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Playing with Reality
This volume explores how and why we deny, or manipulate, or convert, or enhance reality. Finding it important to come to terms with reality, with what is there before us, and, with reality however defined, to live responsibly, this collection takes a truly multidisciplinary approach to examining the idea that history, the truth, facts, and the events of the present time can be refashioned as prismatic, theatrical, something we can play with for agendas either noble or ignoble. An international team of contributors considers the issue of how and why, in dealing what is there before us, we play with reality by employing theatre, fiction, words, conspiracy theories, alternate realities, scenari...
Pivotal Lines in Shakespeare and Others
Sidney Homan defines a pivotal line as “a moment in the script that serves as a pathway into the larger play ... a magnet to which the rest of the play, scenes before and after, adheres.” He offers his personal choices of such lines in five plays by Shakespeare and works by Beckett, Brecht, Pinter, Shepard, and Stoppard. Drawing on his own experience in the theatre as actor and director and on campus as a teacher and scholar, he pairs a Shakespearean play with one by a modern playwright as mirrors for each other. One reviewer calls his approach “ground-breaking.” Another observes that his “experience with the particular plays he has chosen is invaluable” since it allows us to find “a wedge into such iconic texts.” Academics and students alike will find this volume particularly useful in aiding their own discovery of a pivotal line or moment in the experience of reading about, watching, or performing in a play.
A Fish in the Moonlight
The storyteller has a fascinating place in our world. Storyteller Sidney Homan tells tales of growing up in Philadelphia in the 1940s and 50saâ'¬accounts of Bruzzy the Bully; of John Crapp, the television salesman; of Leslie Doober and his rotten banana; of drunken Uncle Eddie, and of the Queen of the mushrooms. Sometimes comic, sometimes bittersweet, A Fish in the Moonlight illuminates the growth of both storyteller and listener.
How and Why We Teach Shakespeare
In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare. The collection is divided into four sections: studying the text as a script for performance; exploring Shakespeare by performing; implementing specific techniques for getting into the plays; and working in different classrooms and settings. The contributors offer a rich variety of topics, including: working with cues in Shakespeare, such as line and mid-line endings that lead to questions of interpretation seeing Shakespeare’s stage directions and the Elizabethan playhouse itself as contributing to a pl...
When the Theater Turns to Itself
A metadramatic study of nine of Shakespeare's plays, focusing on aesthetic metaphors created by the union of the playwright, actor-character, and audience.
Hitler in the Movies
This book examines portraits of Hitler and how we try to "explain" him in the movies, including comedies, fantasies, psychological studies, documentaries, and docudramas. It then considers how this film Hitler lives on in our culture, in everything from politics to merchandise.
Beckett's Theaters
The work focuses on the practical and philosophic sides of performance, set within the context of Beckett's own aesthetic theory, his fiction and poetry, as well as a history of the critical and scholarly studies of his work. Winner of the Bucknell University Press Award.
Comedy Acting for Theatre
Analysing why we laugh and what we laugh at, and describing how performers can elicit this response from their audience, this book enables actors to create memorable – and hilarious – performances. Rooted in performance and performance criticism, Sidney Homan and Brian Rhinehart provide a detailed explanation of how comedy works, along with advice on how to communicate comedy from the point of view of both the performer and the audience. Combining theory and performance, the authors analyse a variety of plays, both modern and classic. Playwrights featured include Harold Pinter, Tom Stoppard, Christopher Durang, and Michael Frayn. Acting in Shakespeare's comedies is also covered in depth.
Why the Theatre
Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society. The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives. Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.
Shakespeare's Personality
00 What sort of person was William Shakespeare? Although we know few of the facts of his life, modern psychological techniques enable us to glimpse the man behind the works. The essays in this volume explore the conflicts he dealt with, the defenses he used, and the way writing, acting, and directing served him psychologically. What sort of person was William Shakespeare? Although we know few of the facts of his life, modern psychological techniques enable us to glimpse the man behind the works. The essays in this volume explore the conflicts he dealt with, the defenses he used, and the way writing, acting, and directing served him psychologically.
