The Dreamer 4
Bob Parker has a shock when his doctor tells him he has an inoperable brain tumor. While he tries to live as best he can with his family, he begins to have strange dreams that seem real to him. The dreams begin to dominate him and seem to appear to be about members of his family many years in the future. As his disease progresses, he f inds he can no longer communicate with his family to warn them about the tragic events that his dreams tell him that will happen. Even comatose, his dreams continue and take on a story of their own. The drama continues in a tangled plot of attempted murder, heroism, and romance.
Creole Cinema
Creole Cinema: Memory Traces is the first book written in English on Francophone Caribbean cinema. It establishes a postcolonial, Caribbean, and fundamentally Creole theoretical framework for the interpretation of works which the author defines as Creole cinema, through the lens of Patrick Chamoiseau's concept of the Trace-m矇moire. In so doing, it examines the remarkable multisensory forms of memory expression performed by Creole cinema, drawing on work on intercultural cinema and haptic visuality by Laura Marks, and on Hamid Naficy's insights into accented cinema. Initially undertaking a general survey which provides the most comprehensive account of Francophone Caribbean cinema to date, the critical framework is then developed in a series of case-studies which analyse Biguine (2004) directed by Guy Deslauriers with a screenplay by Chamoiseau; Nord-Plage (2004) directed by Jos矇 Hayot, again with Chamoiseau as author of the screenplay; Rue Cases-N癡gres (1983, Sugar Cane Alley) directed by Euzhan Palcy; and N癡g maron (2005) directed by Jean-Claude Barny. Each case study establishes how the Trace-m矇moire manifests in a complex haptic multisensory set of dynamics which can be discerned both in individual works and across a wider range of films considered, in order to access and retrieve - here with a particular emphasis on processes of creative intuition - subaltern and marginalised memories and histories. The study works in a consistently interdisciplinary manner across areas including Francophone Studies, Film Studies, Postcolonial Studies, World Cinema, and Black Studies, and represents a timely intervention on urgent debates around black representation in cinema.
British Theatre and Young People
British Theatre and Young People gathers together new and original studies on the issues, theories, practices and perceptions which characterise British theatre about, for, by, and with young people in the 21st century.
High Class Natives, The Ballroom Dancers & Mbira Players
"High Class Natives - The Ballroom Dancers and the Mbira Players" is a musical stage play.Set in late 1970s Rhodesia, "High Class Natives" explores the tumultuous clash of cultures within the Choto family, encapsulated in the fight for identity amid racial oppression and political turmoil. Living in Beatrice Cottages, an enclave of relative prosperity within the African township of Salisbury, the family grapples with the impact of war, colonial legacy, and their divergent futures.In the story, the recently widowed Choto family patriarch, Majasi, finds himself living in Beatrice Cottages at the home of his oldest son, Rwizi. His village home was burnt to the ground by the Rhodesian Army forces in Mhondoro African Reservation after they had killed his old wife as punishment for her having obliged some guerrilla fighters who were passing through, who had brought some meat with them that they needed cooked for a meal.When the story begins, we hear, in a private conversation between Rwizi and his wife in their bedroom, Rwizi's wife, Sally, makes it clear to her husband that she has no intention of accommodating his father nor his young brother in their house any longer than she must, and it is only to help him out with his relatives. She justifies her inhospitality on the premise that Rwizi's family's presence in their home is going to be disruptive to her aim to raise their6 year old son, John, to be a European cultured person.Rwizi finds himself in a hard place torn between his obligation to his father and to his wife. Rwizi owes his father a lot. It was his father who sold most of their family's small cattle herd to pay for his higher education which enabled him to land the management job in the Revenue Department of the City of Salisbury. It was also his father who loaned him the money for the down payment on the Beatrice Cottages house they live in. Not only does Rwizi love his father and brother wholeheartedly but according to Shona native tradition, it also behooves him, as his duty as the oldest son in the family, to ensure the health and welfare of the whole family. Nonetheless, he has an equal obligation to his nuclear family and the society-page-life that his wife aspires to.
Primary Trust
Winner of the 2024 Pulitzer Prize for Drama, Primary Trust is an arresting character study of an isolated man finding the courage to expand his world and begin again. Thirty-eight-year-old Kenneth lives a comfortable life of routine in suburban New York: after days spent working at a used bookstore, he whiles away his evenings knocking back mai tais with his best friend Burt at the local tiki bar. But when the long-time bookstore owner decides to close up shop for good, Kenneth panics at the prospect of finding a new job--a process that unearths long-suppressed fears. When Kenneth makes a new friend named Corrina, and she begins to ask questions Kenneth isn't prepared to answer: how many mai tais is too many mai tais? And who--or what--is Burt? Primary Trust is a deeply affecting play about the careful structures we build to contain oceans of feeling and what happens when those structures begin to crumble.
If the Song Doesn't Work, Change the Dress
Iconic Broadway costume designer Patricia Zipprodt (1925-99) tells her own colorful story from a tumultuous childhood in Depression-era Chicago to Bohemian New York in the 1950s, becoming one of the 20th century's most celebrated designers. Told with Zipprodt's acerbic humor and delicious wit, If the Song Doesn't Work, Change the Dress charts her journey to 1950s Greenwich Village, America's literary and artistic Bohemia. Tracking her career as it plunges into the developing Off-Broadway movement, and charting her personal and professional failures and successes collaborating with the biggest artists of the day - Jerome Robbins, Hal Prince, and Bob Fosse - making her one of the most recognizable, and award-winning, designers of 20th-century theatre. Published in full color, this illustrated memoir includes pictures from Zipprodt's own archive including sketches, drawings, and photographs of her work from some of the most significant shows of the 20th century, including Cabaret, Fiddler on the Roof, Chicago, and Pippin, and her work with such American theatre giants as Jo Mielziner, Irene Sharaff, Jos矇 Quintero, Boris Aronson, Tony Walton, and Joel Grey, who provides a personal foreword to the memoir. Zipprodt's posthumous collaborator, theatre design historian Arnold Wengrow provides a vivid epilogue about her final battle with cancer. Drawing from her archive at the New York Public Library and Museum of the Performing Arts, he amplifies her recollections with letters, oral histories, and interviews she gave over the years to offer a portrait of an artist consistently working against the grain. If the Song Doesn't Work, Change the Dress will delight readers interested in Broadway, ballet, opera, and the history of costume design. Her lively anecdotes about New York theatre and working in Hollywood provide a rich insight into the life and work of a celebrated female creative giant of American theatre.
Aristophanes
This is the first book-length study dedicated to Aristophanes' Wasps (422 BCE), which is arguably one of his most hilarious and inventive comedies. At the heart of Wasps is a comic conflict between an Athenian father named Philocleon and his son Bdelycleon; at stake are issues of political discourse, the judicial system, social class and mental illness. Alongside Aristophanes' striking scenes involving a chorus of citizen wasps, a dog trial, and a concluding dance-off between tragedy and comedy, the reader is shown the theatrical genius of the playwright which is able to find the humor in the political, social and generational problems of his time. Ideal for students with no experience in Greek comedy or for researchers wanting an updated analysis of the play, this book explores Wasps in terms of Aristophanes' particular brand of Old Comedy, its historical context, innovative stagecraft and its reception up until the present day. While early modern playwrights such as Ben Jonson and Jean Racine tended to co-opt memorable scenes from Wasps such as the dog trial, more recent productions have interpreted the play as a political comedy about the fragility of democratic institutions. This is the ideal companion for anyone studying Wasps and its effect on later theater.
The False One
Advertised in its Prologue as a prequel to Shakespeare's Julius Caesar and Antony and Cleopatra, Fletcher and Massinger's The False One is the first literary work completely to revolve around the affair between Caesar and Cleopatra. In its deployment of their liaison as a venue for the exploration and criticism of contemporary political manoeuvring and its high-spirited and pungent appropriation of Roman history, the play proves to be one of the most compelling Jacobean dramatizations of the classical past. This Revels Plays edition offers the first fully annotated, single-volume critical edition of The False One, with a thorough introduction that provides new insights on the date and the theatre of the play's first performance, examines the playwrights' reworking of their sources and explores the theatrical potential of a play that has hitherto regrettably been lost to the dramatic repertory.
#Wakingthefeminists and the Data-Driven Revolution in Irish Theatre
The Massacre at Paris
This volume presents a modernised edition of Christopher Marlowe's critical engagement with one of the bloodiest and traumatic episodes of the French Wars of Religion, the wholesale massacre of French Huguenots in Paris in August, 1572. Sensorily shocking and intellectually gripping, the play's dramatic action spans a tumultuous two decades in French history to unfold for its audience the tragic consequences of religious fanaticism, power politics, and dynastic rivalry. Comprehensively introduced and containing full commentary notes, this edition opens up this frequently neglected but historically significant and dramatically powerful play to student and scholar alike. The introduction examines such topics as the history of the massacre, the play's treatment of its sources, the play's dramatisation of trauma, and the play's exploration of notions of religious toleration.
#Wakingthefeminists and the Data-Driven Revolution in Irish Theatre
Portland's Historic Houses of Worship
The historic houses of worship in Portland date back to 1850 with the creation of the city's first church, First Methodist. The Portland community embraced not just faith and values but also their aesthetic priorities as a society. Working in diverse styles such as Gothic Revival, Italianate, Romanesque Revival, and Modernism, architects Warren Williams, A.E. Doyle, Pietro Belluschi, and a host of others helped forge Portland's architectural identity. While Portland's earliest houses of worship are gone, a nearly complete photographic record of their existence remains. Portland's religious communities have a long history of diversity, and the inclusion of as many faiths as possible has been a priority in the creation of this book.John Doyle has been a lifelong student of history, architecture, and art history. After earning his master's of art in art history from Tufts University, Doyle lectured at the Met Cloisters and then lived and traveled overseas for several years. He has lived in Portland since 1997 and has been a docent for the Architectural Heritage Center and a private tour guide since 2010. Doyle has devoted hundreds of hours to the study of Portland and Oregon history at the Oregon Historical Society, from whose collection most of the photographs in the book were obtained.
