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Dear Evan Hansen: The Novel Free Preview Edition (The First Three Chapters)
by Val Emmich Steven Levenson Benj Pasek Justin Paul** INSTANT NEW YORK TIMES BESTSELLER **USA TODAY BESTSELLERWSJ BESTSELLERINDIE BOUND BESTSELLER From the show's creators comes the groundbreaking novel inspired by the hit Broadway show Dear Evan Hansen. Dear Evan Hansen, Today's going to be an amazing day and here's why...When a letter that was never meant to be seen by anyone draws high school senior Evan Hansen into a family's grief over the loss of their son, he is given the chance of a lifetime: to belong. He just has to stick to a lie he never meant to tell, that the notoriously troubled Connor Murphy was his secret best friend.Suddenly, Evan isn't invisible anymore--even to the girl of his dreams. And Connor Murphy's parents, with their beautiful home on the other side of town, have taken him in like he was their own, desperate to know more about their enigmatic son from his closest friend. As Evan gets pulled deeper into their swirl of anger, regret, and confusion, he knows that what he's doing can't be right, but if he's helping people, how wrong can it be? No longer tangled in his once-incapacitating anxiety, this new Evan has a purpose. And a website. He's confident. He's a viral phenomenon. Every day is amazing. Until everything is in danger of unraveling and he comes face to face with his greatest obstacle: himself.A simple lie leads to complicated truths in this big-hearted coming-of-age story of grief, authenticity and the struggle to belong in an age of instant connectivity and profound isolation.
Dancing in the World: Revealing Cultural Confluences (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
by Sinclair Ogaga Emoghene Kathleen A. SpanosHow can we create more inclusive spaces in the field of dance? This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field. The framework is based on the idea of "cultural confluences," conjuring up an image of bodies of water meeting and flowing into and past one another, migrating through what they refer to as the mainstream and non-mainstream. These streams are fluid categories that are associated with power, privilege, and the ability (or inability) to absorb other cultural forms in shared dance spaces. In reflective interludes and dialogues, Emoghene and Spanos consider the effects of migration on their own individual experiences in dance to understand what it means to carry culture through the body in various spaces. Through an analysis of language, aesthetic values, spaces, creative processes, and archival research practices, the book offers a collaborative model for communicating the value that marginalized dance communities bring to the field. This book will be of great interest to students, scholars, and arts administrators in dance.
Dancing in the World: Revealing Cultural Confluences (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
by Sinclair Ogaga Emoghene Kathleen A. SpanosHow can we create more inclusive spaces in the field of dance? This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field. The framework is based on the idea of "cultural confluences," conjuring up an image of bodies of water meeting and flowing into and past one another, migrating through what they refer to as the mainstream and non-mainstream. These streams are fluid categories that are associated with power, privilege, and the ability (or inability) to absorb other cultural forms in shared dance spaces. In reflective interludes and dialogues, Emoghene and Spanos consider the effects of migration on their own individual experiences in dance to understand what it means to carry culture through the body in various spaces. Through an analysis of language, aesthetic values, spaces, creative processes, and archival research practices, the book offers a collaborative model for communicating the value that marginalized dance communities bring to the field. This book will be of great interest to students, scholars, and arts administrators in dance.
A Cultural History of Theatre in the Middle Ages (The Cultural Histories Series)
by Jody EndersHistorically and broadly defined as the period between the fall of the Roman Empire and the rise of the Renaissance, the Middle Ages encompass a millennium of cultural conflicts and developments. A large body of mystery, passion, miracle and morality plays cohabited with song, dance, farces and other public spectacles, frequently sharing ecclesiastical and secular inspiration. A Cultural History of Theatre in the Middle Ages provides a comprehensive and interdisciplinary overview of the cultural history of theatre between 500 and 1500, and imaginatively pieces together the puzzle of medieval theatre by foregrounding the study of performance. Each of the ten chapters of this richly illustrated volume takes a different theme as its focus: institutional frameworks; social functions; sexuality and gender; the environment of theatre; circulation; interpretations; communities of production; repertoire and genres; technologies of performance; and knowledge transmission.
Murder by Accident: Medieval Theater, Modern Media, Critical Intentions
by Jody EndersOver fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author’s intentions for a given work. In Murder by Accident, Jody Enders boldly resurrects the long-disgraced concept of intentionality, especially as it relates to the theater. Drawing on four fascinating medieval events in which a theatrical performance precipitated deadly consequences, Enders contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. Murder by Accident revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.
Murder by Accident: Medieval Theater, Modern Media, Critical Intentions
by Jody EndersOver fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author’s intentions for a given work. In Murder by Accident, Jody Enders boldly resurrects the long-disgraced concept of intentionality, especially as it relates to the theater. Drawing on four fascinating medieval events in which a theatrical performance precipitated deadly consequences, Enders contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. Murder by Accident revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.
Murder by Accident: Medieval Theater, Modern Media, Critical Intentions
by Jody EndersOver fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author’s intentions for a given work. In Murder by Accident, Jody Enders boldly resurrects the long-disgraced concept of intentionality, especially as it relates to the theater. Drawing on four fascinating medieval events in which a theatrical performance precipitated deadly consequences, Enders contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. Murder by Accident revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.
Murder by Accident: Medieval Theater, Modern Media, Critical Intentions
by Jody EndersOver fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author’s intentions for a given work. In Murder by Accident, Jody Enders boldly resurrects the long-disgraced concept of intentionality, especially as it relates to the theater. Drawing on four fascinating medieval events in which a theatrical performance precipitated deadly consequences, Enders contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. Murder by Accident revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.
Austen, Actresses and Accessories: Much Ado About Muffs
by L. EngelThis interdisciplinary project draws on a wealth of sources (visual, material, literary and theatrical) to examine Austen's depiction of female performance, display and desire through her deployment of a culturally and symbolically charged accessory: the muff.
Modernism, Fiction and Mathematics (Edinburgh Critical Studies In Modernist Culture Ser.)
by Nina EngelhardtArgues that Shakespeare transforms philosophies of comedy and melancholy by revising them concomitantly
Modernism, Fiction and Mathematics
by Nina EngelhardtCombines qualitative fieldwork with analytical philosophy to provide guidelines for when it is right for states, UN agencies and NGOs to help refugees repatriate
Theatre for the Young (Modern Dramatists)
by Alan EnglandThis book looks at the range of stage plays for young people written and produced in Great Britain by adult professionals. Believing that a play should be judged in the context of a performance, the author has devoted a large part of the book to an account of particular events and attempted to identify those factors which affect the nature and quality of the artefact. He argues that Young People's Theatre is a cultural phenomenon which is both continuous with and distinct from adult theatre. Despite the sometimes utilitarian preoccupations of both 'entertainers' and 'educators', it boasts respectable artistic achievements of its own.
New Women Dramatists in America, 1890-1920
by S. EnglePlease note this is a 'Palgrave to Order' title (PTO). Stock of this book requires shipment from an overseas supplier. It will be delivered to you within 12 weeks. This study rediscovers the lives and notable accomplishments of five prominent, yet historically neglected women dramatists of the Progressive Era: Martha Morton, Madeleine Lucette Ryley, Evelyn Greenleaf Sutherland, Beulah Marie Dix, and Rida Johnson Young.
Das Theater des Anderen: Theorie und Mediengeschichte einer existenziellen Gestalt von 1800 bis heute (Theater #57)
by Andreas EnglhartDie Hölle, das sind die Anderen. Aber nicht nur: Der Andere ist Basis des Dialogs und Konflikts, der Bilder, Imaginationen und Geschichte(n). Er fundiert das Theatrale und Dramatische ebenso wie traditionelle oder avantgardistische Mediendramaturgien. Von der Spätaufklärung bis heute verfolgt Andreas Englhart die Entwicklung des Anderen, ihre Gestaltungen von Kant bis Kotzebue, von Goethe bis zu Darwin, von Schiller bis zur (Neo-)Avantgarde, von Nestroy über Brecht bis zum postdramatischen Theater. Sie grundieren das gegenwärtig weite dramaturgische Feld zwischen Jelinek und Stone, Parizek und Rau, Ostermeier und Stemann - eine postironische Ästhetik zwischen Drama und Performance, zwischen Konflikt- und Überschreitungsdramaturgie.
Spoken Word in the UK
by Lucy EnglishSpoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK – its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.
Spoken Word in the UK
by Lucy English Jack McGowanSpoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK – its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.
The Flu Season & Imtermission (Oberon Modern Plays)
by Will EnoTHE FLU SEASON No one in the middle of being in love ever sat down to write a love story. It’s only after the belongings are sorted and the shirts returned that the pencils are sharpened and the notebooks opened. So, in a serious way, love stories are never love stories. Love is their inspiration, yes, but the end of love is the reason for their existence. This is a problem. It proposes antijourneys where we saw only journeys, directs things toward a new negative we hadn’t intended. The Flu Season tries to be a love story, anyway. It has a strategy. The play revels in ambivalence, lives in fi ts and starts, and derives a fl ailing energy from its doubts about itself. But these come at a price, which is paid by the characters in the play. A kind of clarity fi nally comes. In the end, is the end. 'INTERMISSION “Two couples chat with one another at a play’s intermission. From what we have heard, it sounds dreadful, which the cocky Jack points out. But his quibbles give way before Mr. Murray’s torrent of memory and invective. He doesn’t want to hear stylistic complaints, he wants the boy to recognize the play’s attempts at truth. And while Mr. Murray’s curmudgeon sneers at audiences’ yen for weeping at shows, Mr. Eno then makes us – practically by brute force – cry for him. Mr. Eno’s triumph is both canny and deeply touching, a vital look into a theater that actually reminds us what it’s for.” The New York Sun
Gnit: A Fairly Rough Translating Of Henrik Ibsen's Peer Gynt (Oberon Modern Plays)
by Will EnoIs the search for the Self for total nobodies? Watch closely as Peter Gnit, a funny-enough but so-so specimen of humanity, makes a lifetime of bad decisions, on the search for his True Self, which is disintegrating while he searches. A rollicking and very cautionary tale about, among other things, how the opposite of love is laziness.Gnit is a faithful, unfaithful, and willfully American misreading of Henrik Ibsen’s Peer Gynt, a 19th century Norwegian play which is famous for all the wrong reasons, written by Will Eno, who has never been to Norway.
Middletown: A Two-act Play (Oberon Modern Plays)
by Will EnoMary Swanson just moved to Middletown. About to have her first child, she is eager to enjoy the neighbourly bonds a small town promises. But life in Middletown is complicated: neighbours are near strangers and moments of connection are fleeting. Middletown is a playful, poignant portrait of a town with two lives, one ordinary and visible, the other epic and mysterious.Middletown was awarded the prestigious Horton Foote Prize for Promising New American Play in 2010.‘The strange beauty of life and its sometimes unbearable weight are both considered with a screwball lyricism… pitch-perfect… delicate, moving and wry’ - New York Times
Oh, the Humanity and other good intentions: 5 Short Plays (Oberon Modern Plays)
by Will EnoFive short plays by Will Eno: ‘Behold the Coach, in Sorrow, Uninsured’, ‘Ladies and Gentlemen, the Rain’, ‘Enter the Spokeswoman, Sideways’, ‘The Bully Composition’ and ‘Oh, the Humanity’The five short plays that make up Oh, the Humanity and other good intentions move toward feeling by way of thought, and toward gratitude by way of loss. These largely sane plays feature people alone or in pairs, or both, attempting to present themselves in the best light, or ultimately, desperately, in any light. Inadvertently vulnerable, or unconsciously callous, or both, the characters here realize they are stuck in a body, and try to put the best face on it. They are, at times, like all of us, unsure of who they are, what they want, what exactly they're on the way to. Is it a funeral or a christening? Is it both or neither? Though this might all seem hazy and conditional, it might all in fact be painstaking and absolute. This is life, for the Problematical Animal.
The Open House (Oberon Modern Plays)
by Will EnoPeople have been born into families since people started getting born at all. Playwrights have been trying to write Family Plays for a long time, too. And typically these plays try to answer endlessly complicated questions of blood and duty and inheritance and responsibility. They try to answer the question, "Can things really change?" People have been trying nobly for years and years to have plays solve in two hours what hasn't been solved in many lifetimes. This has to stop. The Open House is an hour and twenty minutes, with no intermission.
The Realistic Joneses (Oberon Modern Plays)
by Will EnoMeet Bob and Jennifer and their new neighbours,John and Pony, two suburban couples who have even more in common thantheir identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decidebetween their idyllic fantasies and their imperfect realities. This contemporary comedy explores how our joys and sorrows - and how we choose to face them - can come to define our lives.
Thom Pain: (based On Nothing) (Oberon Modern Plays)
by Will EnoFrom the last lonely wilderness, the last dark corner of these overlit times, in the camouflage of the common man, Thom Pain takes the stage, fumbling with his heart, squinting into the light. With terrible timing and impeccable regret, over-educated in the wrong ways, and wounded in the right ones, he appears. Teeth bared, as he picks a piece of lint off his suit.Listen to the language writhe, as he tries to say hello. Meet Thom Pain. A man who has only had, by his own reckless reckoning, three or four things happen to him in life. A man who is, by his own admittedly uninformed admission, a man much like a man or woman like you.Thom Pain opened at the Edinburgh Fringe in 2004, with a transfer to the Soho Theatre later that year.
Title and Deed (Oberon Modern Plays)
by Will EnoBehold the newest nobody of the funniest century yet. He’s almost Christ-like, from a distance, in terms of height and weight. Listen closely or drift off uncontrollably, as he speaks to you directly about the notion of home, about the notion of the world. All of it delivered with the authority that is the special province of the unsure and the un-homed, which is a word he made up accidentally. The running time, if he doesn’t die or think of anything else, is roughly one hour. Title and Deed is a provocative new work by Pulitzer Prize finalist and Horton Foote Prize winner Will Eno, whom The New York Times called ‘a Samuel Beckett for the Jon Stewart generation.’‘A haunting and often fiercely funny meditation on life as a state of permanent exile... The marvel of Mr. Eno’s voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes -“Don’t ever change,” “Who knows” - are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk.’ – New York Times‘The piece proves to be an always fascinating and surprisingly moving 70 minutes of theater…What emerges from his humorous, sometimes stream-of-conscious patter is a heartfelt exploration of the transience of everything in this life, from words themselves to relationships to our very existence.’ - Theatermania
Tragedy: A Tragedy (Oberon Modern Plays Ser.)
by Will EnoThe sun has set over streets of houses, government buildings and American backyards everywhere. The world is dark. A news team is on the scene. Their report: someone left the lawn sprinklers on; someone’s horse is loose; a seashell is lying in the grass; dogs run by. The Governor issues excited statements appealing for calm. It is night-time in the world. Everyone’s afraid. Everyone doesn’t know if the sun, once down, will ever rise again. But there is a witness, and the witness will speak.