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The Soviet Theater
  • Language: en
  • Pages: 852

The Soviet Theater

In this monumental work, Laurence Senelick and Sergei Ostrovsky offer a panoramic history of Soviet theater from the Bolshevik Revolution to the eventual collapse of the USSR. Making use of more than eighty years’ worth of archival documentation, the authors celebrate in words and pictures a vital, living art form that remained innovative and exciting, growing, adapting, and flourishing despite harsh, often illogical pressures inflicted upon its creators by a totalitarian government. It is the first comprehensive analysis of the subject ever to be published in the English language.

Serge Diaghileff Season of Russian Ballet, at the Princes Theatre, London
  • Language: en
  • Pages: 32
Serge Diaghileff's Russian Ballet, The Sleeping Princess (La Belle Au Bois Dormant)
  • Language: en
  • Pages: 20
The Theater
  • Language: en
  • Pages: 402

The Theater

  • Type: Book
  • -
  • Published: 1891
  • -
  • Publisher: Unknown

None

Serge de Diaghileff's Ballets Russes
  • Language: en
  • Pages: 28

Serge de Diaghileff's Ballets Russes

  • Type: Book
  • -
  • Published: 1916
  • -
  • Publisher: Unknown

None

Dramatic Justice
  • Language: en
  • Pages: 344

Dramatic Justice

For most of the seventeenth and eighteenth centuries, classical dogma and royal censorship worked together to prevent French plays from commenting on, or even worse, reenacting current political and judicial affairs. Criminal trials, meanwhile, were designed to be as untheatrical as possible, excluding from the courtroom live debates, trained orators, and spectators. According to Yann Robert, circumstances changed between 1750 and 1800 as parallel evolutions in theater and justice brought them closer together, causing lasting transformations in both. Robert contends that the gradual merging of theatrical and legal modes in eighteenth-century France has been largely overlooked because it chal...

Perilous States
  • Language: en
  • Pages: 404

Perilous States

Encompassing a range of disciplines—notably anthropology, politics, history, comparative literature, and philosophy—the unprecedented annual publication Late Editions exposes unsettling dilemmas and unprecedented challenges facing cultural studies on the brink of the twenty-first century. Successive volumes will appear annually until the year 2000, each engaging the predicaments of particular institutions, nations, and persons at this point of social, cultural, and political change. The project will test the limits of scholarly conventions by finding new ways to expose cultural formations emerging from the maturation or exhaustion of once-powerful ideas whose validity is now deeply in qu...

Theatre History Studies 2023, Vol. 42
  • Language: en
  • Pages: 212

Theatre History Studies 2023, Vol. 42

The official journal of the Mid-America Theatre Conference Theatre History Studies (THS) is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre. THS is a member of the Council of Editors of Learned Journals and i...

The Cultural Politics of Twentieth-Century Spanish Theater
  • Language: en
  • Pages: 261

The Cultural Politics of Twentieth-Century Spanish Theater

The Cultural Politics of Twentieth-Century Spanish Theater argues that twentieth-century artists used the Golden Age Eucharist plays called autos sacramentales to reassess the way politics and the arts interact in the Spanish nation’s past and present, and to posit new ideas for future relations between the state and the national culture industry. The book traces the phenomenon of the twentieth-century auto to show how theater practitioners revisited this national genre to manifest different, oftentimes opposing, ideological and aesthetic agendas. It follows the auto from the avant-garde stagings and rewritings of the form in the early twentieth century, to the Francoist productions by the Teatro Nacional de la Falange, to postmodern parodies of the form in the era following Franco’s death to demonstrate how twentieth-century Spanish dramatists use the auto in their reassessment of the nation’s political and artistic past, and as a way of envisioning its future.