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The Venetian Origins of the Commedia dell'Arte
by Peter JordanThe Venetian Origins of the Commedia dell'Arte is a striking new enquiry into the late-Renaissance stirrings of professional secular comedy in Venice, and their connection to the development of what came to be known as the Commedia dell’Arte. The book contends that through a symbiotic collaboration between patrician amateurs and plebeian professionals, innovative forms of comedy developed in the Venice region, fusing ‘high’ and ‘low’ culture in a provocative mix that had a truly mass appeal. Rich with anecdotes, diary entries and literary – often ribald – comic passages, Peter Jordan's central argument has important implications for the study of Venetian art, popular theatre and European cultural history.
Venice Saved
by Simone WeilTowards the end of her life, the French philosopher and mystic Simone Weil (1909-43) was working on a tragedy, Venice Saved. Appearing here in English for the first time, this play explores the realisation of Weil's own thoughts on tragedy. A figure of affliction, a central theme in Weil's religious metaphysics, the central character offers a unique insight into Weil's broader philosophical interest in truth and justice, and provides a fresh perspective on the wider conception of tragedy itself.The play depicts the plot by a group of Spanish mercenaries to sack Venice in 1618 and how it fails when one conspirator, Jaffier, betrays them to the Venetian authorities, because he feels compassion for the city's beauty. The edition includes notes on the play by the translators as well as introductory material on: the life of Weil; the genesis and purport of the play; Weil and the tragic; the issues raised by translating Venice Saved. With additional suggestions for further reading, the volume opens up an area of interest and research: the literary Weil.
Venice Saved
by Simone WeilTowards the end of her life, the French philosopher and mystic Simone Weil (1909-43) was working on a tragedy, Venice Saved. Appearing here in English for the first time, this play explores the realisation of Weil's own thoughts on tragedy. A figure of affliction, a central theme in Weil's religious metaphysics, the central character offers a unique insight into Weil's broader philosophical interest in truth and justice, and provides a fresh perspective on the wider conception of tragedy itself.The play depicts the plot by a group of Spanish mercenaries to sack Venice in 1618 and how it fails when one conspirator, Jaffier, betrays them to the Venetian authorities, because he feels compassion for the city's beauty. The edition includes notes on the play by the translators as well as introductory material on: the life of Weil; the genesis and purport of the play; Weil and the tragic; the issues raised by translating Venice Saved. With additional suggestions for further reading, the volume opens up an area of interest and research: the literary Weil.
Ventriloquism, Performance, and Contemporary Art (Routledge Advances in Art and Visual Studies)
by Jennie Hirsh Isabelle Loring WallaceVentriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.
Ventriloquism, Performance, and Contemporary Art (Routledge Advances in Art and Visual Studies)
by Jennie Hirsh Isabelle Loring WallaceVentriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.
Venue 2
by BrenkmanFirst Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
Venue 2
by BrenkmanFirst Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
Venus in Fur: A Play (Oberon Modern Plays)
by David Ives‘You don’t have to tell me about sadomasochism. I’m in the theatre.’Enigmatic actress Vanda Jordan appears unannounced for an audition with director Thomas Novachek. She’s determined to land the leading role in his new production – despite seeming wrong for the part. Over one evening in downtown Manhattan their charged meeting becomes a seductive dance to the end. Intoxicating, erotic, highly charged, Venus In Fur is a dark comedy about desire, fantasy, and love.
Venus’s Palace: Shakespeare and the Antitheatricalists (Studies in Performance and Early Modern Drama)
by Reut BarzilaiThis book lays bare the dialogue between Shakespeare and critics of the stage, and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators. In so doing, the book makes a substantial contribution both to the study of representations of theatre in Shakespeare’s plays and to the understanding of ethical concerns about acting and spectating—then, and now. The book opens with a comprehensive and coherent analysis of the main early modern English anxieties about theatre and its power. These are read against 20th- and 21st-century theories of acting, interviews with actors, and research into the effects of media representation on spectator behaviour, all of which demonstrate the lingering relevance of antitheatrical claims and the personal and philosophical implications of acting and spectating. The main part of the book reveals Shakespeare’s responses to major antitheatrical claims about the powerful effects of poetry, music, playacting, and playgoing. It also demonstrates the evolution of Shakespeare’s view of these claims over the course of his career: from light-hearted parody in A Midsummer Night’s Dream, through systematic contemplation in Hamlet, to acceptance and dramatization in The Tempest. This study will be of great interest to scholars and students of theatre, English literature, history, and culture.
Venus’s Palace: Shakespeare and the Antitheatricalists (Studies in Performance and Early Modern Drama)
by Reut BarzilaiThis book lays bare the dialogue between Shakespeare and critics of the stage, and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators. In so doing, the book makes a substantial contribution both to the study of representations of theatre in Shakespeare’s plays and to the understanding of ethical concerns about acting and spectating—then, and now. The book opens with a comprehensive and coherent analysis of the main early modern English anxieties about theatre and its power. These are read against 20th- and 21st-century theories of acting, interviews with actors, and research into the effects of media representation on spectator behaviour, all of which demonstrate the lingering relevance of antitheatrical claims and the personal and philosophical implications of acting and spectating. The main part of the book reveals Shakespeare’s responses to major antitheatrical claims about the powerful effects of poetry, music, playacting, and playgoing. It also demonstrates the evolution of Shakespeare’s view of these claims over the course of his career: from light-hearted parody in A Midsummer Night’s Dream, through systematic contemplation in Hamlet, to acceptance and dramatization in The Tempest. This study will be of great interest to scholars and students of theatre, English literature, history, and culture.
Vera Vera Vera (Modern Plays)
by Hayley SquiresThe boy who comes back from a war far away in a wooden box is glorified and called a hero. As the funeral plans are made in a small Kent town, his siblings squabble over who he was. Maybe the fanfare isn't needed for this heroic martyr.Vera Vera Vera is a blackly comic play about what we are willing to fight for. Her first work for the theatre, Hayley Squires is a bracing new voice, clear eyed and loud, looking at violence, neglect and apathy. Depicting a gritty slice of social realism, Vera Vera Vera portrays the disjunction between the lives of the surviving family against the memories and patriotic commemoration for the dead. Looking at drug addiction, crime, verbal and domestic abuse, engrained racism, the characters' downtrodden and trapped lives are exposed with honesty and verve.This brave and uncompromising play questions both the validity of the myth of the martyred soldier and the true worth of survival for those left behind.
Vera Vera Vera (Modern Plays)
by Hayley SquiresThe boy who comes back from a war far away in a wooden box is glorified and called a hero. As the funeral plans are made in a small Kent town, his siblings squabble over who he was. Maybe the fanfare isn't needed for this heroic martyr.Vera Vera Vera is a blackly comic play about what we are willing to fight for. Her first work for the theatre, Hayley Squires is a bracing new voice, clear eyed and loud, looking at violence, neglect and apathy. Depicting a gritty slice of social realism, Vera Vera Vera portrays the disjunction between the lives of the surviving family against the memories and patriotic commemoration for the dead. Looking at drug addiction, crime, verbal and domestic abuse, engrained racism, the characters' downtrodden and trapped lives are exposed with honesty and verve.This brave and uncompromising play questions both the validity of the myth of the martyred soldier and the true worth of survival for those left behind.
Verausgabung: Die Ästhetik der Anti-Ökonomie im Theater (Theater #99)
by Asma DiakitéWie ist angesichts der fortwährenden Dramatisierung der Politik und des allgegenwärtigen Diktats der Selbstwerdung eine ästhetische Praxis jenseits des Modells der Handlung noch möglich? In ihrer an Georges Bataille angelehnten Beschreibung einer ästhetischen Praxis als Verausgabung lotet Asma Diakité die Möglichkeiten des Theater-Raums als Ausnahme aus. Die Arbeit ist philosophische Reflexion und zugleich theaterwissenschaftliche Studie ästhetischer Praxis und Erfahrung. Sie macht es möglich, das Theater in Opposition zu einem am Vollbringen orientierten Konzept des Performativen (»kreative Selbstverwirklichung«) als »Kunst des Unterlassens« zu verstehen.
Verbatim: Contemporary Documentary Theatre
by Will Hammond Dan Steward‘What a verbatim play does is flash your research nakedly. It’s like cooking a meal but the meat is left raw.’MAX STAFFORD-CLARKPlays which use people’s actual words as the basis for their drama are not a new phenomenon. But from the stages of national theatres to fringe venues and universities everywhere, ‘verbatim’ theatre, as it has come to be known, is currently enjoying unprecedented attention and success. It has also attracted high-profile criticism and impassioned debate.In these wide-ranging essays and interviews, six leading dramatists describe their varying approaches to verbatim, examine the strengths and weaknesses of its techniques and explore the reasons for its current popularity. They discuss frankly the unique opportunities and ethical dilemmas that arise when portraying real people on stage, and consider some of the criticisms levelled at this controversial documentary form.‘The intention is always to arrive at the truth.’ NICOLAS KENTContributors: Writer / Director Alecky Blythe; Writer David Hare;Director Nicolas Kent; Writer / Journalist Richard Norton-Taylor;Director Max Stafford-Clark; Writer / Actor Robin SoansEditors: Will Hammond and Dan Steward
Verbatim Theatre Methodologies for Community Engaged Practice: Perspectives from Australian Theatre
by Sarah Peters David BurtonVerbatim Theatre Methodologies for Community-Engaged Practice offers a framework for developing original community-engaged productions using a range of verbatim theatre approaches. This book's methodologies offer an approach to community-engaged productions that fosters collaborative artistry, ethically nuanced practice, and social intentionality. Through research-based discussion, case study analysis, and exercises, it provides a historical context for verbatim theatre; outlines the ethics and methods for community immersion that form the foundation of community-engaged best practice; explores the value of interviews and how to go about them; provides clear pathways for translating gathered data into an artistic product; and offers rehearsal room strategies for playwrights, producers, directors, and actors in managing the specific context of the verbatim theatre form. Based on diverse, real-world practice that spans regional, metropolitan, large-scale, micro, independent, commercial, and curriculum-based work, this is a practical and accessible guide for undergraduates, artists, and researchers alike.
Verbatim Theatre Methodologies for Community Engaged Practice: Perspectives from Australian Theatre
by Sarah Peters David BurtonVerbatim Theatre Methodologies for Community-Engaged Practice offers a framework for developing original community-engaged productions using a range of verbatim theatre approaches. This book's methodologies offer an approach to community-engaged productions that fosters collaborative artistry, ethically nuanced practice, and social intentionality. Through research-based discussion, case study analysis, and exercises, it provides a historical context for verbatim theatre; outlines the ethics and methods for community immersion that form the foundation of community-engaged best practice; explores the value of interviews and how to go about them; provides clear pathways for translating gathered data into an artistic product; and offers rehearsal room strategies for playwrights, producers, directors, and actors in managing the specific context of the verbatim theatre form. Based on diverse, real-world practice that spans regional, metropolitan, large-scale, micro, independent, commercial, and curriculum-based work, this is a practical and accessible guide for undergraduates, artists, and researchers alike.
Versailles
by Peter GillIn the drawing room of the Rawlinson's late Victorian villa in Kent, life as it was lived before the war is quietly resuming.The family's son, Leonard Rawlinson, is among the British delegation sent to Versailles to draw up the treaty that will come to define Europe, the Middle East and the rest of the world. With the ghost of a fallen loved one still haunting him, Leonard perceives that the choices made in Paris will shape the fate of millions for centuries to come. Versailles premiered at the Donmar Warehouse, London, in February 2014.
Verse Drama in England, 1900-2015: Art, Modernity and the National Stage (Critical Companions)
by Irene MorraVerse Drama in England, 1900-2015 provides a critical and historical exploration of a tradition of modern dramatic creativity that has received very little scholarly attention. Exploring the emergence of a distinctly modern verse drama at the turn of the century and its development into the twenty-first, it counters common assumptions that the form is a marginal, fundamentally outdated curiosity. Through an examination of the extensive and diverse engagement of literary and theatrical writers, directors and musicians, Irene Morra identifies in modern verse drama a consistent and often prominent attempt to expand upon, revitalize, and redefine the contemporary English stage.Dramatists discussed include Stephen Phillips, Gordon Bottomley, John Masefield, James Elroy Flecker, T. S. Eliot, W. H. Auden, Ronald Duncan, Christopher Fry, John Arden, Anne Ridler, Tony Harrison, Steven Berkoff, Caryl Churchill, and Mike Bartlett. The book explores the negotiation of these dramatists with the changing position of verse drama in relation to constructions of national and communal audience, aesthetic challenge, and dramatic heritage. Key to the study is the self-conscious positioning of many of these dramatists in relation to an assumed mainstream tradition – and the various critical responses that that positioning has provoked. The study advocates for a scholarly revaluation of what must be identified as an influential and overlooked tradition of aesthetic challenge and creativity.
Verse Drama in England, 1900-2015: Art, Modernity and the National Stage (Critical Companions)
by Irene MorraVerse Drama in England, 1900-2015 provides a critical and historical exploration of a tradition of modern dramatic creativity that has received very little scholarly attention. Exploring the emergence of a distinctly modern verse drama at the turn of the century and its development into the twenty-first, it counters common assumptions that the form is a marginal, fundamentally outdated curiosity. Through an examination of the extensive and diverse engagement of literary and theatrical writers, directors and musicians, Irene Morra identifies in modern verse drama a consistent and often prominent attempt to expand upon, revitalize, and redefine the contemporary English stage.Dramatists discussed include Stephen Phillips, Gordon Bottomley, John Masefield, James Elroy Flecker, T. S. Eliot, W. H. Auden, Ronald Duncan, Christopher Fry, John Arden, Anne Ridler, Tony Harrison, Steven Berkoff, Caryl Churchill, and Mike Bartlett. The book explores the negotiation of these dramatists with the changing position of verse drama in relation to constructions of national and communal audience, aesthetic challenge, and dramatic heritage. Key to the study is the self-conscious positioning of many of these dramatists in relation to an assumed mainstream tradition – and the various critical responses that that positioning has provoked. The study advocates for a scholarly revaluation of what must be identified as an influential and overlooked tradition of aesthetic challenge and creativity.
The Vertical Hour: A Play
by David HareNadia Blye is a young American war reporter turned academic who teaches Political Studies at Yale. A brief holiday with her boyfriend brings her into contact with a kind of Englishman whose culture and background is a surprise and a challenge, both to her and to her relationship. For thirty five years, David Hare has written plays which catch the flavour of our times, the interconnection between our secret motives and our public politics. Now, at last, he writes about an American, seeking to illustrate how life has subtly changed for so many people in the West in the new century.The Vertical Hour received its world premiere at the Music Box Theater, Broadway, on November 30, 2006, and received its UK premiere at the Royal Court Theatre, London, on 17 January 2008.
A Very Expensive Poison (Modern Plays)
by Luke HardingA shocking assassination in the heart of London. In a bizarre mix of high-stakes global politics and radioactive villainy, a man pays with his life.At this time of global crises and a looming new Cold War, A Very Expensive Poison sends us careering through the shadowy world of international espionage from Moscow to Mayfair.Lucy Prebble (Enron, The Effect) brings a shocking story to the stage, adapted from the book by Luke Harding, with an astute mix of real events, vaudeville and thriller. This edition was published to coincide with the World Premiere at the Old Vic Theatre, London, in 2019.
A Very Expensive Poison (Modern Plays)
by Luke HardingA shocking assassination in the heart of London. In a bizarre mix of high-stakes global politics and radioactive villainy, a man pays with his life.At this time of global crises and a looming new Cold War, A Very Expensive Poison sends us careering through the shadowy world of international espionage from Moscow to Mayfair.Lucy Prebble (Enron, The Effect) brings a shocking story to the stage, adapted from the book by Luke Harding, with an astute mix of real events, vaudeville and thriller. This edition was published to coincide with the World Premiere at the Old Vic Theatre, London, in 2019.
Very Special Guest Star (Modern Plays)
by Tom WrightIn a desperate attempt to bring some spark back to their all-too-cosy married life, professional millennials Michael and Phil switch a sherry on the couch for a night on the town. Their goal: to get in with Generation Z by trying to get off with one.Enter fit, sexy, confident Quasim. But the 'just for one night' adventure brings shocking revelations as Michael and Phil discover more about the 20-year-old boy in their bed than they ever wanted to know, and their suburban dream is shaken to its core.Following the sold out runs of critical hits Undetectable (nominated for 3 Off West End Awards) and My Dad's Gap Year (nominated for 4 Off West End Awards), Tom Wright's darkly comedic and wildly sexy new play is his most provocative show to date.
Very Special Guest Star (Modern Plays)
by Tom WrightIn a desperate attempt to bring some spark back to their all-too-cosy married life, professional millennials Michael and Phil switch a sherry on the couch for a night on the town. Their goal: to get in with Generation Z by trying to get off with one.Enter fit, sexy, confident Quasim. But the 'just for one night' adventure brings shocking revelations as Michael and Phil discover more about the 20-year-old boy in their bed than they ever wanted to know, and their suburban dream is shaken to its core.Following the sold out runs of critical hits Undetectable (nominated for 3 Off West End Awards) and My Dad's Gap Year (nominated for 4 Off West End Awards), Tom Wright's darkly comedic and wildly sexy new play is his most provocative show to date.
The Very Thought of Herbert Blau
by Clark Lunberry Joseph RoachHerbert Blau (1926–2013) was the most influential theater theorist, practitioner, and educator of his generation. He was the leading American interpreter of the works of Samuel Beckett and as a director was instrumental in introducing works of the European avant-garde to American audiences. He was also one of the most far-reaching and thoughtful American theorists of theater and performance, and author of influential books such as The Dubious Spectacle, The Audience, and Take Up the Bodies: Theater at the Vanishing Point. In The Very Thought of Herbert Blau, distinguished artists and scholars offer reflections on what made Blau's contributions so visionary, transformative, and unforgettable, and why his ideas endure in both seminar rooms and studios. The contributors, including Lee Breuer, Sue-Ellen Case, Gautam Dasgupta, Elin Diamond, S. E. Gontarski, Linda Gregerson, Martin Harries, Bill Irwin, Julia Jarcho, Anthony Kubiak, Daniel Listoe, Clark Lunberry, Bonnie Marranca, Peggy Phelan, Joseph Roach, Richard Schechner, Morton Subotnick, Julie Taymor, and Gregory Whitehead, respond to Blau's fierce and polymorphous intellect, his relentless drive and determination, and his audacity, his authority, to think, as he frequently insisted, "at the very nerve ends of thought."