Kirjahaku

Using extensive and untapped archival material as well as a series of in-depth interviews with Fassbinder's main theatre associates, this book offers commentary on and insights into Fassbinder's plays, his dramaturgies and staging practice. David Barnett helps to unlock the much discussed theatricality of Fassbinder's films by showing its many concrete sources. The first study of Fassbinder's work in the theatre, as a playwright and director, this book gives a full contextualisation of his work within the upheavals of its times. Readers are introduced to the cultural history of the West German theatre in the late 1960s and early 1970s. Radicalism in society meets experiment on stage as Fassbinder emerges from the cellar theatre scene of Munich, co-founds the antiteater and is then integrated into the most subsidised theatre in Europe, before being offered his own theatre to run for one fateful season.

Using extensive and untapped archival material as well as a series of in-depth interviews with Fassbinder's main theatre associates, this book offers commentary on and insights into Fassbinder's plays, his dramaturgies and staging practice. David Barnett helps to unlock the much discussed theatricality of Fassbinder's films by showing its many concrete sources. The first study of Fassbinder's work in the theatre, as a playwright and director, this book gives a full contextualisation of his work within the upheavals of its times. Readers are introduced to the cultural history of the West German theatre in the late 1960s and early 1970s. Radicalism in society meets experiment on stage as Fassbinder emerges from the cellar theatre scene of Munich, co-founds the antiteater and is then integrated into the most subsidised theatre in Europe, before being offered his own theatre to run for one fateful season.

Nineteenth century London is the center of a vast British Empire, a teeming metropolis where steam-power is king and airships ply the skies, and where Queen Victoria presides over three quarters of the known world including the east coast of America, following the failed revolution of 1775.Young Gideon Smith has seen things that no green lad of Her Majesty's dominion should ever experience. Through a series of incredible events Gideon has become the newest Hero of the Empire. But Gideon is a man with a mission, for the dreaded Texas pirate Louis Cockayne has stolen the mechanical clockwork girl Maria, along with a most fantastical weapon a great brass dragon that was unearthed beneath ancient Egyptian soil. Maria is the only one who can pilot the beast, so Cockayne has taken girl and dragon off to points east. Gideon and his intrepid band take to the skies and travel to the American colonies hot on Cockayne's trail. Not only does Gideon want the machine back, he has fallen in love with Maria. Their journey will take them to the wilds of the lawless lands south of the American colonies to free Texas, where the mad King of Steamtown rules with an iron fist (literally), where life is cheap and honor even cheaper.Does Gideon have what it takes to not only save the day but win the girl? David Barnett's Gideon Smith and the Brass Dragon is a fantastical steampunk fable set against an alternate historical backdrop: the ultimate Victoriana/steampunk mash-up "

In an alternate nineteenth century where a technologically advanced Britain holds sway over most of the known world and the American Revolution never happened, young Gideon Smith is firmly established as the Hero of the Empire. Back in London, Gideon and his colleagues: journalist Aloysius Bent, airship pilot Rowena Fanshawe, and Maria, the mechanical girl to whom Gideon has lost his heart, are dragged into a case that is confounding the Metropolitan Police. For the city is on the edge of mass rioting due to the continuing reign of terror by the serial killer known only as Jack the Ripper, who is rampaging though London's less salubrious quarters.While chasing the madman, a villain from their past strips Gideon Smith of his memory and is cast adrift in the seedy underbelly of London, where life is tough and death lurks in every shadowy alley.With mob rule threatening to engulf London, the Empire has never needed its hero more...but where is Gideon Smith? Gideon Smith and the Mask of the Ripper is the latest in David Barnett's riproaring steampunk adventures about a Britain that never was...but should have been.

This Element proposes a novel way of defining, understanding and approaching theatricality, a term that exists both in the theatre and, more broadly, in everyday life. It argues that four foundational, material processes of theatre-making manifest themselves in all playtexts in both overt and covert forms. Each of the four sections defines a different theatrical process, explores its functions in two chosen playtexts and examines its implications for the wider experience of the spectators outside the theatre. The Element concludes with a supplementary reflection on performance to show how even seemingly untheatrical playtexts can be analysed and staged to reveal their unspoken theatricality. It also argues that this new understanding of theatricality has a politics, that the artifice of any theatre and the constructedness of any society are analogous and that both, consequently, can be fundamentally changed. This Element is also available as Open Access on Cambridge Core.

This Element proposes a novel way of defining, understanding and approaching theatricality, a term that exists both in the theatre and, more broadly, in everyday life. It argues that four foundational, material processes of theatre-making manifest themselves in all playtexts in both overt and covert forms. Each of the four sections defines a different theatrical process, explores its functions in two chosen playtexts and examines its implications for the wider experience of the spectators outside the theatre. The Element concludes with a supplementary reflection on performance to show how even seemingly untheatrical playtexts can be analysed and staged to reveal their unspoken theatricality. It also argues that this new understanding of theatricality has a politics, that the artifice of any theatre and the constructedness of any society are analogous and that both, consequently, can be fundamentally changed. This Element is also available as Open Access on Cambridge Core.

The Berliner Ensemble was founded by Bertolt Brecht and his wife Helene Weigel in 1949. The company soon gained international prominence, and its productions and philosophy influenced the work of theatre-makers around the world. David Barnett's book is the first study of the company in any language. Based on extensive archival research, it uncovers Brecht's working methods and those of the company's most important directors after his death. The book considers the boon and burden of Brecht's legacy, and provides new insights into battles waged behind the scenes for the preservation of the Brechtian tradition. The Berliner Ensemble was also the German Democratic Republic's most prestigious cultural export, attracting attention from the highest circles of government, and from the Stasi, before it privatised itself after German reunification in 1990. Barnett pieces together a complex history that sheds light on both the company's groundbreaking productions and their turbulent times.

The Berliner Ensemble was founded by Bertolt Brecht and his wife Helene Weigel in 1949. The company soon gained international prominence, and its productions and philosophy influenced the work of theatre-makers around the world. David Barnett's book is the first study of the company in any language. Based on extensive archival research, it uncovers Brecht's working methods and those of the company's most important directors after his death. The book considers the boon and burden of Brecht's legacy, and provides new insights into battles waged behind the scenes for the preservation of the Brechtian tradition. The Berliner Ensemble was also the German Democratic Republic's most prestigious cultural export, attracting attention from the highest circles of government, and from the Stasi, before it privatised itself after German reunification in 1990. Barnett pieces together a complex history that sheds light on both the company's groundbreaking productions and their turbulent times.

"I’m good Hamlet gi’me a cause for grief"At first glance, readers of The Hamletmachine (1979) could be forgiven for wondering whether it is actually a play at all: it opens with a montage of texts that are not ascribed to a character, there is no vestige of a plot, and the whole piece lasts a total of ten pages.Yet, Heiner Müller’s play regularly features in theatres’ repertoires and is frequently staged by university theatre departments. In four short chapters, David Barnett unpicks the complexities of The Hamletmachine’s writing and frames its author as an experimental, politically committed writer who confronts the shortcomings of his age. In considering the problems Müller poses for the play’s performance, he also discusses two exemplary productions in order to show how the work can engage very different audiences.This book examines why such a compact, radically open, and yet seemingly obscure play has proved so popular.

""I'm good Hamlet gi'me a cause for grief""At first glance, readers of The Hamletmachine (1979) could be forgiven for wondering whether it is actually a play at all: it opens with a montage of texts that are not ascribed to a character, there is no vestige of a plot, and the whole piece lasts a total of ten pages.Yet, Heiner Müller's play regularly features in theatres' repertoires and is frequently staged by university theatre departments. In four short chapters, David Barnett unpicks the complexities of The Hamletmachine's writing and frames its author as an experimental, politically committed writer who confronts the shortcomings of his age. In considering the problems Müller poses for the play's performance, he also discusses two exemplary productions in order to show how the work can engage very different audiences.This book examines why such a compact, radically open, and yet seemingly obscure play has proved so popular.

By 1800, London was regarded as the world's greatest city, at the centre of the world's greatest empire. London: Hub of the Industrial Revolution examines this and also explores how London was at the heart of the Industrial Revolution. Traditionally, historians have regard the city as a minor player in the Industrial Revolution but, in this book, David Barnett argues that the capital was at the forefront of industrial development, providing financial aid and essential services to other towns and cities.Based on original archival material, including insurance records and trade directories, this book paints a portrait of London during a period of rapid and unprecedented development as the world's first great modern industrial city.

David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht's theories and practices. The book analyses how Brecht’s ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of Brecht’s concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to ‘make theatre politically’, in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber’s Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.

David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht's theories and practices. The book analyses how Brecht’s ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of Brecht’s concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to ‘make theatre politically’, in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber’s Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.

The Internet provides the infrastructure for a multi-trillion dollar, rapidly growing economy and the costs of intellectual property crime are enormous. With two-thirds of the global population online, brand protection is no longer just an option for corporations.Patterns in Brand Monitoring considers the ways in which a scientific approach can be applied to the analysis of brand protection data, essential for filtering and prioritizing the results and yielding insights into trends and patterns in infringement activity.Throughout the book, technical definitions and formulations of key ideas are presented in information boxes and are illustrated by the use of real case studies.The book is of relevance to stakeholders responsible for brand protection, intellectual property management, marketing or digital services in any organization, and to anyone with a general interest in the industry. It illustrates how an effective analysis approach can build efficiencies into a brand protection program, provide guidance on areas of focus, and demonstrate return on investment.

Sid's spirit has been trapped in London's HeathrowAirport for 40 years, until the day he meets Fergie. Now Sid's ghost is nowstuck to Fergie, and Fergie has to contend with an unruly Ghost sidekick andsome weird, uncontrollable new "abilities." How does the father Fergie neverknew fit into all this? And why is the Department of Extra-Usual Affairs showingan interest? Never mind the bullocks-all of this plus fish fingers, chunkychips, and endless pints of anarchy in the critically-acclaimed series thatcollects Punks Not Dead issues #1-6.

Political conflicts on Earth erupt into open hostilities between their colonies in space, with Xenomorphs as the ultimate weapon. Political tensions boil over on Earth, spreading to the outer fringes of known space as the UK colony of New Albion breaks with the Three World Empire. When an oil-drilling facility on nearby LV-187 is destroyed, its French colonists slaughtered, the British are blamed. Military forces arrive from the Independent Core Systems and combat erupts. Trapped in the middle are Cher Hunt and Chad Mclaren. Cher is trying to find out who was responsible for the death of her sister, Shy Hunt (of McAllen Integrations from Alien: Into Charybdis). At the same time Mclaren, accompanied by the synthetic known as Davis, follows in the footsteps of his late wife, Amanda Ripley, seeking to stop the weaponization of Xenomorphs. When a horde of the deadly aliens overwhelms both groups, however, their only hope may lie with Royal Marine Corps unit known as "God's Hammer."

Ardron was a village Saxon, the second son of the village Thegn, and content to be so. The conflict waging throughout the country for the crown of England between the Empress Matilda and Stephen Blois was a Norman war, and of no particular concern to a village Saxon. No concern that was, until the arrival of, Stephen sympathiser, Robert Fitzhubert. Under his order, his force without mercy, plundered the village, traumatised the villagers and left the village in flames when they left. Worst still, without compunction, he had two village maids seized and kidnapped for personal amusement. Ardron was tasked by his father to go after Fitzhubert's band and rescue the maids. It would be a mission that, chance by chance, event by event, would see Ardron become deeper and deeper involved in the conflict until, eventually, he became a significant figure in the cause of Empress Matilda against the usurper Stephen.This novel will appeal to those keenly interested in English history. Most people are familiar with the English civil war between King Charles Royalists and Oliver Cromwell Puritans. However, not so familiar is this civil war which lasted much longer and was brutal. The only law of the period being that which the powerful and ruthless of the time said it was. The period has been labelled by historians as 'The Anarchy, ' and with justification.