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Unsettled Toleration: Religious Difference on the Shakespearean Stage
by Brian WalshUnsettled Toleration: Religious Difference on the Shakespearean Stage historicizes and scrutinizes the unstable concept of toleration as it emerges in drama performed on the Elizabethan and Jacobean stages. Brian Walsh examines plays by Shakespeare and his contemporaries that represent intra-Christian conflict between mainstream believers and various minorities, analyzing the sometimes explicit, sometimes indirect, occasionally smooth, but more often halting and equivocal forms of dealing with difference that these plays imagine can result from such exchanges. Through innovative and in some cases unprecedented readings of a diverse collection of plays, from Chapman's An Humorous Day's Mirth, Middleton's The Puritan Widow, Shakespeare's Twelfth Night, Measure for Measure, and Pericles, and Rowley's When You See Me You Know Me, Walsh shows how the English stage in the first decade of the seventeenth century, as a social barometer, registered the basic condition of religious "unsettlement " of the post-Reformation era; and concurrently that the stage, as a social incubator, brooded over imagined scenarios of confessional conflict that could end variously in irresolution, accommodation, or even religious syncretism. It thus helped to create, sustain and enlarge an open-ended public conversation on the vicissitudes of getting along in a sectarian world. Attending to this conversation is vital to our present understanding of the state of religious toleration the early modern period, for it gives a fuller picture of the ways religious difference was experienced than the limited and inert pronouncements on the topic that officials of the church and state offered.
Unseen Academicals: (discworld Novel 37) (Discworld Ser. #37)
by Terry Pratchett Stephen Briggs‘Two households, both alike in dignity, in fair Ankh-Morpork, where we lay our scene…’ Football divides the city. Each area has its own team – and rivalry means supporters never mix. Until a Dimwell fan falls for a Dolly Sisters girl. And now an ancient bequest means the wizards of Unseen University must win a football match, without using magic. Luckily they’re coached by the mysterious Mr Nutt (and no one knows anything much about Mr Nutt, not even Mr Nutt, which worries him, too). As the match approaches, four lives are entangled and changed forever. Because the thing about football – the important thing about football – is that it is not just about football. As all children know, the way you get into a fantasy world is by accident… You go into the wardrobe, looking for somewhere to hide and – bingo. And that’s how Stephen Briggs found Discworld. In 1990, he wrote to ask Terry if he could stage Wyrd Sisters. That was the first time anyone, anywhere in the world, had dramatised Terry’s work. He had no idea it would go any further than one play (possibly two). But it did. So far, he has now adapted, staged and published twenty-two plays. He and Terry also worked together to produce the original Discworld Maps and Diaries, Nanny Ogg's Cookbook, The Discworld Companion (now called Turtle RecallThe Wit & Wisdom of Discworld.
Unruly Audiences and the Theater of Control in Early Modern London: Controlling the Unruly Playgoer in Early Modern Drama (Studies in Performance and Early Modern Drama)
by Eric DunnumUnruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience. This study analyses how, out of anxiety that unruly audiences would destroy the nascent industry of professional drama in England, playwrights sought to limit the effect that their plays could have on the audience. They tried to construct playgoing through their drama in the hopes of creating a less-reactive, more pensive, and controlled playgoer. The result was the radical experimentation in dramaturgy that, in part, defines Renaissance drama. Written for scholars of Early Modern and Renaissance Drama and Theatre, Theatre History, and Early Modern and Renaissance History, this book calls for a new focus on the local economic concerns of the theatre companies as a way to understand the motivation behind the drama of early modern London.
Unruly Audiences and the Theater of Control in Early Modern London: Controlling the Unruly Playgoer in Early Modern Drama (Studies in Performance and Early Modern Drama)
by Eric DunnumUnruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience. This study analyses how, out of anxiety that unruly audiences would destroy the nascent industry of professional drama in England, playwrights sought to limit the effect that their plays could have on the audience. They tried to construct playgoing through their drama in the hopes of creating a less-reactive, more pensive, and controlled playgoer. The result was the radical experimentation in dramaturgy that, in part, defines Renaissance drama. Written for scholars of Early Modern and Renaissance Drama and Theatre, Theatre History, and Early Modern and Renaissance History, this book calls for a new focus on the local economic concerns of the theatre companies as a way to understand the motivation behind the drama of early modern London.
Unmasking Theatre Design: A Designer's Guide To Finding Inspiration And Cultivating Creativity
by Lynne PorterEvery great design has its beginnings in a great idea, whether your medium of choice is scenery, costume, lighting, sound, or projections. Unmasking Theatre Design shows you how to cultivate creative thinking skills through every step of theatre design - from the first play reading to the finished design presentation. This book reveals how creative designers think in order to create unique and appropriate works for individual productions, and will teach you how to comprehend the nature of the design task at hand, gather inspiration, generate potential ideas for a new design, and develop a finished look through renderings and models. The exercises presented in this book demystify the design process by providing you with specific actions that will help you get on track toward fully-formed designs. Revealing the inner workings of the design process, both theoretically and practically, Unmasking Theatre Design will jumpstart the creative processes of designers at all levels, from student to professionals, as you construct new production designs.
Unmasking Theatre Design: A Designer's Guide To Finding Inspiration And Cultivating Creativity
by Lynne PorterEvery great design has its beginnings in a great idea, whether your medium of choice is scenery, costume, lighting, sound, or projections. Unmasking Theatre Design shows you how to cultivate creative thinking skills through every step of theatre design - from the first play reading to the finished design presentation. This book reveals how creative designers think in order to create unique and appropriate works for individual productions, and will teach you how to comprehend the nature of the design task at hand, gather inspiration, generate potential ideas for a new design, and develop a finished look through renderings and models. The exercises presented in this book demystify the design process by providing you with specific actions that will help you get on track toward fully-formed designs. Revealing the inner workings of the design process, both theoretically and practically, Unmasking Theatre Design will jumpstart the creative processes of designers at all levels, from student to professionals, as you construct new production designs.
Unmasked: A Memoir
by Andrew Lloyd Webber“You have the luck of Croesus on stilts (as my Auntie Vi would have said) if you’ve had the sort of career, ups and downs, warts and all that I have in that wondrous little corner of show business called musical theatre.”
Unmarked: The Politics of Performance
by Peggy PhelanUnmarked is a controversial analysis of the fraught relation between political and representational visibility in contemporary culture. Written from and for the Left, Unmarked rethinks the claims of visibility politics through a feminist psychoanalytic examination of specific performance texts - including photography, painting, film, theatre and anti-abortion demonstrations.
Unmarked: The Politics of Performance
by Peggy PhelanUnmarked is a controversial analysis of the fraught relation between political and representational visibility in contemporary culture. Written from and for the Left, Unmarked rethinks the claims of visibility politics through a feminist psychoanalytic examination of specific performance texts - including photography, painting, film, theatre and anti-abortion demonstrations.
Unmaking Mimesis: Essays on Feminism and Theatre
by Elin DiamondIn Unmaking Mimesis Elin Diamond interrogates the concept of mimesis in relation to feminism, theatre and performance. She combines psychoanalytic, semiotic and materialist strategies with readings of selected plays by writers as diverse as Ibsen, Brecht, Aphra Behn, Caryl Churchill and Peggy Shaw. Through a series of provocative readings of theatre, theory and feminist performance she demonstrates the continuing force of feminism and mimesis in critical thinking today. Unmaking Mimesis will interest theatre scholars and performance and cultural theorists, for all of whom issues of text, representation and embodiment are of compelling concern.
Unmaking Mimesis: Essays on Feminism and Theatre
by Elin DiamondIn Unmaking Mimesis Elin Diamond interrogates the concept of mimesis in relation to feminism, theatre and performance. She combines psychoanalytic, semiotic and materialist strategies with readings of selected plays by writers as diverse as Ibsen, Brecht, Aphra Behn, Caryl Churchill and Peggy Shaw. Through a series of provocative readings of theatre, theory and feminist performance she demonstrates the continuing force of feminism and mimesis in critical thinking today. Unmaking Mimesis will interest theatre scholars and performance and cultural theorists, for all of whom issues of text, representation and embodiment are of compelling concern.
Unlimited action: The performance of extremity in the 1970s (Theatre: Theory – Practice – Performance)
by Dominic JohnsonUnlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused, or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance.
Unlimited action: The performance of extremity in the 1970s (Theatre: Theory – Practice – Performance)
by Dominic JohnsonUnlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused, or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance.
Unless the Threat of Death Is Behind Them: Hard-Boiled Fiction and Film Noir
by John T. IrwinEarly in the twentieth century a new character type emerged in the crime novels of American writers such as Dashiell Hammett and Raymond Chandler: the "hard-boiled" detective, most famously exemplified by Sam Spade in The Maltese Falcon. Unlike the analytical detectives of nineteenth-century fiction, such as Edgar Allan Poe’s Inspector Dupin, the new detectives encountered cases not as intricate logical puzzles but as stark challenges of manhood. In the stories of these characters and their criminal opposites, John T. Irwin explores the tension within ideas of American masculinity between subordination and independence and, for the man who becomes "his own boss," the conflict between professional codes and personal desires. He shows how, within different works of hard-boiled fiction, the professional either overcomes the personal or is overcome by it, ending in ruinous relationships or in solitary integrity, and how within the genre all notions of manly independence are ultimately revealed to be illusions subordinate to fate itself. Tracing the stylistic development of the genre, Irwin demonstrates the particular influence of the novel of manners, especially the writing of F. Scott Fitzgerald. He goes on to argue that, from the time of World War II, when hard-boiled fiction began to appear on the screen in film noir just as women entered the workforce in large numbers, many of its themes came to extend to female empowerment. Finally, he discusses how these themes persist in contemporary dramatic series on television, representing the conflicted lives of Americans into the twenty-first century.
The Unknown Soldier (Modern Plays)
by Ross EricsonDon't, for God's sake, come back alive 'cause we don't want to see your ugly stumps and your ugly scars. We don't want to hear your midnight screams and tales of hell. We all got along nicely without you, thank you very much, and now you're back you remind us things we'd much rather forget. More convenient, ain't it? To have a dead hero. A dead hero don't have complaints. A dead hero don't even have a voice.Jack stayed on when the guns fells silent, to search the battlefields for the boys that could not go home - for the dead and the missing, for both enemy and friend. And amongst the rusty wire and unexploded bombs, Jack is looking for something - looking for someone. He has a promise to keep and debt to repay, and now there is this strange request from the generals.A story of comradeship, betrayal and of promises both broken and kept following the carnage of World War One from the acclaimed writer of Casualties, Ross Ericson. It received its world premiere at the Edinburgh Festival Fringe 2015 before embarking on a UK tour.
The Unknown Soldier (Modern Plays)
by Ross EricsonDon't, for God's sake, come back alive 'cause we don't want to see your ugly stumps and your ugly scars. We don't want to hear your midnight screams and tales of hell. We all got along nicely without you, thank you very much, and now you're back you remind us things we'd much rather forget. More convenient, ain't it? To have a dead hero. A dead hero don't have complaints. A dead hero don't even have a voice.Jack stayed on when the guns fells silent, to search the battlefields for the boys that could not go home - for the dead and the missing, for both enemy and friend. And amongst the rusty wire and unexploded bombs, Jack is looking for something - looking for someone. He has a promise to keep and debt to repay, and now there is this strange request from the generals.A story of comradeship, betrayal and of promises both broken and kept following the carnage of World War One from the acclaimed writer of Casualties, Ross Ericson. It received its world premiere at the Edinburgh Festival Fringe 2015 before embarking on a UK tour.
Unions, Strikes, Shaw: "The Capitalism of the Proletariat" (Bernard Shaw and His Contemporaries)
by Bernard F. DukoreUnions, Strikes, Shaw: ‘The Capitalism of the Proletariat’ is the first book to treat Bernard Shaw—socialist, dramatist, public speaker and union member—in relation to unions and strikes. For over half a century he urged workers to join unions, which he called, paradoxically, “the Capitalism of the Proletariat,” because as capitalists try to get as much labor as possible from workers while paying them as little as possible, unions try to gain as high wages as possible from employers while working as little as possible. He opposed general strikes as destined to fail, since owners can hold out longer than workers, whose unions have less money to support them during strikes. This book offers background on major strikes in and before Shaw’s time —including the Colorado Coalfield War and the Dublin Lockout, both in 1913—before analyzing the causes, day-by-day events and consequences of Britain’s 1926 General Strike. It begins and ends with examinations of their and Shaw’s relevance to actions on unions and strikes in our own time.
Union (Modern Plays)
by Max WilkinsonThe city is sweet and summered and partly asleep. The city is angry. And tonight: one of us is going to die.On the eve of the biggest deal of her career, Saskia, an uber-successful property developer runs from the meeting, all the way home down the Grand Union Canal. Plagued by phone calls and ghosts, she meets a myriad of characters looking to make or break her. She realises, as her shiny life unravels, that she doesn't know herself anymore or the city she once loved. Can she still save a little piece of it?From the award-winning, Offie-nominated writer of Rainer, Max Wilkinson's Union is a wildly hilarious odyssey through London, in all its brilliant, booze-soaked yuppified but still punk glory. Just as Saskia fears she is losing her own soul to greed, it's about the fear that London is losing that same battle but is still defined by a beautiful beating heart and the people who live in it. Born from creative workshops led for several years by Max with local communities across London, Union is a black comedy, a love letter and a passionate call to arms.This edition was published to coincide with the world premiere at the Arcola Theatre, London, in July 2023.
Union (Modern Plays)
by Max WilkinsonThe city is sweet and summered and partly asleep. The city is angry. And tonight: one of us is going to die.On the eve of the biggest deal of her career, Saskia, an uber-successful property developer runs from the meeting, all the way home down the Grand Union Canal. Plagued by phone calls and ghosts, she meets a myriad of characters looking to make or break her. She realises, as her shiny life unravels, that she doesn't know herself anymore or the city she once loved. Can she still save a little piece of it?From the award-winning, Offie-nominated writer of Rainer, Max Wilkinson's Union is a wildly hilarious odyssey through London, in all its brilliant, booze-soaked yuppified but still punk glory. Just as Saskia fears she is losing her own soul to greed, it's about the fear that London is losing that same battle but is still defined by a beautiful beating heart and the people who live in it. Born from creative workshops led for several years by Max with local communities across London, Union is a black comedy, a love letter and a passionate call to arms.This edition was published to coincide with the world premiere at the Arcola Theatre, London, in July 2023.
Unicorns, Almost (Faber Drama Ser.)
by Owen SheersUnicorns, Almost portrays the short life of World War II poet Keith Douglas, from his childhood through four engagements to his fighting in the Western desert, his accelerated education as a poet and his early death three days after the Normandy D-Day landings at the age of twenty-four. It is the story of his Faustian pact with a war that would nurture his unique poetic voice before taking it away. It is also the story of his desperate race to see his poems in print.Widely recognised as the finest poet of World War Two, Keith Douglas was championed by Ted Hughes as an important influence. Hughes wrote the introduction to Douglas's Collected Poems, published by Faber.Unicorns, Almost by Owen Sheers opened at The Swan Hotel, Hay-on-Wye, in May 2018.
Unfixable Forms: Disability, Performance, and the Early Modern English Theater
by Katherine Schaap WilliamsUnfixable Forms explores how theatrical form remakes—and is in turn remade by—early modern disability. Figures described as "deformed," "lame," "crippled," "ugly," "sick," and "monstrous" crowd the stage in English drama of the sixteenth and seventeenth centuries. In each case, such a description distills cultural expectations about how a body should look and what a body should do—yet, crucially, demands the actor's embodied performance. In the early modern theater, concepts of disability collide with the deforming, vulnerable body of the actor. Reading dramatic texts alongside a diverse array of sources, ranging from physic manuals to philosophical essays to monster pamphlets, Katherine Schaap Williams excavates an archive of formal innovation to argue that disability is at the heart of the early modern theater's exploration of what it means to put the body of an actor on the stage. Offering new interpretations of canonical works by William Shakespeare, Ben Jonson, Thomas Dekker, Thomas Middleton, and William Rowley, and close readings of little-known plays such as The Fair Maid of the Exchange and A Larum For London, Williams demonstrates how disability cuts across foundational distinctions between nature and art, form and matter, and being and seeming. Situated at the intersections of early modern drama, disability studies, and performance theory, Unfixable Forms locates disability on the early modern stage as both a product of cultural constraints and a spark for performance's unsettling demands and electrifying eventfulness.
An unfinished man
by Dipo Baruwa-EttiThis hex has festered,iss roots have been stuckfor almost three decades.I've been obliviousbut now I know.Thuh Lord has made it known.I can't ignore it now iss known.Gotta battle.Gotta fight.Kayode has been unemployed for seven years. His marriage is suffering. He needs to get help. His mother knows exactly what to do.Juju exists, spirits battle, and the witches and wizards of Lagos chant loudly in East London.Dipo Baruwa-Etti's An unfinished man premiered at The Yard, London, in February 2021.
Unexpected Twist (Plays for Young People)
by Michael RosenNo matter how hard we try, we just can't get out. It's like we are not allowed to. Some give up and say, “alright then, if you won't give, I will bloody well take.” And you know what Shona, I don't blame them.Shona and her class are studying the Charles Dickens classic, Oliver Twist. She's the new girl in school and is finding it hard to stay out of trouble – much like Oliver himself! When she's given a new phone by a stranger, she begins to suspect there's something unusual about the new boys she's met. Unexpected Twist is a re-telling of Oliver Twist by one of the best-loved figures in the children's book world, Michael Rosen. This thrilling story was brought to vivid life by The Children's Theatre Partnership, and Royal & Derngate, Northampton, whose co-productions have included Holes and The Jungle Book. Directed by James Dacre (2020 Olivier Award nominated Our Lady of Kibeho), Rosen's novel was adapted for the stage by BAFTA award-winning playwright Roy Williams (Death of England, Sucker Punch) with original music by rising R&B star Yaya Bey and BAC Beatbox Academy's Conrad Murray.This edition was published to coincide with the world premiere and UK tour, in April 2023.
Unexpected Twist (Plays for Young People)
by Michael RosenNo matter how hard we try, we just can't get out. It's like we are not allowed to. Some give up and say, “alright then, if you won't give, I will bloody well take.” And you know what Shona, I don't blame them.Shona and her class are studying the Charles Dicken classic, Oliver Twist. She's the new girl in school and is finding it hard to stay out of trouble – much like Oliver himself! When she's given a new phone by a stranger, she begins to suspect there's something unusual about the new boys she's met. Unexpected Twist is a re-telling of Oliver Twist by one of the best-loved figures in the children's book world, Michael Rosen. This thrilling story was brought to vivid life by The Children's Theatre Partnership, and Royal & Derngate, Northampton, whose co-productions have included Holes and The Jungle Book. Directed by James Dacre (2020 Olivier Award nominated Our Lady of Kibeho), Rosen's novel was adapted for the stage by BAFTA award-winning playwright Roy Williams (Death of England, Sucker Punch) with original music by rising R&B star Yaya Bey and BAC Beatbox Academy's Conrad Murray.This edition was published to coincide with the world premiere and UK tour, in April 2023.
Unearthing Shakespeare: Embodied Performance and the Globe
by Valerie Clayman PyeWhat can the Globe Theatre tell us about performing Shakespeare?Unearthing Shakespeare is the first book to consider what the Globe, today’s replica of Shakespeare’s theatre, can contribute to a practical understanding of Shakespeare’s plays. Valerie Clayman Pye reconsiders the material evidence of Early Modern theatre-making, presenting clear, accessible discussions of historical theatre practice; stages and staging; and the relationship between actor and audience. She relays this into a series of training exercises for actors at all levels.From "Shakesball" and "Telescoping" to Elliptical Energy Training and The Radiating Box, this is a rich set of resources for anyone looking to tackle Shakespeare with authenticity and confidence.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.