visual sources of Symbolist theater and of the work of Nabi artists, as well as through an analysis of sources and paintings previously unexamined in the existing literature, this book rewrites the history of the cross-fertilization between Nabi art and Symbolist theater.

The Nabis and Symbolist Theater

Forms of Drama

China’s Classical Song-drama

Kunqu

What We Did Before Our Moth Days

A Critical Reader

Contemporary Choreography

Readings in Theatre Practice

Keywords and Concepts

Acting

*NATIONAL BESTSELLER* A cancer diagnosis caused Tyler Merritt-beloved author of I Take My Coffee Black-to realize that there was no time for anger, unforgiveness, foolishness, or lost friendships. None of us have any time to waste. When Tyler Merritt was diagnosed with cancer, everything he thought he knew about what mattered in life changed. Though he made it through a highly invasive surgery and thought he was in the clear, Tyler soon realized that the cancer had other plans. It wasn't a question of if the tumor would come back for an encore, his doctors told him. It was a question of when. The clock was ticking. This Changes Everything is a humorous and optimistic love letter to this beautiful life. As Tyler counts down the days until his next scan, he begins to understand that none of us have time for anger, for being unforgiving, for foolishness, for letting relationships drift, or for letting friendships to be lost. It's a clear-eyed reckoning with the reality that our time on this earth is limited and a hopeful vision of how each of us can make the most of the time we have left. Laced with Tyler's trademark humor, love of pop culture, and arguably too many musical theater references, This Changes Everything is a story about how wrestling with the idea of death can birth a whole new outlook on life, how we live it, and the urgency that comes when you grasp that time is a precious commodity.

A Surprisingly Funny Story About Race, Cancer, Faith, and Other Things We Don't Talk About

This Changes Everything

"How can performance transform places of urban renewal and regeneration? What does performance contribute to the creation of community? These are some of the questions addressed in this study of the relationship of performance to urban space. Marrying theory with a series of international case studies of performance practice and interviews with practitioners, this interdisciplinary study examines how space is performatively produced to create a sense of 'placeness'. Case studies are drawn from Canada, Brazil, the Czech Republic, the UK and Spain"--

Placeness and the Performative Production of Space

A Memoir

Fearless and Free

Yiddish Voices

This book provides the first ever English translation of the Yiddish play, Mississippi. Penned in 1935 by Leyb Malakh, it was commissioned for production by a Warsaw-based experimental Yiddish theatre company and was focused on the racial injustice of the Scottsboro Boys case which began with the wrongful arrest of nine African-American youths in Alabama, 1931. The book includes a detailed, multifaceted scholarly introduction which ranges widely and effectively across the various historical and literary contexts in which the play can be appreciated.

As our volume shows, both the writer and the director, Michal Weichert, were keen to depict a dramatic episode from contemporary life that reflected the leftist goals and ideas to which they were devoted. Alyssa Quint examines the fact that while the plight of the Scottsboro Boys lasted throughout the 1930s and inspired works of Communist or leftist struggle by a substantial number of artists and writers in the United States, few beyond America took on the subject. She looks at how Malakh's drama reflects the influence of the African American writer Langston Hughes, who wrote Scottsboro Limited in 1931 after the Boys' first trial when they were sentenced to death. Writing in 1935, after a number of successful appeals, Malakh refers to the rallies that took place throughout Europe in protest of the Boys' arrest and sentencing. The introduction also shows how the play reflects the influence of 'synchronous theater' (akin to immersive theater) as well as other avant-garde theatrical strategies of the time. Quint goes on to consider the substantial success of Mississippi, which played on city stages at least one hundred times throughout Poland and attracted significant critical attention, and what this can tell us about the connection between the Jewish people of Europe and African-Americans around this time.

This book provides the first ever English translation of the Yiddish play, Mississippi. Penned in 1935 by Leyb Malakh, it was commissioned for production by a Warsaw-based experimental Yiddish theatre company and was focused on the racial injustice of the Scottsboro Boys case which began with the wrongful arrest of nine African-American youths in Alabama, 1931. The book includes a detailed, multifaceted scholarly introduction which ranges widely and effectively across the various historical and literary contexts in which the play can be appreciated.

As our volume shows, both the writer and the director, Michal Weichert, were keen to depict a dramatic episode from contemporary life that reflected the leftist goals and ideas to which they were devoted. Alyssa Quint examines the fact that while the plight of the Scottsboro Boys lasted throughout the 1930s and inspired works of Communist or leftist struggle by a substantial number of artists and writers in the United States, few beyond America took on the subject. She looks at how Malakh’s drama reflects the influence of the African American writer Langston Hughes, who wrote Scottsboro Limited in 1931 after the Boys’ first trial when they were sentenced to death. Writing in 1935, after a number of successful appeals, Malakh refers to the rallies that took place throughout Europe in protest of the Boys’ arrest and sentencing. The introduction also shows how the play reflects the influence of ‘synchronous theater’ (akin to immersive theater) as well as other avant-garde theatrical strategies of the time. Quint goes on to consider the substantial success of Mississippi, which played on city stages at least one hundred times throughout Poland and attracted significant critical attention, and what this can tell us about the connection between the Jewish people of Europe and African-Americans around this time.

A Yiddish Play about the Scottsboro Boys

Mississippi (1935) By Leyb Malakh

A fascinating book exploring the early modern authors who helped to shape Shakespeare's beloved plays. Shakespeare's plays have influenced generations of writers, but who were the early modern playwrights who influenced him? Shakespeare's borrowed feathers offers a fresh look at William Shakespeare and the community of playwrights that shaped his work. This compelling book argues that we need to see early modern drama as a communal enterprise, with playwrights borrowing from and adapting one another's work. From John Lyly's wit to the collaborative genius of John Fletcher, to Christopher Marlowe and Ben Jonson, Shakespeare's borrowed feathers offers fresh insights into Shakespeare's artistic development and shows us new ways of looking at the masterpieces that have enchanted audiences for centuries.

Physicality and Acting

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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