Mobile Theater


Book Description

Taking as a starting point a design for a mobile theater made at the Architectural Association of London between 1970 and1971 by Spanish architect Javier Navarro de Zuvillaga (born 1942), this book traces the architectural counterculture of that time and the relations with the alternative performing arts. Architect Javier Navarro de Zuvillaga (1942) graduated in 1968 at Madrid School of Architecture. During the academic year 1970-1971 he travelled from Madrid to London thanks to a grant of the British Council to complete his postgraduate training at the Architectural Association. There he designed a building called Mobile Theater. It was a theatrical device composed of several 8 x 2,5 meters trucks carefully designed, which contained all the building elements needed to shape a space for the performing arts or other collective uses. The assembly time —estimated for four workers— was six and a half hours. This project was internationally showed and published between 1971 and 1975, but was never built. This book intends to release this project, largely ignored by canonical historiography, and to culturally place it in time and space: the agitated city of London in 1971. After the convulsions of May 1968, architectural counterculture rearmed on very different fronts, from the disciplinary rally to the guerilla positions. This architectural design accounts for these events, since it had a temporal development that goes beyond its mere conception as an artifact. The long and frustrated process for construction —1969 to 1976— calls for a particular intra-history, which this books will tell.




Mobile Theater


Book Description

Taking as a starting point a design for a mobile theater made at the Architectural Association of London between 1970 and1971 by Spanish architect Javier Navarro de Zuvillaga (born 1942), this book traces the architectural counterculture of that time and the relations with the alternative performing arts. Architect Javier Navarro de Zuvillaga (1942) graduated in 1968 at Madrid School of Architecture. During the academic year 1970-1971 he travelled from Madrid to London thanks to a grant of the British Council to complete his postgraduate training at the Architectural Association. There he designed a building called Mobile Theater. It was a theatrical device composed of several 8 x 2,5 meters trucks carefully designed, which contained all the building elements needed to shape a space for the performing arts or other collective uses. The assembly time --estimated for four workers-- was six and a half hours. This project was internationally showed and published between 1971 and 1975, but was never built. This book intends to release this project, largely ignored by canonical historiography, and to culturally place it in time and space: the agitated city of London in 1971. After the convulsions of May 1968, architectural counterculture rearmed on very different fronts, from the disciplinary rally to the guerilla positions. This architectural design accounts for these events, since it had a temporal development that goes beyond its mere conception as an artifact. The long and frustrated process for construction --1969 to 1976-- calls for a particular intra-history, which this books will tell.







City Room


Book Description

A New York Times Notable Book Arthur Gelb was hired by The New York Times in 1944 as a night copyboy—the paper’s lowliest position. Forty-five years later, he retired as its managing editor. Along the way, he exposed crooked cops and politicians, mentored a generation of our most-talented journalists, was the first to praise the as-yet-undiscovered Woody Allen and Barbra Streisand, and brought Joe Papp instant recognition. From D-Day to the liberation of the concentration camps, from the agony of Vietnam to the resignation of a President, from the fall of Joe McCarthy to the rise of the “Woodstock Nation,” Gelb gives an insider’s take on the great events of this nation's history—what he calls “the happiest days of my life.”




The Medical Department


Book Description




Joe Papp: An American Life


Book Description

Joseph Papp (1921-1991), theater producer, champion of human rights and of the First Amendment, founder of the New York Shakespeare Festival and Public Theater, changed the American cultural landscape. Born Yussel Papirofsky in Williamsburg, Brooklyn, he discovered Shakespeare in public school and first produced a show on an aircraft carrier during World War II. After a stint at the Actors’ Lab in Hollywood, he moved to New York, where he worked as a CBS stage manager during the golden age of television. He fought Parks Commissioner Robert Moses (as well as Mayors Wagner, Lindsay, Beame and Koch) winning first the right to stage free Shakespeare in New York’s Central Park, then municipal funding to keep it going. He built the Delacorte Theater and later rebuilt the former Astor Library on Lafayette Street, transforming it into the Public Theater. In addition to helping create an "American" style of Shakespeare, Papp pioneered colorblind casting and theater as a not-for-profit institution. He showcased playwrights David Rabe, Elizabeth Swados, Ntozake Shange, David Hare, Wallace Shawn, John Guare, and Vaclav Havel; directors Michael Bennett, Wilford Leach and James Lapine; actors Al Pacino, Colleen Dewhurst, George C. Scott, James Earl Jones, Meryl Streep, Kevin Kline, Sam Waterston, and Denzel Washington; and produced Hair, Sticks and Bones, for colored girls, The Normal Heart, and A Chorus Line, the longest running musical in Broadway history. "This first biography of the late Joseph Papp will be a hard act to follow." — Booklist "The final portrait that emerges might have been jointly painted by Goya, Whistler and Francis Bacon." — Benedict Nightingale, front-page New York Times Sunday Book Review Playwright Tony Kushner called Papp "one of the very few heroes this tawdry, timid business has produced" and the book, a "nourishing and juicy biography." "Helen Epstein recounts [Papp's] career in [this] definitive, meticulously researched and highly readable biography. [...] It is a tribute to Epstein’s narrative skill that the detailed account of Papp’s decline and eventual defeat by cancer [...] reads as both riveting and horrifying." — Ellen Schiff, All About Jewish Theatre Oklahoma-born Paul Davis created 51 iconic posters for Joseph Papp, starting in 1975 with the New York Shakespeare Festival production of "Hamlet" starring Sam Waterston. "It was inspiring to work with Joe," says Davis. "We would discuss what he wanted to achieve in a production, and he trusted me to find a way to express it. And he respected the poster as its own dramatic form." The artist’s work has been exhibited in the U.S., Europe and Japan. He is a recipient of a special Drama Desk award created for his theater art. Davis was elected to the Art Directors Club Hall of Fame and the Society of Illustrators Hall of Fame, and is a Fellow of the American Academy in Rome.







Hearings on Military Posture and H.R. 1872 (H.R. 4040), Department of Defense Authorization for Appropriations for Fiscal Year 1980, and H.R. 2575 (S. 429), Department of Defense Supplemental Authorization for Appropriations for Fiscal Year 1979 Before the Committee on Armed Services, House of Representatives, Ninety-sixth Congress, First Session


Book Description




Historical Dictionary of African American Theater


Book Description

This second edition of Historical Dictionary of African American Theater reflects the rich history and representation of the black aesthetic and the significance of African American theater’s history, fleeting present, and promise to the future. It celebrates nearly 200 years of black theater in the United States and the thousands of black theater artists across the country—identifying representative black theaters, playwrights, plays, actors, directors, and designers and chronicling their contributions to the field from the birth of black theater in 1816 to the present. This second edition of Historical Dictionary of African American Theater, Second Edition contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on actors, playwrights, plays, musicals, theatres, -directors, and designers. This book is an excellent resource for students, researchers, and anyone wanting to know and more about African American Theater.




Historical Dictionary of Russian Theater


Book Description

Despite constant hindrance from government interference and control, the Russian theater has produced many memorable playwrights, schools of thought, and plays, whose influence can be seen throughout the world. Nikolai Gogol''s The Inspector, Maksim Gor'kii's The Lower Depths, and Anton Chekhov's The Cherry Orchard remain staples of repertories in every language. The ideas of Konstantin Stanislavskii, Vsevolod Meierkhol'd, and Mikhail Chekhov continue to inspire actors and directors, and designers still draw on the graphics of the World of Art group and the Constructivists. The Historical Dictionary of Russian Theater is the only reference work in English devoted exclusively to Russian theater and drama. It provides information on the popular plays and playwrights while also offering information on many persons, works, and phenomena omitted from standard encyclopedias. Through the use of a chronology, an introductory essay, a bibliography, an appendix, and hundreds of cross-referenced dictionary entries on directors, stage designers, actors, plays, playwrights, concepts, theater buildings, and troupes, this reference provides an unrivaled account of Russian theater.