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The Cambridge Encyclopedia of Stage
Directors

The Cambridge Encyclopedia of Stage Directors

Methuen Drama Play Collections

Rediscover Anton Chekhov's acclaimed works in radical, creative new ways. The Seagull, Uncle Vanya, Three Sisters and The Cherry Orchard: Chekhov's major plays have been perennially popular since the late 19th century. But, as a new wave of diverse, contemporary theatre makers engage with his legendary works, these classics are transformed and reimagined by bold new approaches. In doing so, Chekhov's original drama is not only explored but reanimated and interrogated in revolutionary ways. From an ambitious one-person production, to a dance-poetry-play hybrid, to an intergalactic voyage, Chekhov’s work has never been so expansive or his experimental spirit so realised. This collection draws together seven contrasting adaptations, ranging from the formally inventive, to those that relocate the originals in times and places that expose forces of privilege and power. With an introduction by Frances Babbage which equips the reader with key methods of conceptualising dramatic adaptation, as well as providing a critical overview of the long history of Chekhovian rewritings for the stage, Adapting Chekhov in the 21st Century is a much-needed tool for adaptation and theatre studies students and Chekhov enthusiasts alike.

Seven Contemporary Plays

Adapting Chekhov in the 21st Century

Laura Hope and Philippa Kelly make use of first-hand interviews with directors, actors, designers, and critics, as well as their own experiences in the theatre, to open up feminist dramaturgy as a field of enquiry and performance possibility. Resisting dogma, the authors cast a critical eye on past and present practices as they argue for the feminist dramaturg's role in shaping a theatre company's sense of its production potential.

In their lively invocation of a feminist dramaturgy that can lead to innovative and challenging directions in modern theatre-making, Laura Hope and Philippa Kelly make use of first-hand interviews with directors, actors, designers, and critics, as well as their own experiences in the theatre, to open up feminist dramaturgy as a field of enquiry and performance possibility.   The authors begin by discussing what happens when a dramaturg's performance strategies are vastly different from what a director envisions. This discussion moves naturally to Hope and Kelly's analysis of canonical plays they hope to re-think in terms of gender at the same time that they resist the implication that a feminist perspective is a prescription for a political and social agenda. Casting a critical eye on "mainstream" approaches to classical plays, the authors revisit casting practices, editing philosophies, and directorial concepts that provide thin, stereotypical depictions of male and female characters, arguing for closer textual and cultural analyses of misguided ventures such as the Lysistrata Project. Their commentary on appeals to audience involvement highlights the difficulty of challenging audience preconceptions and the possibilities for expanding audience reception, while the counterproductive rigidity with which organizations like the Beckett estate resist new  approaches to theatrical production are exposed in a discussion of feminist dramaturgy's potential to reinvigorate a play like Waiting for Godot. Adventures in Dramaturgy concludes with the authors' personal journey to forge new directions within a specific theatre company and in the professional world at large.

The Road Less Traveled

Adventures in Feminist Dramaturgy

Routledge Revivals

Originally published in 1984, this book recreates the unique atmosphere of the Restoration playhouses in order to demonstrate how theatrical conditions spurred authors into creating new forms of tragedy, comedy and opera.

Restoration Theatre Production

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 photographic tribute to Hollywood's first glamour queen. Focusing on Gloria Swanson's sense of style and fashion, the book contains hundreds of personal and professional photographs, many never before published, and running biographical commentary by Stephen Michael Shearer, author of the definitive book of the star, Gloria Swanson: The Ultimate Star.

Hollywood's First Glamour Queen

Gloria Swanson

This book features a collection of essays and testimonials that provide new perspectives and incisive criticism on the writings and theatrical productions of Nigerian American author, director, and theorist Femi Euba.

Transcultural Creativity in the Works of Femi Euba

Esu-Elegba’s Crossroads

Harvard Library of Ukrainian Literature

The Forest Song, a play in three acts, unfolds in spirited dialogues between Ukrainian mythological characters and people of the land. It meditates on humanity and nature and recreates local Volhynian folklore. This crowning achievement by Lesia Ukrainka is a testament to the power of love to overcome differences and even bring back the dead.

The Forest Song, a play in three acts, unfolds in spirited dialogues between Ukrainian mythological characters and people of the land. It meditates on humanity and nature and recreates local Volhynian folklore. This crowning achievement by Lesia Ukrainka is a testament to the power of love to overcome differences and even bring back the dead.

A Fairy Play

The Forest Song

The long-awaited, bracingly candid, and utterly unpredictable personal story of movie legend Donald Sutherland, sharing his deep passion for acting, his intense journey through success and loss, and every wild story in between As one of the most enduring actors in Hollywood, Donald Sutherland has made an indelible mark on the industry since his life-changing role in M*A*S*H catapulted him into the public eye nearly sixty years ago. With his raw honesty and wicked sense of humour, the renowned actor chronicles his life in this generation-defining book, cataloging with powerful detail his far too many brushes with death, his loving relationship with his parents, and behind-the-scenes stories of the movies he's starred in, including M*A*S*H, Klute, Kelly's Heroes, Don't Look Now, Ordinary People, JFK, The Eye Of the Needle, Fellini's Casanova, 1900, The Hunger Games, and more. In Made Up, But Still True, Sutherland offers an unfiltered account of his memories of his life that is deeply insightful, emotional, and often very funny. In 1937 he was treated for infantile paralysis, followed a couple of years later by a bacterial infection that required a hammer and chisel to clean up his mastoiditis. Later in life, a rheumatic fever could have killed him, and after that, a bout with spinal meningitis did kill him, but only for a few seconds, then left him in a coma that took him a good while to come out of. As a 16-year-old he experienced his first sexual relationship, his first love, his first lessons in love. She was twice his age and they had a wonderful time. He also reveals the onstage triumphs that began his career; the pitfalls that threatened it and the movies that burnished it; and the on and off-set hijinks that gave it all colour. With surprising candor and powerful, lyrical prose, these unforgettable reminiscences offer an unprecedented look at the remarkable life of a legendary-and legendarily private-Hollywood icon.

The long-awaited, bracingly candid, and utterly unpredictable personal story of movie legend Donald Sutherland, sharing his deep passion for acting, his intense journey through success and loss, and every wild story in between As one of the most enduring actors in Hollywood, Donald Sutherland has made an indelible mark on the industry since his life-changing role in M*A*S*H catapulted him into the public eye nearly sixty years ago. With his raw honesty and wicked sense of humour, the renowned actor chronicles his life in this generation-defining book, cataloging with powerful detail his far too many brushes with death, his loving relationship with his parents, and behind-the-scenes stories of the movies he’s starred in, including M*A*S*H, Klute, Kelly’s Heroes, Don't Look Now, Ordinary People, JFK, The Eye Of the Needle, Fellini’s Casanova, 1900, The Hunger Games, and more. In Made Up, But Still True, Sutherland offers an unfiltered account of his memories of his life that is deeply insightful, emotional, and often very funny. In 1937 he was treated for infantile paralysis, followed a couple of years later by a bacterial infection that required a hammer and chisel to clean up his mastoiditis. Later in life, a rheumatic fever could have killed him, and after that, a bout with spinal meningitis did kill him, but only for a few seconds, then left him in a coma that took him a good while to come out of. As a 16-year-old he experienced his first sexual relationship, his first love, his first lessons in love. She was twice his age and they had a wonderful time. He also reveals the onstage triumphs that began his career; the pitfalls that threatened it and the movies that burnished it; and the on and off-set hijinks that gave it all colour. With surprising candor and powerful, lyrical prose, these unforgettable reminiscences offer an unprecedented look at the remarkable life of a legendary—and legendarily private—Hollywood icon.

Made Up, But Still True

A collection of deeply personal conversations from award-winning actress and activist Laura Dern and the woman she admires most, her mother-legendary actress Diane Ladd-that take readers on an intimate tour of their lives, sharing their most honest conversations on love, life, success, and everything in between.

LAURA DERN AND HER MOTHER DIANE LADD TALK LIFE, DEATH, LOVE (AND BANANA PUDDING)

Honey, Baby, Mine

Theatre Makers

"This first and now largely forgotten work was handwritten in German and in it Michael Chekhov lays the groundwork for the canon of exercises and practices that, a century later, actors generally know as the Michael Chekhov Technique. Although never completed, the text affords a rare fly-on-the-wall insight into the raw material of Chekhov's vision. This extensively revised and abridged text is presented with an introduction and a series of contemporary short essays, which offer practical suggestions to have come out of exploring Michael Chekhov Technique in the studio"--

In the early 1930s, during his first years of exile and 20 years before the publication of his seminal work To the Actor, Michael Chekhov made his first incursion into the challenging task of writing about an actor’s experience and his vision of the craft. 
 
 This important, though largely forgotten, work (the so-called ‘Paris Manuscript’) was handwritten in German and in it we find Chekhov laying the groundwork for the canon of exercises and practices that, nearly a century later, has widely become known as the Michael Chekhov Technique. Although never completed, the manuscript affords a privileged fly-on-the-wall glimpse of the dawning of an artistic genius’s creative vision.
 
This manuscript was the result of Chekhov’s rich collaboration with Swiss theatre director, painter and illustrator Georgette Boner, and the text itself is supplemented with facsimile scans of manuscript pages, photographs, correspondence and other material from Boner’s personal archive.

As the popularity of the Michael Chekhov Technique continues to spread globally, the ‘Paris Manuscript’ offers a timely invitation for actors to take a step back and (re)discover for themselves the structural foundations of Michael Chekhov's vision.
 
Chekhov’s text has been translated, edited and abridged by Hugo Moss, co-founder and director of Michael Chekhov Brasil, who has written an introduction and a series of short essays, ‘Reflections From the Studio’, which build on a few key elements emerging from the manuscript and over a decade of exploring Chekhov's artistic legacy in the studio environment and in performance.

The Early Draft Rediscovered

The Paris Manuscript

Fabrication for Theatre and Entertainment

Fabrication for Theatre and Entertainment: Wood and Fiber Products is a complete reference guide to the process of working with wood products for scenic and properties construction for theatre and entertainment arts.

Fabrication for Theatre and Entertainment: Wood and Fiber Products

Women and the Poetics of Dissent in the English Revolution examines the aesthetic dimensions of female sectarian culture during the English Civil Wars and Interregnum. The topics covered here range from explorations of the formal aspects of women's street performance, petitioning, and political writings, to their fraught relationship with the metaphysical and devotional tradition.

Women and the Poetics of Dissent in the English Revolution

The Cambridge Encyclopedia of Stage Directors

Bibliografische Angaben

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