The Association of British Theatre Technicians produced its first guide to the design and planning of theatres in 1972. Revised in 1986, it became the standard reference work for anyone involved in building, refurbishing, or creating a performance space. Theatre Buildings – a design guide is its successor. Written and illustrated by a highly experienced team of international theatre designers and practitioners, it retains the practical approach of the original while extending the scope to take account of the development of new technologies, new forms of presentation, changing expectations, and the economic and social pressures which require every part of the theatre to be as productive as possible. The book takes the reader through the whole process of planning and designing a theatre. It looks in detail at each area of the building: front of house, auditorium, backstage, and administrative offices. It gives specific guidance on sightlines, acoustics, stage engineering, lighting, sound and video, auditorium and stage formats. Aspects such as catering, conference and education use are also covered. The information is supplemented by twenty-eight case studies, selected to provide examples which range in size, style and format and to cover new buildings, renovations, conversions, temporary and found space. The studies include Den Norsk, Oslo; The Guthrie Theatre, Minneapolis; The Liceu, Barcelona; Les Bouffes du Nord, Paris; The RSC’s Courtyard Theatre in Stratford on Avon; and the MTC Theatre in Melbourne. All have plans and sections drawn to 1:500 scale. The book contains around 100 high quality full colour images as well as over 60 specially drawn charts and diagrams explaining formats, relationships and technical details.
The new edition of Playbuilding as Arts-Based Research details how playbuilding (creating an original performative work with a group) as a methodology has developed in qualitative research over the last 15 years. The second edition substantially updates the award-winning first edition by making connections to current research theories, providing complete scripts with URL links to videos, and including a new section with interviews with colleagues. Chapter 1 provides an in-depth discussion of the epistemological, ontological, axiological, aesthetic, and pedagogic stances that playbuilding takes, applying them to research in general. The value of a playful, trusting atmosphere; choices of style, casting, set, and location in representing the data; and pedagogical theories that guide participatory theatre are highlighted. Chapter 2 discusses how Mirror Theatre generates data, structures dramatic scenes, and conducts live and virtual participatory workshops. Chapter 3 is a thematized account of interviews with 23 colleagues who employ variations of playbuilding that show how playbuilding can be applied in a wide range of contemporary contexts and disciplines. Chapters 4 through 9 describe six projects that address topics of drinking choices and mental health issues on campus, person-centred care, homelessness, the transition to university, and co-op placements. They include both a theme and a style analyses and workshop ideas. Chapter 10, new to this edition, concludes with quantitative and qualitative data from audiences attesting to the efficacy of this approach. This is a fascinating resource for qualitative researchers, applied theatre practitioners, drama teachers, and those interested in social justice, who will appreciate how the book adeptly blends theory and practice, providing exemplars for their own projects.
Lowlands; The Spectator Sentenced to Death; The Passport; Stories of the Body (Artemisia, Eva, Lina, Teresa); The Man Who Had His Inner Evil Removed; Sexodrom
Lowlands; The Spectator Sentenced to Death; The Passport; Stories of the Body (Artemisia, Eva, Lina, Teresa); The Man Who Had His Inner Evil Removed; Sexodrom
Plays from Romania: Dramaturgies of Subversion reflects the diversity of dramatic writing exploring the past and present of Romania, and takes stock thirty years after the collapse of communism. In addition to plays originally written in Romanian, the collection includes work by German, Hungarian and Roma authors born and/or working in Romania, and brings together plays written during the communist period and its aftermath. The plays included in the collection, edited and translated by Jozefina Komporaly and fully published for the first time in English, demonstrate broad variety in terms of form and content – ranging from family dramas to allegories, and absurdist experiments to modular texts rooted in open dramaturgy – and are the work of both individual playwrights and the results of collective creation. These works share a preoccupation with critically reflecting urgent concerns rooted in Romanian realities, and are notable dramaturgical experiments that push the boundaries of the genre. In addition, these plays also seek novel ways to examine universal experiences of the human condition, such as love, loss, abuse, betrayal, grief, violence, manipulation and despair. This unique anthology celebrates the renewed vitality and variety of writing for the stage after 1990, and endeavours to place Romanian theatre in a forward-looking transnational context. Lowlands ('Niederungen') by Herta Müller, adapted for the stage by Mihaela Panainte (German) This stage adaptation is based on a volume of short stories by Herta Müller written in German in 1982 and focuses on the perspective of a child narrator, by way of a series of episodes that centre on mundane aspects of daily life in a remote village against the backdrop of the oppressive atmosphere of mid-twentieth century Romania. The Spectator Sentenced to Death ('Spectatorul condamnat la moarte') by Matéi Visniec (Romanian) This play is a bitter parody of the Stalinist justice system, which totally disregards the fundamental question whether the accused is actually guilty or not. The Passport ('Kalucsni') by György Dragomán (Hungarian) This play is set pre-1989 in a typical small town in the Transylvanian province of Romania, in which the lives of the various social classes, and the fate of the persecuted and that of those who persecute are closely intertwined. The Man Who Had His Inner Evil Removed ('Omul din care a fost extras raul') by Matéi Visniec (Romanian) This topical play is a sharp reflection on the voluntary servitude in which we place ourselves, often unawares, in conditions of our contemporary consumer culture, and a fierce critique of increasingly dominant tendencies to abandon moral criteria in political life. Stories of the Body (Artemisia, Eva, Lina, Teresa) ('A test történetei') by András Visky (Hungarian) The cycle Stories of the Body comprises four plays based on real life stories as experienced by remarkable women (including Mother Teresa and Italian Renaissance painter Artemisia Gentileschi), and are connected to various cities including Budapest, Cluj/Kolozsvár, Kolkata and Rome, from the 17th to the 21st century. Sexodrom by Giuvlipen Theatre Company (Mihaela Dragan, Antonella Lerca Duda, Nicoleta Ghita, Zita Moldovan, Bety Pisica, Oana Rusu, Raj Alexandru Udrea), based on a concept by Bogdan Georgescu.(Roma) This is a work of collective creation by members of the Roma Theatre company Giuvlipen, aiming to bring to public attention taboo subjects, to enhance the visibility of Roma performers and to experiment with new forms of theatre-making in a Romanian context.
Theatre History Studies is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The purpose of MATC is to unite people and organizations in their region with an interest in theatre and to promote the growth and development of all forms of theatre.
All of us have immense inner resources for dealing with what life throws at us - but we have to learn how to release those resources. We can't always control what life sends us, but we can choose how we respond. And that, Easwaran tells us, is mainly a matter of quieting the agitation in the mind. It's a simple idea, but one that goes deep - a truly calm mind can weather any storm. And we learn to calm the mind through practice - there's no magic about it. This book offers insights, stories, practical techniques, and exercises that will help us release the energy, compassion, and wisdom we need to ride the waves of life minute by minute, day by day.
It is the scale and range of creative collaboration inherent in theatre that sits at the very heart of National Theatre Connections. National Theatre Connections 2022 draws together ten new plays for young people to perform, from some of the UK's most exciting playwrights. These are plays for a generation of theatre-makers who want to ask questions, challenge assertions and test the boundaries, and for those who love to invent and imagine a world of possibilities. The plays offer young performers an engaging and diverse range of material to perform, read or study. This 2022 anthology represents the full set of ten plays offered by the National Theatre 2022 Festival, as well as comprehensive workshop notes that give insights and inspiration for building characters, running rehearsals and staging a production.
Winner of New Diorama, Underbelly and Methuen Drama's Untapped Award 2022 Sometimes I'm afraid of this play. Malta: Catholic kitsch, golden sun, deep blue sea, Eurovision - and a blanket ban on abortion. Propelled by three years of interviews with anonymous contributors and their own lived experience, actors and activists Marta and Davinia interrogate Malta's restrictions on the freedom of women. What does it mean for your home to boast the world's most progressive LGBTQIA+ rights, leading transgender laws – and a population that is almost unanimously anti-choice? Blanket Ban is a rallying cry from award-winning Chalk Line Theatre. This edition was published to coincide with the production at Underbelly Cowgate, Edinburgh, in August 2022.
It is the scale and range of creative collaboration inherent in theatre that sits at the very heart of National Theatre Connections Drawing together the work of ten leading playwrights, National Theatre Connections 2021 features work by brilliant artists. These are plays for a generation of theatre-makers who want to ask questions, challenge assertions and test the boundaries, and for those who love to invent and imagine a world of possibilities. The plays offer young performers an engaging and diverse range of material to perform, read or study. This 2021 edition is intended as a companion to the 2020 anthology, which together represent the full set of 10 plays offered by the National Theatre 2021 Festival. The two plays included in this collection are Find a Partner by Miriam Battye and Like There's No Tomorrow, created by the Belgrade Young Company with Justine Themen, Claire Procter and Liz Mytton. The anthology contains two play scripts, as well as comprehensive workshop notes that will give insights and inspiration for building characters, running rehearsals and staging a production.
Lewis, his old friend and comrade from the struggle, now owns a bank. How did this happen? The man of the struggle is now a man of accounts. A man of the nineties. Part of the cell phone generation. Added to the mix is an old-style gangster, two girlfriends, a Jewish father and a very unusual Chief of Police.
Now in its 23rd edition, Dramatists Sourcebook-the best-selling guide for opportunities for stage writers-is completely revised, with more than 900 opportunities for playwrights, translators, composers, lyricists and librettists, as well as opportunities for screen, radio and television writers. In an easy-to-use format, the Sourcebook details script-submission procedures for more than 350 theatres seeking new plays; more than 150 prizes and sections on submission guidelines, fellowships and grants, organizations, script preparation, agents, colonies and residencies, workshops, publishing opportunities and a submission calendar. Thoroughly indexed, with an invaluable calendar of submission deadlines, this is an indispensable reference work for any playwright.
The essential guide to professional opportunities and playscript procedures."-The Dramatists GuildNow in its 24th edition, the best-selling Dramatists Sourcebook is completely revised, with more than nine hundred opportunities for playwrights, translators, composers, lyricists, and librettists, as well as opportunities for screen, radio, and television writers. Thoroughly indexed, and with an invaluable calendar of deadlines, the Sourcebook contains script-submission procedures for more than 350 theaters seeking new plays; guidelines for more than 150 prizes; and sections on agents, fellowships, and residencies.
Every three years, over the last decade, the Mumbai-based theatre group RAGE - in collaboration with the Royal Court Theatre in London - organizes the Writers' Bloc Workshop. Offering a much-needed artistic retreat to playwrights, this workshop allows aspiring and professional playwrights a chance to perfect their scripts with established actors and professionals from within the industry. Apart from encouraging them to break free from the rigid boundaries of English theatre in India to fashion their own idiom, the workshop also ensures its playwrights access to the final pilgrimage of any script - the stage. As it stands today, the infamous debate on whether an Indian play written in English mirrors a bona fide Indian reality is no longer relevant. Using a vocabulary that is entirely their own - 'unaffected, homegrown and lyrical' - the three plays in this collection convincingly capture the peculiar accents and the particular chaos of our times. Rahul Da Cunha's 'Pune Highway' is set in a seedy hotel room where three friends, having just witnessed the gruesome murder of a fourth, are holed up, desperate to escape its consequences; Ram Ganesh Kamatham's 'Crab' takes a hard-talking look at the existential angst of a new generation, looking at once for purpose and an emotional safe place from an increasingly concrete world; Farhad Sorabjee's 'Hard Places' explores the unspoken borders that divide us from our loved ones and the violently disputed borders between countries. Bridging the invisible lines between the personal and the political and taking us to places and situations a little less familiar and safer than our own, these brilliantly written plays can be performed, and empathized with, across territories.
Young children love to explore their world through drama—characters, dialogue, story arcs, and props are all standard elements of a child’s play. It is no surprise then that professional theatre has long been regarded as a way to support children’s social-emotional, cognitive, and creative development. Increasingly, there is an international interest in theatre for very young audiences, and the Wall Street Journal reported on a “baby boom” in American theatre, with a marked upswing in the number of stage plays being written and produced for toddlers and preschoolers. Fueled by ongoing research into developmental psychology and theatre arts, the Children’s Theatre Company (CTC) of Minneapolis presents in this book four of its newly commissioned plays for preschoolers. CTC is widely recognized as the leading theatre for young people and families in North America; it received the 2003 Tony award for regional theatre, and Time magazine rated it the number one children’s theatre in the United States. These four plays encompass a broad range of styles and subjects: Bert and Ernie, Goodnight! is a musical about Bert and Ernie’s unlikely but true friendship, written by Barry Kornhauser and based on the original songs and scripts from Sesame Street. The Biggest Little House in the Forest is a toy-theatre play about a group of diverse animals trying to share a very tiny home, adapted by Rosanna Staffa from the book by Djemma Bider. The Cat’s Journey is a dazzling shadow-puppet play with a little girl who rides on a friendly cat, written by Fabrizio Montecchi. And Victoria Stewart’s Mercy Watson to the Rescue!, adapted from the Kate DiCamillo Mercy Watson series, is a comic romp featuring the inadvertent heroics of everyone’s favorite porcine wonder. While these plays are as different as they could be, they all help young children to develop a moral compass and critical-thinking skills—while also showing them the power of the theatre to amaze, delight, and inspire.
TCG's annual pocket guide to theatres and related organizations, in its 30th annual edition, has been greatly expanded and revised in a new perfect-bound edition. This edition contains personnel information from more than 422 theatres nationwide, including addresses, e-mail and Web sites, per-formance seasons, Actors Equity As-sociations contract information, and special interests. Also includes a regional index listing state by state; a personnel index and theatre listings by special interests.
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