100 Essays I Don't Have Time to Write


Book Description

100 Essays I Don't Have Time to Write is an incisive, idiosyncratic collection on life and theater from major American playwright Sarah Ruhl. This is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life. Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."




Diverse Pursuits


Book Description

The five essays in this book reflect many years of the author's sustained academic engagement with dramatic forms and traditions. The opening essay traces the historical trajectory of modern drama in Europe from its bourgeois period through the period of the liberal dissent to the more recent periods of radical alternative. The subsequent essays deal with certain specific examples of that drama in India and the West, such as Shakespeare adaptations on the Parsi theatre stage, Habib Tanvir, and Samuel Beckett. The author places each of these in a historical perspective. This approach constitutes the theoretical underpinning of the book giving cohesion to this collection of diverse essays. Although they were individually published in various journals and books in their earlier versions, they have been substantially revived and updated by the author for this volume. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.




What's the Story


Book Description

Anne Bogart is an award-winning theatre maker, and a best-selling writer of books about theatre, art, and cultural politics. In this her latest collection of essays she explores the story-telling impulse, and asks how she, as a ‘product of postmodernism’, can reconnect to the primal act of making meaning and telling stories. She also asks how theatre practitioners can think of themselves not as stagers of plays but ‘orchestrators of social interactions’ and participants in an on-going dialogue about the future. We dream. And then occasionally we attempt to share our dreams with others. In recounting our dreams we try to construct a narrative... We also make stories out of our daytime existence. The human brain is a narrative creating machine that takes whatever happens and imposes chronology, meaning, cause and effect... We choose. We can choose to relate to our circumstances with bitterness or with openness. The stories that we tell determine nothing less than personal destiny. (From the introduction) This compelling new book is characteristically made up of chapters with one-word titles: Spaciousness, Narrative, Heat, Limits, Error, Politics, Arrest, Empathy, Opposition, Collaboration and Sustenance. In addition to dipping into neuroscience, performance theory and sociology, Bogart also recounts vivid stories from her own life. But as neuroscience indicates, the event of remembering what happened is in fact the creation of something new.




The Drama of Social Life


Book Description

These essays explore the many ways theatre and dramaturgy are used to shape the everyday experience of people in mass societies. Young argues that technologies combine with the world of art, music, and cinema to shape consciousness as a commodity and to fragment social relations in the market as well as in religion and politics. He sees the central problem of post-modern society as how to live in a world constructed by human beings without nihilism on the one hand or repressive dogmatism on the other. Young argues that in advanced monopoly capitalism, dramaturgy has replaced coercion as the management tool of choice for the control of consumers, workers, voters and state functionaries. Young calls this process the colonization of desire.' Desire is colonized by the use of dramaturgy, mass media, and the various forms of art in order to generate consumers, vesting desire in ownership and display rather than in interpersonal relationships with profound consequence for marriage, kinship, friendship and community. This gives rise to an ugly post-modern morality; moral action ceases to be mediated by self-other relations and is mediated by possession and use of commodities. While Young focuses his critique on capitalist societies undergoing great changes, he insists that the same developments are to be found in bureaucratically organized socialist societies. As social forces of self become untenable, other nonsocial source of self become attractive to the questing individual: body shape, body decorations, clothing fashions, astrological signs, Eastern religions as well as ownership of goods and the use of exotic services. Out of this quest for selfhood comes post-modern expression of music, art, dance, architecture as well as religion: highly variable, highly personal, and richly creative; often emancipatory but often hostile to common needs or to community. The Drama of Social Life will be of interest to those interested in theories of moral development, cultural studies, the uses of leisure, politics, or simply the uses of make believe and just pretend. It is intended for the informed lay public as much as for social psychologists. T.R. Young is director of the Red Feather Institute for Advanced Studies in sociology and a member of the faculty at Central Michigan University. He has edited the Transforming Sociology Series for the past eighteen years.







TYA


Book Description

"Mark Twain called the theatre for young audiences "one of the great inventions of the twentieth century." Moving into the twenty-first century, the field continues to grow in importance--as an educational force, certainly, but also as an art form, and maybe even as a political weapon for change in our complex society. Moses Goldberg has been a witness to, and an important leader of, much of that development. In this collection of essays, he reveals his personal insights and passions, drawing on his years of experience in the changing field--especially his twenty-five years as Producing Director of Louisville's Stage One. The essays divide into three sections, examining the politics, the art, and the business of TYA. Sample titles include such provocative concepts as: The Actor/Priest, The 60-Minute Myth, and The Stage by Stages. Altogether they represent a heady compilation of wisdom from one of the field's most visible leaders."--Publisher's description.




Tragedy and Metatheatre


Book Description

Abel's basic premise is that 'tragedy is difficult if not altogether impossible for the modern dramatist'. He then proceeds to provide a theory of the resolution of this problem. This seminal paper, first published in 1963, is now reprinted with a selection of complementary essays.




Essays in Drama Therapy


Book Description

Robert Landy has assembled a collection of essays which encompasses his experience as a dramatherapist. The concept of 'double life' can be seen to be a central theme running through the work - encapsulating the dramatherapist's need to balance the issues of theory, practice and personal growth. The range of essays includes both theory and practice. Landy tackles issues of training and research, examines concepts - such as that of role - in dramatherapy and presents case studies, such as the ambitious 'The Double Life - A Case of Bipolar Disorder'. Uniting entirely new material with some of Landy's most respected work, this collection will be of enduring importance to dramatherapists, teachers and students of dramatherapy, and all those with an interest in creative arts expression.




Essays on Elizabethan Drama


Book Description




Why I Write


Book Description

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times