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Sam Shepard And The American Theatre

RRP $256.99

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No dramatist in the recent history of the American theatre has gained more celebrity than Sam Shepard. Exploring a career that includes fifty stage and screen plays, four books of nondramatic writings, and over a dozen appearances in feature films, this work traces Shepard's rise from an Off-Off-Broadway renegade to a Hollywood leading man, and explores his evolution from counterculture to cultural icon. The study situates Shepard's career within the shifting production modes and economic contexts of the American entertainment industry, and views his popularity against the identity politics of postwar American culture. Through an analysis of his life, plays and screen roles, this book investigates how Shepard's dramatic voice and film persona address issues of American consensus and community. The study argues that Shepard's popularity-in an era of cultural diversification and dissent-owes much to nationalism and nostalgia and begs important questions concerning American myths, media representations, and the construction of an American audience.


Physical Theatres

RRP $433.99

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Physical Theatres: A Critical Introduction (2nd edition) is the first account to provide a comprehensive overview of non-text-based theatre, from experimental dance to traditional mime. This book synthesises the history, theory and practice of physical theatre for students and performers, in what is both a core area of study and a dynamic and innovative aspect of theatrical practice.

Insisting that there are many physical theatres and arguing for the essential physicality of all theatrical forms, this book not only examines the acknowledged luminaries of physical theatre, but forges a new lens through which the physical and visual practices of the twentieth century's most exciting dramatists and theatre makers can be viewed.

This comprehensive book:

traces the roots of physical performance in classical and popular theatrical traditions

looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jerôme Bel

examines the contemporary practice of companies and artists such as Theâtre du

Soleil, Complicite, Goat Island, Dario Fo, Wrights and Sites, Punchdrunk and Mike Pearson

focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart, Jerzy Grotowski and Joan Littlewood.

  • explores the cognitive-neurological bases of empathy and other (spectator) responses.

  • locates the roots of the physical in theatres in play and other activities of the embodied mind.

  • explores the relationship between bodies on stage and analogue and digital technologies

  • identifies physical theatre in new (and old) circus and its training regimes

  • considers the physical practices in immersive, interactive and site-specific theatres

This book can be used as a stand-alone text, or together with its companion volume,Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance.


Theatre In Dublin, 1745-1820

RRP $272.99

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Theatre in Dublin,1745-1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820.
The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening's entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre's daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component's entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim.
The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons's offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of "special Irish interest." The various kinds of benefit performance and command performances are also noted.
Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important "minors." This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.



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