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The Collaborative Playwright
The interaction between the ideas of the playwright and the know-how of the dramaturg is vital to the success of any production. But not every writer is accustomed to thinking like a dramaturg. The Collaborative Playwright changes that by offering a lively dialogue between a highly successful playwright, Bruce Graham, and an equally accomplished dramaturg, Michele Volansky, supported by hands-on exercises to get you thinking and writing in new ways. The Collaborative Playwright gives you professional advice on how to get started with a play, how to structure it to be performed, and how to work with a dramaturg to turn it into a staged production. Graham and Volansky's fun, smart conversation...
Performing Arts as High-Impact Practice
This book investigates how the performing arts in higher education nationally contribute to the “high impact practices,” as identified by the Association of American Colleges and Universities (AACU). Using the well-known map of the HIPs for illustrating the centrality of performing arts practices in higher education, the editors and authors of this volume call for increased participation by performing arts programs in general education and campus initiatives, with specific case studies as a guide. Performing arts contribute to the efforts of their institution in delivering a strong liberal arts education that uniquely serves students to meet the careers of the future. This is the first book to explicitly link the performing arts to the HIPs, and will result in the implementation of best practices to better meet the educational needs of students. At stake is the viability of performing arts programs to continue to serve students in their pursuit of a liberal arts education.
By Southern Playwrights
By Southern Playwrights is a rare assemblage of works from the 1980s and 1990s by writers continuing the tradition of Tennessee Williams, Lillian Hellman, and Beth Henley, among others. This book makes available for the first time in print Marsha Norman's romantic comedy Loving Daniel Boone, novelist Harry Crews's only play, Blood Issue, and humorist Ray Blount Jr.'s ventures into one-act comedy, Five Ives Gets Named and That Dog Isn't Fifteen. Also included are novelist Elizabeth Dewberry's first play, Head On, Kentucky novelist and essayist Wendell Berry's The Cool of the Day, and Digging In, a remarkable array of Kentucky farm voices adapted for the stage by Julie Crutcher and Vaughn McBride. Southern playwriting is a distinctive voice in the American theater, a point eloquently made in the foreword by Jon Jory. The literary works of the South, he writes, are dominated by "great language, family, strong women, religion, the land, and the past," all of which makes them wonderful for acting -- and for reading. This entertaining book honors southern playwrights in a collection of works that have premiered at Actors Theatre of Louisville.
Albee and Influence
Albee and Influence contains essays, written by leading Albee scholars, that focus on literary and philosophical influences on Edward Albee’s plays as well as essays on writers and works that Albee influenced.
The Humana Festival
Far from the glittering lights of Broadway, in a city known more for its horse racing than its artistic endeavors, an annual festival in Louisville, Kentucky, has transformed the landscape of the American theater. The Actors Theatre of Louisville—the Tony Award–winning state theater of Kentucky—in 1976 successfully created what became the nation's most respected new-play festival, the Humana Festival of New American Plays. The Humana Festival: The History of New Plays at Actors Theatre of Louisville examines the success of the festival and theater’s Pulitzer Prize–winning productions that for decades have reflected new-play trends in regional theaters and on Broadway—the result o...
The Director as Collaborator
The Director as Collaborator teaches essential directing skills while emphasizing how directors and theatre productions benefit from collaboration. Good collaboration occurs when the director shares responsibility for the artistic creation with the entire production, including actors, designers, stage managers and technical staff. Leadership does not preclude collaboration; in theatre, these concepts can and should be complementary. Students will develop their abilities by directing short scenes and plays and by participating in group exercises.
Theatre in Crisis?
Theatre in Crisis? Performance Manifestos for a New Century is a wide-ranging look at the state of contemporary theater practice, economics, and issues related to identity, politics, and technology. The volume offers a snapshot dissection of where theater is, where it has been and where it might be going through the voices of established and emerging theater artists and scholars from the UK, US, and elsewhere. Contributors: Maria M. Delgado & Caridad Svich • Oliver Mayer, Jorge Cortiñas, Neena Beber, & Craig Lucas • Jim Carmody • Roberta Levitow • Peter Lichtenfels & Lynette Hunter • Michael Billington • Claire H. Macdonald • Anna Furse • Phyllis Nagy • Max Stafford-Clark • Len Berkman • DD Kugler • Tori Haring-Smith • John London • Kia Corthron • Alice Tuan • Ricardo Szwarcer • Peter Sellars • Dragan Klaic • Lisa D’Amour • Paul Heritage • Matthew Causey • Andy Lavender • Jon Fosse • Erik Ehn • Matthew Maguire • Shelley Berc • Ruth Margraff • Martin Epstein • Mac Wellman • Goat Island
Toward a Dramaturgical Sensibility
"Toward a Dramaturgical Sensibility begins with a moment in Shakespeare's Antony and Cleopatra in which Cleopatra says to Antony, "Not know me yet?" With these four words Cleopatra poses a simple but fundamental human problem: What can we know? She and Antony have known each other for years, at times gloriously - emotionally, mentally, and in the archaic sense of the word, physically - but still the challenge of knowing hangs in the air. Cleopatra's question reminds us that knowledge is not simple: that it is as likely to create yearning as satisfaction; that it is not confined to any one part of the self; that it is far from intellect alone. It reminds us as do most great plays - that life is part wonder, part terror." "What we can know? This study - aimed at students, teachers, and theater artists - suggests that he attempt to know the dramaturgy of a play is little different from the attempt to know another person for whom we care."--BOOK JACKET.
Historical Dictionary of Contemporary American Theater
Historical Dictionary of Contemporary American Theater presents the plays and personages, movements and institutions, and cultural developments of the American stage from 1930 to 2010, a period of vast and almost continuous change. It covers the ever-changing history of the American theater with emphasis on major movements, persons, plays, and events. This is done through a chronology, an introductory essay, an extensive bibliography, and over 1,500 cross-referenced dictionary entries. This book is an excellent access point for students, researchers, and anyone wanting to know more about the history of American theater.
