Mickey Mouse, Betty Boop, Donald Duck, Bugs Bunny, Felix the Cat, and other beloved cartoon characters have entertained media audiences for almost a century, outliving the human stars who were once their contemporaries in studio-era Hollywood. In Animated Personalities, David McGowan asserts that iconic American theatrical short cartoon characters should be legitimately regarded as stars, equal to their live-action counterparts, not only because they have enjoyed long careers, but also because their star personas have been created and marketed in ways also used for cinematic celebrities.
Drawing on detailed archival research, McGowan analyzes how Hollywood studios constructed and manipulated the star personas of the animated characters they owned. He shows how cartoon actors frequently kept pace with their human counterparts, granting “interviews,” allowing “candid” photographs, endorsing products, and generally behaving as actual actors did—for example, Donald Duck served his country during World War II, and Mickey Mouse was even embroiled in scandal. Challenging the notion that studios needed actors with physical bodies and real off-screen lives to create stars, McGowan demonstrates that media texts have successfully articulated an off-screen existence for animated characters. Following cartoon stars from silent movies to contemporary film and television, this groundbreaking book broadens the scope of star studies to include animation, concluding with provocative questions about the nature of stardom in an age of digitally enhanced filmmaking technologies.
Описание: This is the first major book-length study for four decades to examine the plays written by D. H. Lawrence, and the first ever book to give an in-depth analysis of Lawrence's interaction with the theatre industry during the early twentieth century. It connects and examines his performance texts, and explores his reaction to a wide-range of theatre (from the sensation dramas of working-class Eastwood to the ritual performances of the Pueblo people) in order to explain Lawrence's contribution to modern drama.
F. R. Leavis influentially labelled the writer 'D. H. Lawrence: Novelist'. But this book foregrounds Lawrence's career as a playwright, exploring unfamiliar contexts and manuscripts, and drawing particular attention to his three most successful works: The Widowing of Mrs Holroyd, The Daughter-in-Law, and A Collier's Friday Night. It examines how Lawrence's novels are suffused with theatrical thinking, revealing how Lawrence's fictions - from his first published work to the last story that he wrote before his death - continually take inspiration from the playhouse.
The book also argues that, although Lawrence has sometimes been dismissed as a restrictively naturalistic stage writer, his overall oeuvre shows a consistent concern with theatrical experiment, and manifests affinities with the dramatic thinking of modernist figures including Brecht, Artaud, and Joyce. In a final section, the book includes contributions from influential theatre-makers who have taken their own cue from Lawrence's work, and who have created original work that consciously follows Lawrence in making working-class life central to the public forum of the theatre stage.
The first book to focus specifically on the late German artist Christoph Schlingensief's theatre work, it subversively merges art, politics and everyday life to imbue his productions both inside and outside the theatre with a re-energized concept of the political in art.
Scheer traces Schlingensief's artistic lineage as a filmmaker with no formal training in theatre, whose work does not correspond to theoretical frameworks such as postdramatic theatre, Regietheater, or established categories of political theatre such as Brechtian, community, and agit-prop theatre. She explores how his work instead draws upon the highly performative gestures of the historical and post-Cold War avant-gardes as well the happenings and event-based practices of the sixties. Comprehensive case studies of six diverse theatrical and activist events are offered to demonstrate both the immediacy of Schlingensief's response to contemporary social and political events and his use of a range of artistic influences and different genres: Rocky Dutschke '68 (1996), Save Capitalism: Throw the Money Away (1999) The Berlin Republic - or the Ring in Africa (1999) Hamlet (2001), Atta Atta - Art Has Broken Out (2003) and the Church of Fear (2003).
Key questions such as how his theatre functions as a provocation, and how an artist can insert themselves into the powerful flows of imagery produced by the perpetual global news cycle, form a coherent line of enquiry throughout each of the chapters. The significance of Schlingensief's artistic legacy of politicized theatre-making that pioneers new modes of active, aesthetic and public engagement in the political realm remains pertinent to topical socio-political debates and is of relevance to an international audience across a diversity of disciplines.
The author examines the vigorous reception of the German theater in Greece, a phenomenon that took place along with the process of establishing in Athens, in 1901 the Royal Theater. The multiple aesthetic, social and political forms of this phenomenon provided a "locus of contact" with the German culture and accomplished a function, regarded as the instrument for the development of the bourgeois theater in Greece. This happened through the work of theater practitioners and intellectuals, as well as through the transfer of institutions, theatrical plays, and scripts of direction instructions, decorations, and props. The performances staged were the iceberg in the process of this reception, as they provided a strategy toward the revitalization of the Greek theater, realized in a productive way.
Описание: This book revisits In-Yer-Face theatre, an explosive, energetic theatrical movement from the 1990s that introduced the world to playwrights Sarah Kane, Martin McDonagh, Mark Ravenhill, Jez Butterworth, and many others.
Автор: Hoppen, Stephanie Название: Perfect curtains ISBN: 1906417105 ISBN-13(EAN): 9781906417109 Издательство: Hachette UK Рейтинг: Цена: 2822.00 р. Наличие на складе: Поставка под заказ.
Описание: Gathers together a mix of easy, elegant curtains and blinds that reflect the trends in curtain design. This title features signature fabrics from key international designers such as Donghia, J Robert Scott, and Linum. It includes a section on refining and personalising elaborates on the essentials of poles and finials, and edgings and trimmings.
Автор: Williams Bryon Название: A Light at the End: A Very Unusual Theatrical Memoir ISBN: 0648423816 ISBN-13(EAN): 9780648423812 Издательство: Неизвестно Рейтинг: Цена: 2897.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Funny, touching, sad, with a light of hope at the end of the tunnel.
There are thousands of working actors in this country and only a handful will ever make it as rich and famous International Stars. This story is not about one of the handful.
This is the tragicomedy memoir of a Stage and Television star of the 70s and 80s who is forced to abandon his career when his beloved wife, Marie, suffers a massive stroke which leaves her physically disabled. As her full time carer and with approaching old age he reviews their life together and resorts to his sense of humor and writing to enable him to cope with the restrictions of his new found, unexpected way of life and to satisfy his driving creative inclinations.
The story reveals the author's comic reaction to his career and encroaching old age intertwined with a touching love story that eventually questions his spiritual beliefs and makes him into the man he has become. As he says, "Not a trip for the faint hearted."
Mickey Mouse, Betty Boop, Donald Duck, Bugs Bunny, Felix the Cat, and other beloved cartoon characters have entertained media audiences for almost a century, outliving the human stars who were once their contemporaries in studio-era Hollywood. In Animated Personalities, David McGowan asserts that iconic American theatrical short cartoon characters should be legitimately regarded as stars, equal to their live-action counterparts, not only because they have enjoyed long careers, but also because their star personas have been created and marketed in ways also used for cinematic celebrities.
Drawing on detailed archival research, McGowan analyzes how Hollywood studios constructed and manipulated the star personas of the animated characters they owned. He shows how cartoon actors frequently kept pace with their human counterparts, granting “interviews,” allowing “candid” photographs, endorsing products, and generally behaving as actual actors did—for example, Donald Duck served his country during World War II, and Mickey Mouse was even embroiled in scandal. Challenging the notion that studios needed actors with physical bodies and real off-screen lives to create stars, McGowan demonstrates that media texts have successfully articulated an off-screen existence for animated characters. Following cartoon stars from silent movies to contemporary film and television, this groundbreaking book broadens the scope of star studies to include animation, concluding with provocative questions about the nature of stardom in an age of digitally enhanced filmmaking technologies.
Описание: The first book to focus specifically on the late German artist Christoph Schlingensief's theatre work, it subversively merges art, politics and everyday life to imbue his productions both inside and outside the theatre with a re-energized concept of the political in art.
Scheer traces Schlingensief's artistic lineage as a filmmaker with no formal training in theatre, whose work does not correspond to theoretical frameworks such as postdramatic theatre, Regietheater, or established categories of political theatre such as Brechtian, community, and agit-prop theatre. She explores how his work instead draws upon the highly performative gestures of the historical and post-Cold War avant-gardes as well the happenings and event-based practices of the sixties. Comprehensive case studies of six diverse theatrical and activist events are offered to demonstrate both the immediacy of Schlingensief's response to contemporary social and political events and his use of a range of artistic influences and different genres: Rocky Dutschke '68 (1996), Save Capitalism: Throw the Money Away (1999) The Berlin Republic - or the Ring in Africa (1999) Hamlet (2001), Atta Atta - Art Has Broken Out (2003) and the Church of Fear (2003).
Key questions such as how his theatre functions as a provocation, and how an artist can insert themselves into the powerful flows of imagery produced by the perpetual global news cycle, form a coherent line of enquiry throughout each of the chapters. The significance of Schlingensief's artistic legacy of politicized theatre-making that pioneers new modes of active, aesthetic and public engagement in the political realm remains pertinent to topical socio-political debates and is of relevance to an international audience across a diversity of disciplines.
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