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The Enchanted Pig (Oberon Plays for Young People)
by Alasdair Middleton Jonathan DoveKing Hildebrand is off to war - again. He commands his three daughters not to enter a locked room in the palace. Naturally they do, and in it find the Book of Fate, which announces that two of them will marry handsome Kings, while the third, Flora, must wed a fat pig from the North.Drawing on Romanian and Norwegian folk tales with their origins in the myth of Cupid and Psyche, Alasdair Middleton weaves a fantastic musical story from traditional materials and takes us from palace to pigsty via the darkest corners of the universe in search of Flora's destiny.Funny and tender, miraculous and ridiculous, The Enchanted Pig moves heaven and earth for the sake of love and proves that even the best of men can be pigs. Some of the time. The Enchanted Pig opened at the Young Vic Theatre, London, in December 2006, with music by Jonathan Dove.
Enchantment and Dis-enchantment in Shakespeare and Early Modern Drama: Wonder, the Sacred, and the Supernatural (Routledge Studies in Renaissance Literature and Culture)
by Nandini Das Nick DavisThis volume addresses dealings with the wondrous, magical, holy, sacred, sainted, numinous, uncanny, auratic, and sacral in the plays of Shakespeare and contemporaries, produced in an era often associated with the irresistible rise of a thinned-out secular rationalism. By starting from the literary text and looking outwards to social, cultural, and historical aspects, it comes to grips with the instabilities of ‘enchanted’ and ‘disenchanted’ practices of thinking and knowledge-making in the early modern period. If what marvelously stands apart from conceptions of the world’s ordinary functioning might be said to be ‘enchanted’, is the enchantedness weakened, empowered, or modally altered by its translation to theatre? We have a received historical narrative of disenchantment as a large-scale early modern cultural process, inexorable in character, consisting of the substitution of a rationally understood and controllable world for one containing substantial areas of mystery. Early modern cultural change, however, involves transpositions, recreations, or fresh inventions of the enchanted, and not only its replacement in diminished or denatured form. This collection is centrally concerned with what happens in theatre, as a medium which can give power to experiences of wonder as well as circumscribe and curtail them, addressing plays written for the popular stage that contribute to and reflect significant contemporary reorientations of vision, awareness, and cognitive practice. The volume uses the idea of dis-enchantment/re-enchantment as a central hub to bring multiple perspectives to bear on early modern conceptualizations and theatricalizations of wonder, the sacred, and the supernatural from different vantage points, marking a significant contribution to studies of magic, witchcraft, enchantment, and natural philosophy in Shakespeare and early modern drama.
Enchantment and Dis-enchantment in Shakespeare and Early Modern Drama: Wonder, the Sacred, and the Supernatural (Routledge Studies in Renaissance Literature and Culture)
by Nandini Das Nick DavisThis volume addresses dealings with the wondrous, magical, holy, sacred, sainted, numinous, uncanny, auratic, and sacral in the plays of Shakespeare and contemporaries, produced in an era often associated with the irresistible rise of a thinned-out secular rationalism. By starting from the literary text and looking outwards to social, cultural, and historical aspects, it comes to grips with the instabilities of ‘enchanted’ and ‘disenchanted’ practices of thinking and knowledge-making in the early modern period. If what marvelously stands apart from conceptions of the world’s ordinary functioning might be said to be ‘enchanted’, is the enchantedness weakened, empowered, or modally altered by its translation to theatre? We have a received historical narrative of disenchantment as a large-scale early modern cultural process, inexorable in character, consisting of the substitution of a rationally understood and controllable world for one containing substantial areas of mystery. Early modern cultural change, however, involves transpositions, recreations, or fresh inventions of the enchanted, and not only its replacement in diminished or denatured form. This collection is centrally concerned with what happens in theatre, as a medium which can give power to experiences of wonder as well as circumscribe and curtail them, addressing plays written for the popular stage that contribute to and reflect significant contemporary reorientations of vision, awareness, and cognitive practice. The volume uses the idea of dis-enchantment/re-enchantment as a central hub to bring multiple perspectives to bear on early modern conceptualizations and theatricalizations of wonder, the sacred, and the supernatural from different vantage points, marking a significant contribution to studies of magic, witchcraft, enchantment, and natural philosophy in Shakespeare and early modern drama.
Encountering Ensemble (PDF)
by John Britton Michael Boyd Bryan Brown Tanya Gerstle Richard J. Hand Peter Harrop Paz Hilfinger-Pardo Kate Hunter Duncan Jamieson Evelyn Jamieson Malgorzata Jablonska Terence Chapman Chris Johnston Brad Krumholz Adam J. Ledger Rebecca Loukes Eilon Morris Jonathan Pitches Anna Porubcansky Duska Radosavljevic Marianne Sharp Amy Skinner Frank Camilleri Patrick Stewart Susan Thompson Mark Valdez Julia Varley Phillip B. Zarrilli Paul Carr Franc Chamberlain John Collins Antje Diedrich Mark Evans David BarnettEncountering Ensemble, is a text for students, teachers, researchers and practitioners who wish to develop a deeper understanding of the history, conceptual foundations and practicalities of the world of ensemble theatre. It is the first book to draw together definitions and practitioner examples, making it a cutting edge work on the subject. Encountering Ensemble combines historical and contemporary case studies with a wide range of approaches and perspectives. It is written collaboratively with practitioners and members from the academic community and is divided into three sections:1. Introduction and an approach to training ensembles2. Practitioner case studies and analysis of specific practical approaches to training ensembles (or individuals in an ensemble context)3. Succinct perspectives from practitioners reflecting on a range of questions including: What is an ensemble?; the place of ensemble in the contemporary theatre landscape; and training issues.
Encounterism: The Neglected Joys of Being In Person
by Andy Field'Andy Field's book reawakens us to the neglected majesty, charm and beauty of the everyday. His book returns us to a childlike state of wonder. It's profoundly charming - and, in the best sense, lovely.' - Alain de Botton author of The School of Life and The Course of Love Encounterism is a joyous immersion into the everyday pleasure and shared humanity we stand to lose in an increasingly digital world. Andy Field explores both different kinds of and different venues for human encounters, from the hairdressers to the cinema, from nightclubs to eateries, shops staffed by people and free-form urban parks; these are the everyday yet invaluable spaces that allow for human encounters that enrich our lives.Field writes with tenderness and wit - born out of twenty years as a performance artist creating scenarios in which people are encouraged to see and interact with each other afresh. In Encounterism he not only examines how we physically encounter both strangers and friends - in all our human grace and awkwardness - but builds to a manifesto for the importance of real-world interaction. A rousing reminder that our cities, our residential and work places, must still allow for the possibility of spontaneity and shared, in-person joy.'Andy Field is the freshest, most down-to-earth, most constantly surprising (and endearing) explorer of urban life I've read in a while ... And whether he's guiding us into mass snowball fights on the streets of London or the meaning of holding hands, this unmet stranger cheerfully reminds us all of the value of touch and the virtue of trying to see the world anew.' - Pico Iyer, author of The Half Known Life and Autumn Light
Encounters in Performance Philosophy: Theatre, Performativity And The Practice Of Theory (Performance Philosophy)
by Laura Cull Alice LagaayEncounters in Performance Philosophy is a collection of 14 essays by international researchers which demonstrates the vitality of the field of Performance Philosophy. The essays address a wide range of concerns common to performance and philosophy including: the body, language, performativity, mimesis and tragedy.
Encounters with Tadeusz Kantor
by Krzysztof MiklaszewskiAn invaluable collection of documents and discussions of the work of one of the most significant theatre practitioners of the last fifty years.This unique set of reminiscences, written by one of the actors who worked closely with Kantor over a long period of time, ranges from the anecdotal to the theoretical. Kantor's work offers some of the most disconcerting allegories of Modernism and a quintessential expression of the unconscious during a bitter period of human history. Kantor's stern but affectionate guardianship of his troupe of travelling players comes off Miklaszewski's pages with warmth, humanity and humour.
Encounters with Tadeusz Kantor (Routledge Harwood Polish And East European Theatre Archive Ser.)
by Krzysztof MiklaszewskiAn invaluable collection of documents and discussions of the work of one of the most significant theatre practitioners of the last fifty years.This unique set of reminiscences, written by one of the actors who worked closely with Kantor over a long period of time, ranges from the anecdotal to the theoretical. Kantor's work offers some of the most disconcerting allegories of Modernism and a quintessential expression of the unconscious during a bitter period of human history. Kantor's stern but affectionate guardianship of his troupe of travelling players comes off Miklaszewski's pages with warmth, humanity and humour.
Encyclopedia of Latin American Theater (Non-ser.)
by Eladio Cortes Mirta Barrea-MarlysLatin American culture has given birth to numerous dramatic works, though it has often been difficult to locate information about these plays and playwrights. This volume traces the history of Latin American theater, including the Nuyorican and Chicano theaters of the United States, and surveys its history from the pre-Columbian period to the present. Sections cover individual Latin American countries. Each section features alphabetically arranged entries for playwrights, independent theaters, and cultural movements.The volume begins with an overview of the development of theater in Latin America. Each of the country sections begins with an introductory survey and concludes with copious bibliographical information. The entries for playwrights provide factual information about the dramatist's life and works and place the author within the larger context of international literature. Each entry closes with a list of works by and about the playwright. A selected, general bibliography appears at the end of the volume.
End Of The Rainbow (Modern Plays)
by Peter QuilterMusical drama of Judy Garland's "come-back" concertsChristmas 1968: with a six week booking at London's Talk of the Town, it looks like Judy Garland is set firmly on the comeback trail. The failed marriages, the suicide attempts and the addictions are all behind her. At forty-six and with new flame Mickey Deans at her side, she seems determined to carry it off and recapture her magic. But lasting happiness always eludes some people, and there was never any answer to the question with which Judy ended every show: "If happy little bluebirds fly beyond the rainbow, why, oh, why, can't I?"End of the Rainbow is a savagely funny drama featuring a glorious ensemble of Judy Garland hits and infused with the glamour and the melancholy of stardom."Every note she sings, every racket she makes, every tear she sheds, every joke she cracks, every pill she pops - is conveyed with alarming honesty. This knockout portrait of a living catastrophe should not be missed." What's OnPublished to tie-in with the premiere at the Sydney Opera House in July 2005
End Of The Rainbow (Modern Plays)
by Peter QuilterMusical drama of Judy Garland's "come-back" concertsChristmas 1968: with a six week booking at London's Talk of the Town, it looks like Judy Garland is set firmly on the comeback trail. The failed marriages, the suicide attempts and the addictions are all behind her. At forty-six and with new flame Mickey Deans at her side, she seems determined to carry it off and recapture her magic. But lasting happiness always eludes some people, and there was never any answer to the question with which Judy ended every show: "If happy little bluebirds fly beyond the rainbow, why, oh, why, can't I?"End of the Rainbow is a savagely funny drama featuring a glorious ensemble of Judy Garland hits and infused with the glamour and the melancholy of stardom."Every note she sings, every racket she makes, every tear she sheds, every joke she cracks, every pill she pops - is conveyed with alarming honesty. This knockout portrait of a living catastrophe should not be missed." What's OnPublished to tie-in with the premiere at the Sydney Opera House in July 2005
The End of Satisfaction: Drama and Repentance in the Age of Shakespeare
by Heather HirschfeldIn The End of Satisfaction, Heather Hirschfeld recovers the historical specificity and the conceptual vigor of the term "satisfaction" during the sixteenth and early seventeenth centuries. Focusing on the term’s significance as an organizing principle of Christian repentance, she examines the ways in which Shakespeare and his contemporaries dramatized the consequences of its re- or de-valuation in the process of Reformation doctrinal change. The Protestant theology of repentance, Hirschfeld suggests, underwrote a variety of theatrical plots "to set things right" in a world shorn of the prospect of "making enough" (satisfacere). Hirschfeld’s semantic history traces today’s use of "satisfaction"—as an unexamined measure of inward gratification rather than a finely nuanced standard of relational exchange—to the pressures on legal, economic, and marital discourses wrought by the Protestant rejection of the Catholic sacrament of penance (contrition, confession, satisfaction) and represented imaginatively on the stage. In so doing, it offers fresh readings of the penitential economies of canonical plays including Dr. Faustus, The Revenger’s Tragedy, The Merchant of Venice, and Othello; considers the doctrinal and generic importance of lesser-known plays including Enough Is as Good as a Feast and Love’s Pilgrimage; and opens new avenues into the study of literature and repentance in early modern England.
The End of the Night
by Ben BrownI board a plane marked with the swastika and take the noon postal service flight from Stockholm to Berlin. In the final days of World War II, a secret meeting takes place between a member of the World Jewish Congress and one of the most powerful Nazis in Germany - without the knowledge of the Führer. Dr Felix Kersten, Himmler's trusted personal physiotherapist, uses his unique position of influence to facilitate a meeting between the architect of the Holocaust and Swedish Jew Norbert Masur. A meeting which could turn Himmler's thoughts away from the fading Führer and towards a course of action that could save thousands of lives.With battle lines crumbling and lives in the balance, the two men must try to find a way to persuade Himmler to release the last surviving concentration camp prisoners contrary to Hitler's orders that no Jew should outlast the regime.Based on a remarkable true story, Ben Brown's The End of the Night opened at The Park, London, in April 2022.
Endgame: A Play In One Act: A Mime For One Player: Act Without Words (Theatrical Notebooks Of Samuel Beckett Ser. #Vol. 2)
by Samuel BeckettOriginally written in French and translated into English by Beckett, Endgame was given its first London performance at the Royal Court Theatre in 1957.HAMM: Clov!CLOV: Yes.HAMM: Nature has forgotten us.CLOV: There's no more nature.HAMM: No more nature! You exaggerate.CLOV: In the vicinity.HAMM: But we breathe, we change! We lose our hair our teeth! Our bloom! Our ideals!CLOV: Then she hasn't forgotten us.
Enduring Song
by Jesse BritonFrance, 1096. Matthew, a young French knight, sets out on the First Crusade. Behind him he leaves a broken family, a crumbling ancestral farm and a teenage sister who must save it all from ruin. From the fields of France to the churches of Antioch and the siege of Jerusalem, Enduring Song is a historical epic about love, hope and family.Jesse Briton's Enduring Song premiered at the Southwark Playhouse, London, in June 2014.
Un enemigo del pueblo
by Henrik Ibsen"Nunca debe usted usar sus mejores pantalones cuando vaya a luchar por la libertad y la verdad" (Un enemigo del pueblo) Henrik Ibsen creó una obra dramática de enorme contenido psicológico y de una ideología profunda. Fue un iniciador en el arte dramático y representante de una época nueva siendo el creador del llamado "teatro de ideas" y del "teatro simbólico". Lla obra de Ibsen se puede considerar como la más influyente del siglo XX en el campo del drama. Sus trabajos se representan continuamente en los países civilizados y se han adaptado al cine y a la televisión innumerables veces.
The Enemy (Modern Plays)
by Kieran HurleyIn a once-great Scottish town, a massive redevelopment project promises to bring money, jobs and new prospects to its forgotten population. However, when Dr Kirsten Stockmann discovers a dangerous secret, she knows she must bring the truth to light – no matter the cost.A provocative and timely drama about corruption, politics and the media, The Enemy is a uniquely Scottish take on Henrik Ibsen's timeless work An Enemy of the People, written by award-winning playwright Kieran Hurley.This edition was published to coincide with its National Theatre of Scotland production in October 2021.
The Enemy (Modern Plays)
by Kieran HurleyIn a once-great Scottish town, a massive redevelopment project promises to bring money, jobs and new prospects to its forgotten population. However, when Dr Kirsten Stockmann discovers a dangerous secret, she knows she must bring the truth to light – no matter the cost.A provocative and timely drama about corruption, politics and the media, The Enemy is a uniquely Scottish take on Henrik Ibsen's timeless work An Enemy of the People, written by award-winning playwright Kieran Hurley.This edition was published to coincide with its National Theatre of Scotland production in October 2021.
An Enemy of the People
by Henrik IbsenPower. Money. Morality. In a tight knit community a shocking discovery comes to light and threatens the lifeblood of the town. Truth and honour are pitched against wild ambition and corruption in Ibsen's emotional maelstrom.
An Enemy of the People: A New Version By Christopher Hampton
by Henrik IbsenThe strongest man in the world is he who stands most alone.Dr Stockmann attempts to expose a water pollution scandal in his home town which is about to establish itself as a spa. When his brother conspires with local politicians and the newspaper to suppress the story, Stockmann appeals to a public meeting - only to be shouted down and reviled as 'an enemy of the people'. Ibsen's explosive play reveals his distrust of politicians and the blindly held beliefs of the masses. Christopher Hampton's version of Ibsen's classic was first staged at the National Theatre, London, in 1997.
An Enemy of the People: A Play In Five Acts (Nhb Classic Plays Ser.)
by Henrik IbsenWhen Dr Stockmann makes a disturbing discovery about the healing waters in his local baths, he holds the future of the whole town in his hands. But doubt spreads faster than disease, and those with everything to lose refuse to accept his word. Soon, a battle is raging – and it goes far beyond contaminated water… Ibsen's provocative play about truth in a society driven by power and money is given a startling contemporary spin in Thomas Ostermeier and Florian Borchmeyer's acclaimed version, which premiered at the Avignon Festival followed by the Schaubühne in Berlin in 2012. It has since toured to more than thirty cities around the world. This edition of An Enemy of the People was published alongside the first English-language production, in a version by Duncan Macmillan. It opened at the Duke of York's Theatre in the West End in 2024, starring Matt Smith and Jessica Brown Findlay. Thomas Ostermeier is a German theatre director, acclaimed for his innovative and often iconoclastic productions of classic and contemporary plays. He is the Artistic Director of the Schaubühne. 'Thrilling… Ibsen's drama scales new heights of excitement and fascination' - Guardian 'Ostermeier is the most important theater director of his generation' - New Republic 'Electrifying… an impassioned examination of society and the powerlessness of democracy to check an abuse of power… Ostermeier is using theatre as a political rallying place, somewhere to ask what we really think' - WhatsOnStage 'Surreal, provocative and very funny… deliciously spikey… fascinating and bracingly direct… Ostermeier blows the themes of the play up in the most thrilling way' - Time Out 'Blistering… full of contemporary resonances' - Financial Times
An Enemy of the People: An Adaptation of the Play by Henrik Ibsen (Penguin Modern Classics)
by Arthur MillerWhen Dr Stockmann discovers that the water in the small Norwegian town in which he is the resident physician has been contaminated, he does what any responsible citizen would do: reports it to the authorities. But Stockmann's good deed has the potential to ruin the town's reputation as a popular spa destination, and instead of being hailed as a hero, Stockmann is labelled an enemy of the people. Arthur Miller's adaptation of Henrik Ibsen's classic drama is a classic in itself, a penetrating exploration of what happens when the truth comes up against the will of the majority.
Energy and Forces as Aesthetic Interventions: Politics of Bodily Scenarios (Theater #123)
by Sabine Huschka Barbara GronauThis volume collects academic as well as artistic explorations highlighting historical and contemporary approaches to the ›energetic‹ in its aesthetic and political potential. Energetic processes cross dance, performance art and installations. In contemporary dance and performance art, energetic processes are no longer mere conditions of form but appear as distinct aesthetic interventions. They transform the body, evoke specific states and push towards intensities. International contributors (i.e. Gerald Siegmund, Susan Leigh Foster, Lucia Ruprecht) unfold thorough investigations, elucidating maneuvers of mobilization, activation, initiation, regulation, navigation and containment of forces as well as different potentials and promises associated with the ›energetic‹.
Engaging Audiences: A Cognitive Approach to Spectating in the Theatre (Cognitive Studies in Literature and Performance)
by B. McConachieEngaging Audiences asks what cognitive science can teach scholars of theatre studies about spectator response in the theatre. Bruce McConachie introduces insights from neuroscience and evolutionary theory to examine the dynamics of conscious attention, empathy and memory in theatre goers.
Engaging Performance: Theatre as call and response
by Jan Cohen-CruzEngaging Performance: Theatre as Call and Response presents a combined analysis and workbook to examine "socially engaged performance." It offers a range of key practical approaches, exercises, and principles for using performance to engage in a variety of social and artistic projects. Author Jan Cohen-Cruz draws on a career of groundbreaking research and work within the fields of political, applied, and community theatre to explore the impact of how differing genres of theatre respond to social "calls." Areas highlighted include: playwrighting and the engaged artist theatre of the oppressed performance as testimonial the place of engaged art in cultural organizing the use of local resources in engaged art revitalizing cities and neighborhoods through engaged performance training of the engaged artist. Cohen-Cruz also draws on the work of major theoreticians, including Bertolt Brecht, Augusto Boal, and Doreen Massey, as well as analyzing in-depth case studies of the work of US practitioners today to illustrate engaged performance in action. Jan Cohen-Cruz is director of Imagining America: Artists and Scholars in Public Life. She is the author of Local Acts: Community-based Performance in the US; the editor of Radical Street Performance; co-editor, with Mady Schutzman, of Playing Boal: Theatre, Therapy, Activism and A Boal Companion; and a University Professor at Syracuse University.