Occupying the Stage: the Theater of May '68 tells the story of student and worker uprisings in France through the lens of theater history, and the story of French theater through the lens of May '68. Based on detailed archival research and original translations, close readings of plays and historical documents, and a rigorous assessment of avant-garde theater history and theory, Occupying the Stage proposes that the French theater of 1959–71 forms a standalone paradigm called "The Theater of May '68." The book shows how French theater artists during this period used a strategy of occupation-occupying buildings, streets, language, words, traditions, and artistic processes-as their central tactic of protest and transformation. It further proposes that the Theater of May '68 has left imprints on contemporary artists and activists, and that this theater offers a scaffolding on which to build a meaningful analysis of contemporary protest and performance in France, North America, and beyond. At the book's heart is an inquiry into how artists of the period used theater as a way to engage in political work and, concurrently, questioned and overhauled traditional theater practices so their art would better reflect the way they wanted the world to be. Occupying the Stage embraces the utopic vision of May '68 while probing the period's many contradictions. It thus affirms the vital role theater can play in the ongoing work of social change.
Occupying the Stage: the Theater of May '68 tells the story of student and worker uprisings in France through the lens of theater history, and the story of French theater through the lens of May '68. Based on detailed archival research and original translations, close readings of plays and historical documents, and a rigorous assessment of avant-garde theater history and theory, Occupying the Stage proposes that the French theater of 1959–71 forms a standalone paradigm called "The Theater of May '68." The book shows how French theater artists during this period used a strategy of occupation-occupying buildings, streets, language, words, traditions, and artistic processes-as their central tactic of protest and transformation. It further proposes that the Theater of May '68 has left imprints on contemporary artists and activists, and that this theater offers a scaffolding on which to build a meaningful analysis of contemporary protest and performance in France, North America, and beyond. At the book's heart is an inquiry into how artists of the period used theater as a way to engage in political work and, concurrently, questioned and overhauled traditional theater practices so their art would better reflect the way they wanted the world to be. Occupying the Stage embraces the utopic vision of May '68 while probing the period's many contradictions. It thus affirms the vital role theater can play in the ongoing work of social change.
All you need to know about spinning wool--from sheep to knits! Spinners have been creating beautiful yarns from wool for thousands of years, but we still have unanswered questions. How do you choose a fleece? Should you process your fleece by hand or send it to a mill? What kind of prepared fibers are available, and what should you do with them? Fiber artist and shepherdess Kate Larson answers these and many other questions in The Practical Spinner's Guide: Wool. Topics include: • An overview of sheep breeds and the characteristics of their fleece • Washing, carding, combing, and blending fibers • Purchasing and working with prepared fibers • Techniques for spinning and plying wool to achieve the right yarn for your projects • Advice on caring for fibers to protect them from unwanted pests and other problems Whether you're working with fleeces sheared from your own flock or spinning indie dyed fibers, you'll find a wealth of useful, valuable, and practical information in The Practical Spinner's Guide: Wool.
A criminal profiler, trained at Quantico, former Chief Superintendent of the Ontario Provincial Police (OPP) Kate Lines recounts her remarkable story using pivotal cases she worked on in the course of her career. How does a farm girl from Ennismore enter a male-dominated field and become a top criminal profiler and groundbreaking leader? For Kate Lines, it started humbly, patrolling highways. She learned quickly that the best way to thrive was to keep calm, carry on and never lose her sense of humour. In what would be the first of many dramatic turns in her career, Kate traded in her uniform for a tight miniskirt and a leather jacket, becoming one of the OPP's first female undercover officers. In 1990 came the opportunity of a lifetime: to be chosen as the 2nd-ever Canadian in an elite program at Quantico, Virginia in what was then the emerging field of criminal profiling. After 10 months of an intensive education in the intricacies of violent crime, Kate's new skills made her much in demand back home. Over the years she was involved in a number of high-profile cases, such as the abduction and murder of Kristen French and of Tori Stafford and the disappearance of Michael Dunahee. Kate was an early proponent of ViCLAS--the Violent Crime Linkage Analysis System, and when she took charge of the new and massive Behavioural Sciences division in Orillia, she took over ViCLAS and turned the department into a hub of innovation. Kate was awarded a Governor General's medal for being in the top 1/10th of 1% of the members of police forces that year. The following year the Canadian Police Leadership Foundation named her Police Leader of the Year. Always taking care not to aggrandize in any way the criminals whose names we may know all too well, Kate feels it's much more important to focus on the courage of victims and their families. Kate is an unsung, groundbreaking Canadian woman, one of a kind in this country, with a unique, inspiring and fascinating story to share.
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