Kirjahaku

The answers to these questions - and much, much more - are to be found in The Changing Room , which traces the origins and variations of theatrical cross-dressing through the ages and across cultures. It examines: * tribal rituals and shamanic practices in the Balkans and Chinese-Tibet * the gender-bending elements of Greek and early Christian religion * the homosexual appeal of the boy actor on the traditional stage of China, Japan and England * the origins of the dame comedian, the principal boy, the glamour drag artiste and the male impersonator * artists such as David Bowie, Boy George, Charles Ludlam, Dame Edna Everage, Lily Savage, Candy Darling, Julian Clary and the New York Dolls. Lavishly illustrated with unusual and rare pictures, this is the first ever cross-cultural study of theatrical transvestism. It is a must for anyone interested in cross-dressing, theatre, and gender.

The answers to these questions - and much, much more - are to be found in The Changing Room , which traces the origins and variations of theatrical cross-dressing through the ages and across cultures. It examines: * tribal rituals and shamanic practices in the Balkans and Chinese-Tibet * the gender-bending elements of Greek and early Christian religion * the homosexual appeal of the boy actor on the traditional stage of China, Japan and England * the origins of the dame comedian, the principal boy, the glamour drag artiste and the male impersonator * artists such as David Bowie, Boy George, Charles Ludlam, Dame Edna Everage, Lily Savage, Candy Darling, Julian Clary and the New York Dolls. Lavishly illustrated with unusual and rare pictures, this is the first ever cross-cultural study of theatrical transvestism. It is a must for anyone interested in cross-dressing, theatre, and gender.

This is the first cross-cultural study of Chekhov's plays in production. Many now consider Chekhov a playwright equal to Shakespeare, and this book studies how the reputation evolved, and how the presentation of his plays varied and altered from their initial productions in Russia to the most recent postmodern deconstructions of them. Particular attention is given to the staging of Chekhov in Russia before and after the Revolution, and under different regimes; in the English-speaking world, in Western and Eastern Europe, as well as in Japan.

This is the first cross-cultural study of Chekhov’s plays in production. Many now consider Chekhov a playwright equal to Shakespeare, and this book studies how the reputation evolved, and how the presentation of his plays varied and altered from their initial productions in Russia to the most recent postmodern deconstructions of them. In the process, Laurence Senelick analyses the ways in which the reception of Chekhov’s plays reflects social, political and aesthetic attitudes in specific countries. Particular attention is given to the staging of Chekhov in Russia before and after the Revolution, and under different regimes; in the English-speaking world, in Western and Eastern Europe, as well as in Japan. Senelick also includes interpretations of Chekhov by the century’s most influential directors and designers with valuable and informative illustrations of key productions also a feature of the book.

Despite constant hindrance from government interference and control, the Russian theater has produced many memorable playwrights, schools of thought, and plays, whose influence can be seen throughout the world. Nikolai Gogol's The Inspector, Maksim Gor'kii's The Lower Depths, and Anton Chekhov's The Cherry Orchard remain staples of repertories in every language. The ideas of Konstantin Stanislavskii, Vsevolod Meierkhol'd, and Mikhail Chekhov continue to inspire actors and directors, and designers still draw on the graphics of the World of Art group and the Constructivists. The A to Z of Russian Theater is the only reference work in English devoted exclusively to Russian theater and drama. It provides information on the popular plays and playwrights while also offering information on many persons, works, and phenomena omitted from standard encyclopedias. Through the use of a chronology, an introductory essay, a bibliography, an appendix, and hundreds of cross-referenced dictionary entries on directors, stage designers, actors, plays, playwrights, concepts, theater buildings, and troupes, this reference provides an unrivaled account of Russian theater.

A theatrical extravaganza drawn from Nikolay Gogol's comic epic of greed and gluttony in tsarist Russia. Over one hundred characters can be played with any number of actors from 15 on up.

Offenbach's operas were a significant force for cultural change, both in his own time and in the decades to follow. In this book, Laurence Senelick demonstrates the ways in which this musical phenomenon took hold globally, with Offenbach's work offering an alternative, irreverent, sexualized view of life which audiences found liberating, both personally and socially. In the theatre, the composer also inspired cutting-edge innovations in stagecraft and design, and in this book, he is recognized as a major cultural influence, with an extensive impact on the spheres of literature, art, film, and even politics. Senelick argues that Offenbach's importance spread far beyond France, and that his provocative and entertaining works, often seen as being more style than substance, influenced numerous key artists, writers, and thinkers, and made a major contribution to the development of modern society.

A latecomer continually hampered by government control and interference, the Russian theatre seems an unlikely source of innovation and creativity. Yet, by the middle of the nineteenth century, it had given rise to a number of outstanding playwrights and actors, and by the start of the twentieth century, it was in the vanguard of progressive thinking in the realms of directing and design. Its influence throughout the world was pervasive: Nikolai Gogol', Anton Chekhov and Maksim Gor'kii remain staples of repertories in every language, the ideas of Konstantin Stanislavskii, Vsevolod Meierkhol'd and Mikhail Chekhov continue to inspire actors and directors, while designers still draw on the graphics of the World of Art group and the Constructivists. What distinguishes Russian theater from almost any other is the way in which these achievements evolved and survived in ongoing conflict or cooperation with the State. This second edition of Historical Dictionary of Russian Theatre covers the history through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on individual actors, directors, designers, entrepreneurs, plays, playhouses and institutions, Censorship, Children’s Theater, Émigré Theater, and Shakespeare in Russia. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian Theatre.

It is a book about dying, or, more accurately, about the representation of dying in the theatre. Its chief concern is how actors undertook to translate words and concepts into forms legible and significant to an audience. It deals with the ways in which playwrights wrote about death and attitudes towards death in their cultures. Nevertheless, the emphasis is on the practice of acting. This “death spectacle” runs the gamut. From the Greek tragic stage which was highly selective in determining which deaths it (re)enacted to the elaborately stylized murders and suicides in the Kabuki to the lavish blood-letting of the Elizabethans to the deathbed visitations of the modern era, what was acceptable and/or enjoyable fluctuates wildly.

It is a book about dying, or, more accurately, about the representation of dying in the theatre. Its chief concern is how actors undertook to translate words and concepts into forms legible and significant to an audience. It deals with the ways in which playwrights wrote about death and attitudes towards death in their cultures. Nevertheless, the emphasis is on the practice of acting. This “death spectacle” runs the gamut. From the Greek tragic stage which was highly selective in determining which deaths it (re)enacted to the elaborately stylized murders and suicides in the Kabuki to the lavish blood-letting of the Elizabethans to the deathbed visitations of the modern era, what was acceptable and/or enjoyable fluctuates wildly.