Author: Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Syllabus and Forms on Producing and Financing Dramatic and Musical Plays and Acquiring Motion Picture Rights in Plays
Author: Syllabus and Forms on Producing and Financing Dramatic and Musical Plays and
Author: Beverly Hills Bar AssociationPublisher:
ISBN:
Category : Theater
Languages : en
Pages :
Book Description
Performing Arts Books, 1876-1981
Author: Publisher: New York : R.R. Bowker Company
ISBN:
Category : Performing Arts
Languages : en
Pages : 1728
Book Description
The Arts and the Art of Administration
Author: Charlotte GeorgiPublisher:
ISBN:
Category : Art patronage
Languages : en
Pages : 118
Book Description
International Journal of Law Libraries
Author: Annual Program on Legal Aspects of the Entertainment Industry
Author: American Book Publishing Record Cumulative, 1950-1977: Title index
Author: R.R. Bowker Company. Department of BibliographyPublisher:
ISBN:
Category : United States
Languages : en
Pages : 2258
Book Description
Drama and Curriculum
Author: John O'ToolePublisher: Springer Science & Business Media
ISBN: 1402093705
Category : Education
Languages : en
Pages : 222
Book Description
‘Here’s a knocking indeed!’ says the Porter in Shakespeare’s Scottish play (Act II, Scene 3) and immediately puts himself into role in order to deal with the demands of such an early call after a late night of drinking and carousal: ‘If a man were porter of hell-gate...’. But what roles does the porter of curriculum-gate take on in order to deal with drama’s persistent demands for entry? Ah, that depends upon the temperature of the times. We, who have been knocking for what seems to be a very long time, know well that when evaluation and measurement criteriaare demanded as evidence of drama’s ef cacy, an examiner stands as gatekeeper. When the educational landscape is in danger of overcrowding, we meet a territorial governor. And how often has the courtesan turned out to be only a tease because the arts are, for a brief moment, in the spotlight for their abilities to foster out-of-the-box thinkers? In this text, we meet these ‘commissionaires’ and many more. The gatekeeping roles and what they represent are so familiar that they have become cliches ́ to us. We know them by their arguments, ripostes, dismissals, their brief encouragement and lack of follow-up. And we know that behind each one (however rmly they think they keep the keys) is a nancial and political master whose power controls the curriculum building and everything in it.
Hastings Communications and Entertainment Law Journal (Comm/Ent).
Author: Publisher:
ISBN:
Category : Communication and traffic
Languages : en
Pages : 698
Book Description
Postdramatic Theatre and India
Author: Ashis SenguptaPublisher: Bloomsbury Publishing
ISBN: 1350154091
Category : Performing Arts
Languages : en
Pages : 229
Book Description
This book revisits Hans-Thies Lehmann's theory of the postdramatic and participates in the ongoing debate on the theatre paradigm by placing contemporary Indian performance within it. None of the Indian theatre-makers under study built their works directly on the Euro-American model of postdramatic theatre, but many have used its vocabulary and apparatus in innovative, transnational ways. Their principal aim was to invigorate the language of Indian urban theatre, which had turned stale under the stronghold of realism inherited from colonial stage practice or prescriptive under the decolonizing drive of the 'theatre of roots' movement after independence. Emerging out of a set of different historical and cultural contexts, their productions have eventually expanded and diversified the postdramatic framework by crosspollinating it with regional performance forms. Theatre in India today includes devised performance, storytelling across forms, theatre solos, cross-media performance, theatre installations, scenographic theatre, theatre-as-event, reality theatre, and so on. The book balances theory, context and praxis, developing a new area of scholarship in Indian theatre. Interspersed throughout are Indian theatre-makers' clarifications of their own practices vis-à-vis those in Europe and the US.