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Dreamwrighting for Stage and Screen
Author:
Dreamwork for Dramatic Writing: Dreamwrighting for Stage and Screen teaches you how to use your dreams, content, form, and structure, to write surprisingly unique new drama for film and stage. It is an exciting departure from traditional linear, dramatic technique, and addresses both playwriting and screenwriting, as the profession is increasingly populated by writers who work in both stage and screen. Developed through 25 years of teaching award-winning playwrights in the University of Missouri’s Writing for Performance Program, and based upon the phenomenological research of renowned performance theorist Bert O. States, this book offers a foundational, step-by-step organic guide to non-traditional, non-linear technique that will help writers beat clichéd, tired dramatic writing and provides stimulating new exercises to transform their work.
Dreamwrighting for Stage and Screen
Author:
Dreamwork for Dramatic Writing: Dreamwrighting for Stage and Screen teaches you how to use your dreams, content, form, and structure, to write surprisingly unique new drama for film and stage. It is an exciting departure from traditional linear, dramatic technique, and addresses both playwriting and screenwriting, as the profession is increasingly populated by writers who work in both stage and screen. Developed through 25 years of teaching award-winning playwrights in the University of Missouri’s Writing for Performance Program, and based upon the phenomenological research of renowned performance theorist Bert O. States, this book offers a foundational, step-by-step organic guide to non-traditional, non-linear technique that will help writers beat clichéd, tired dramatic writing and provides stimulating new exercises to transform their work.
Author:
When Dorothy Hewett joked about needing a face-lift and sex-change to improve her standing, she drew attention to forces that shaped the production and reception of her drama. Drawing on production of her plays over four decades, and interviews with Hewett’s collaborators, this book reveals how cultural memories in theatre solidify and dissolve.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Author:
When Dorothy Hewett joked about needing a face-lift and sex-change to improve her standing, she drew attention to forces that shaped the production and reception of her drama. Drawing on production of her plays over four decades, and interviews with Hewett’s collaborators, this book reveals how cultural memories in theatre solidify and dissolve.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Pusaka as Documented Heritage
Volume Editor:
This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.
Pusaka as Documented Heritage
Volume Editor:
This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.
Editor:
The aims of Australian Playwrights are:
• To contribute to the interpretation, critical analysis, recognition, promotion, and wider understanding of Australian drama, theatre and performance.
• To publish scholarship on Australian drama, theatre and performance, including: critical studies of a particular playwright, director or company and their plays, productions and/or performances; thematic studies exploring the work of a group of Australian playwrights, theatre companies and/or performance makers; and scholarly books investigating a period, topic or approach in Australian drama, theatre or performance.
• To enliven, enrich, inform and illustrate the study of drama, theatre and performance, both within Australia and internationally, especially for scholars, artists and students.
Each book in the series offers an in-depth study aimed at furthering knowledge of Australian drama, theatre and performance within the broader formation of Australian culture by drawing on a range of primary and secondary sources concerned with playwriting, performance-making, theatre production and/or critical reception.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Questions about your manuscript and proposals can also be directed to the Series Editor, Jonathan Bollen.
• To contribute to the interpretation, critical analysis, recognition, promotion, and wider understanding of Australian drama, theatre and performance.
• To publish scholarship on Australian drama, theatre and performance, including: critical studies of a particular playwright, director or company and their plays, productions and/or performances; thematic studies exploring the work of a group of Australian playwrights, theatre companies and/or performance makers; and scholarly books investigating a period, topic or approach in Australian drama, theatre or performance.
• To enliven, enrich, inform and illustrate the study of drama, theatre and performance, both within Australia and internationally, especially for scholars, artists and students.
Each book in the series offers an in-depth study aimed at furthering knowledge of Australian drama, theatre and performance within the broader formation of Australian culture by drawing on a range of primary and secondary sources concerned with playwriting, performance-making, theatre production and/or critical reception.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Questions about your manuscript and proposals can also be directed to the Series Editor, Jonathan Bollen.
New Directions in International Theatre and Performance
Series Editor:
Published in association with the International Federation for Theatre Research (IFTR), this series is a platform for innovative scholarly work that takes seriously the pledge of the international. We ask: what promise does this term hold for Theatre and Performance Studies today? First coined in the late eighteenth century to define a space for inter-state relations, the term has since migrated from law to political and cultural practice, retaining connotations of an ever-expanding, progressive vision of global cooperation. Theatre and Performance Studies have long pursued the promise of the international, from re-thinking “national” canons to developing novel theoretical and methodological foundations for the study of theatre and performance. The series publishes both monographs and edited volumes that represent and at the same time critically interrogate these very processes. We thus invite submissions that examine the evolving diversity of performances from Eurasia, Africa, the Americas, and Oceania. We seek to become an intellectual home to manuscripts that contain an overtly international or transnational dimension, explore new historical, methodological and geographical frontiers, and address pressing contemporary concerns.
For information on the IFTR and its annual conferences, please see the organization’s website: www.iftr.org.
For inquiries regarding the Series, please contact the Editors, Milija Gluhovic (m.gluhovic@warwck.ac.uk) and Emine Fişek (emine.fisek@boun.edu.tr).
Interested authors are invited to submit proposals for collected volumes to the publisher at BRILL, Christa Stevens.
For information on the IFTR and its annual conferences, please see the organization’s website: www.iftr.org.
For inquiries regarding the Series, please contact the Editors, Milija Gluhovic (m.gluhovic@warwck.ac.uk) and Emine Fişek (emine.fisek@boun.edu.tr).
Interested authors are invited to submit proposals for collected volumes to the publisher at BRILL, Christa Stevens.
Series:
Sinica Leidensia, Volume: 158
Author:
After the strikingly beautiful Peony Pavilion, how could one write about love and the ideal of emotional authenticity (qing) in the chuanqi genre?
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
Series:
Sinica Leidensia, Volume: 158
Author:
After the strikingly beautiful Peony Pavilion, how could one write about love and the ideal of emotional authenticity (qing) in the chuanqi genre?
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
Music, Images, and Drama to Promote the Reformation
Martin Luther was the architect and engineer of the Protestant Reformation, which transformed Germany five hundred years ago. In Martin Luther and the Arts, Andreas Loewe and Katherine Firth elucidate Luther’s theory and practice, demonstrating the breadth, flexibility and rigour of Luther’s use of the arts to reach audiences and convince them of his Reformation message using a range of strategies, including music, images and drama alongside sermons, polemical tracts, and his new translation of the Bible into German.
Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.
Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.
Music, Images, and Drama to Promote the Reformation
Martin Luther was the architect and engineer of the Protestant Reformation, which transformed Germany five hundred years ago. In Martin Luther and the Arts, Andreas Loewe and Katherine Firth elucidate Luther’s theory and practice, demonstrating the breadth, flexibility and rigour of Luther’s use of the arts to reach audiences and convince them of his Reformation message using a range of strategies, including music, images and drama alongside sermons, polemical tracts, and his new translation of the Bible into German.
Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.
Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.
What does 'performance' mean in Christian culture? How is it connected to rituals, dramatic and visual arts, and the written word? Performing the Sacred: Christian Representation and the Arts explores both the meaning of re-presentation and the role of performance within the Christian tradition between arts and drama. The essays in this book demonstrate that the idea of performance was central to Christian theology and that—from the Middle Ages to the Early Modern era—it became a device through which people saw, prayed, preached, wrote, imagined, officiated rites, celebrated cults, and practiced devotions. Seen that performance is a habitus within Christianity, performing the sacred does not just mean representing it, but rather enacting it in a tangible, visible and involved way.
What does 'performance' mean in Christian culture? How is it connected to rituals, dramatic and visual arts, and the written word? Performing the Sacred: Christian Representation and the Arts explores both the meaning of re-presentation and the role of performance within the Christian tradition between arts and drama. The essays in this book demonstrate that the idea of performance was central to Christian theology and that—from the Middle Ages to the Early Modern era—it became a device through which people saw, prayed, preached, wrote, imagined, officiated rites, celebrated cults, and practiced devotions. Seen that performance is a habitus within Christianity, performing the sacred does not just mean representing it, but rather enacting it in a tangible, visible and involved way.
Ein Grundlagentext zur Praxis und Ästhetik des japanischen Nō-Theaters. Zweisprachige Ausgabe. Übersetzt, philosophisch erläutert und herausgegeben von Ryōsuke Ōhashi, Rolf Elberfeld und Leon Krings
Series:
Ästhetische Praxis, Volume: 1
Author: