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The Radical Act of Listening: Making Documentary and Investigative Theatre
The Radical Act of Listening: Making Documenatry and Investigative Theatre explores best practices in the field of Documentary and Investigative theatre and offers readers a how-to guide for making their own work, written by a leading practitioner in the field. This book looks at how listening can radically bring about change through documentary and investigative theatre. It examines the mechanics and value of listening and how theatre practitioners can use these skills to create theatre. What does it mean to really listen, especially during a time when everyone is shouting? Can we listen without an agenda? Can we take what we hear and find ethical ways to share it with others so that we cap...
The Quiet Woman
Award-winning poet and author Helen Mort describes the collection of poetry, paintings, artwork, and ideas found in The Quiet Woman as, “life-changing and affirming, alive to grief but full of defiance”. The comedy screen-writer Maggie Rowe describes the book and its author as, “a miracle”. Emily’s 40 poems and 40 pieces of art grapple openly with and embrace questions of womanhood, faith, doubt, motherhood, radical theology, suicide, embodiment, female empowerment, abuse, domesticity, mysticism, ecology, love, loss, religion, inclusion, imperfection, spirituality, pain, deconstruction, self-love, and surrender. The Quiet Woman is for anyone who is reaching for words that bring comfort and hope. It’s for anyone seeking to redefine the traditional image of a Quiet Woman. A woman who is Quiet because she’s breathing in, filling her lungs, ready to roar. A woman who is Quiet because she doesn’t need to ask for outside validation. A woman who is Quiet because she’s busy getting the rest she needs in order to thrive. A woman who is Quiet because she’s focused on listening intently to her own voice.
Performance and the Politics of Space
From its very beginnings, theatre has been both an art and a public space, shared by actors and spectators. As a result, its entity and history is intimately tied to politics: a politics of inclusion and exclusion, of distributions and placements, of spatial appropriation and utopian concepts. This collection examines what is at stake when a theatrical space is created and when a performance takes place; it asks under what circumstances the topology of theatre becomes political. The book approaches this issue from various angles, taking theatre as a cultural paradigm for political dimensions of space in its respective historical context. Visiting the political dimensions of theatrical space ...
Indian Freedom
Intended for classroom use, work contains 47 pages from Las Casas' life of Columbus plus 24 other selections--Handbook of Latin American Studies, v. 58.
September Shoes
"Cast: 2m., 3w. (with doubling.) September Shoes is a visually evocative, lyrical play about four people in search of redemption. On a visit to their childhood home in the desert town of Dolores, Gail and Alberto, a middle-aged couple, struggle to come to terms with the past, including Gail's relationship with her Aunt Lily and the accidental death of Alberto's sister, Ana, 30 years before. Two local residents, Huilo, a cemetery groundsman, and Cuki, a hotel maid, deal with their own losses in unusual ways. Slowly, each of their heart-wrenching tales comes to light until, with gorgeous simplicity, all four realize that they are inextricably bound together. Approximate running time: 1 hour, 40 minutes. Area staging."--Publisher's website.
Monkey Business Theatre
In 1983, a group of citizens in San Cristóbal de las Casas, Chiapas, formed Sna Jtz'ibajom, the Tzotzil-Tzeltal Maya writers' cooperative. In the two decades since, this group has evolved from writing and publishing bilingual booklets to writing and performing plays that have earned them national and international renown. Anthropologist Robert M. Laughlin has been a part of the group since its beginnings, and he offers a unique perspective on its development as a Mayan cultural force. The Monkey Business Theatre, or Teatro Lo'il Maxil, as this branch of Sna Jtz'ibajom calls itself, has presented plays in virtually every corner of the state of Chiapas, as well as in Mexico City, Guatemala, Honduras, Canada, and in many museums and universities in the United States. It has presented to the world, for the first time in drama, a view of the culture of the Mayas of Chiapas. In this work, Laughlin presents a translation of twelve of the plays created by Sna Jtz'ibajom, along with an introduction for each. Half of the plays are based on myths and half on the social, political, and economic problems that have confronted—and continue to confront—the Mayas of Chiapas.
Humana Festival 2007
This collection includes every play performed at the 2007 Humana Festival of New American Plays.
The Tropic of X
THE TROPIC OF X is a play by 2012 OBIE-award winning playwright Caridad Svich. This five-character play tells the defiant love story of Mori and Maura, two street kids hustling and trying to survive in a broken city somewhere in the polyglot Americas. This new edition, which marks the 2013 North American premiere of the play, includes an introduction by scholar Marvin Carlson, a director's statement by Nathan A. Cooper and an essay by scholar Tamara Underiner.
The Hurt Business
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