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1000 tulosta hakusanalla Alison Carr
Drawing on interviews with a breadth of different showgirls, from shows in Paris, Las Vegas, Berlin, and Los Angeles, as well as her own artworks and those by other contemporary and historical artists, this book examines the experiences of showgirls and those who watch them, to challenge the narrowness of representations and discussions around what has been termed ‘sexualisation’ and ‘the gaze’. An account of the experience of being ‘looked at’, the book raises questions of how the showgirl is represented, the nature of the pleasure that she elicits and the suspicion that surrounds it, and what this means for feminism and the act of looking. An embodied articulation of a new politics of looking, Viewing Pleasure and Being a Showgirl engages with the idea (reinforced by feminist critique) that images of women are linked to selling and that women’s bodies have been commodified in capitalist culture, raising the question of whether this enables particular bodies – those of glamorous women on display – to become scapegoats for our deeper anxieties about consumerism.
"Behind me, the sky was falling in. Slowly drifting down. That's the last thing my broken eye saw before it all went black. Do you believe me?" No one's touched the buffet, there's a big gap on the wall where a mirror's fallen off and something is stinking the place out. Julie and Ruby are sisters coming to terms with the death of formidable matriarch Iris who still manages to control their lives from beyond the grave. On the night of the funeral, Julie gets off with Gerry, the crime scene cleaner. Maybe that'll help. It doesn't. When their mother's unusual bequest unearths a story that leaves some indelible marks, something more than a deep clean is needed.
Drawing on interviews with a breadth of different showgirls, from shows in Paris, Las Vegas, Berlin, and Los Angeles, as well as her own artworks and those by other contemporary and historical artists, this book examines the experiences of showgirls and those who watch them, to challenge the narrowness of representations and discussions around what has been termed ‘sexualisation’ and ‘the gaze’. An account of the experience of being ‘looked at’, the book raises questions of how the showgirl is represented, the nature of the pleasure that she elicits and the suspicion that surrounds it, and what this means for feminism and the act of looking. An embodied articulation of a new politics of looking, Viewing Pleasure and Being a Showgirl engages with the idea (reinforced by feminist critique) that images of women are linked to selling and that women’s bodies have been commodified in capitalist culture, raising the question of whether this enables particular bodies – those of glamorous women on display – to become scapegoats for our deeper anxieties about consumerism.
'I've been waiting for something like this to happen. I'm surprised it's taken so long. The signs have been building up for a while.' An ordinary Tuesday turns really, really weird when the sky over the school playground suddenly rips open. Pupils and teachers are sucked up to a parallel universe, whilst a new set of people start raining down from above. 'Us' and 'Them' must come together to work out what is going on, and how they can get things back to how they were. Alison Carr's play Tuesday is funny and playful, with a little bit of sci-fi and a lot of big themes: friendship, family, identity, grief, responsibility – and what happens when an unexpected event literally turns the world upside-down. Written specifically for young people, the play formed part of the 2020, 2021 and 2023 National Theatre Connections Festivals and was premiered by youth theatres across the UK. It offers opportunities for a large, flexible cast of any size, age and mix of genders. This bilingual edition includes the original English play with a Welsh-language translation, Un Bore Mawrth, by playwright Daf James. Set Text >> Tuesday is a set play on WJEC's GCSE Drama specification. Un Bore Mawrth ''Wi 'di bod yn aros i rywbeth fel hyn ddigwydd. 'Wi'n synnu'i fod e 'di cymryd mor hir. Ma'r arwyddion 'di bod 'ma ers sbel.' Dydd Mawrth digon cyffredin yw hi, ond yn sydyn mae'n troi'n ddiwrnod rhyfedd iawn pan mae'r awyr uwch ben yr ysgol yn rhwygo'n agored. Caiff disgyblion ac athrawon eu sugno i fyny i fydysawd cyfochrog wrth i garfan newydd o bobl arllwys i lawr oddi uchod. Rhaid i 'Ni' a 'Nhw' ddod ynghyd i ddeall beth sy'n digwydd ac i ddatrys sut i gael pethau'n ôl fel yr oedden nhw. Mae'r ddrama wreiddiol hon gan Alison Carr, Tuesday, yn ddoniol ac yn chwareus, gyda phinsiad o ffugwyddoniaeth a thomen o themâu mawr: cyfeillgarwch, teulu, hunaniaeth, galar, cyfrifoldeb – a beth sy'n digwydd pan fydd digwyddiad annisgwyl yn llythrennol yn troi’r byd wyneb i waered. Wedi'i hysgrifennu ar gyfer pobl ifanc, roedd y ddrama'n rhan o Wyl National Theatre Connections yn 2020 a 2021, a chafodd ei llwyfannu am y tro cyntaf gan theatrau ieuenctid ar draws y DU. Mae'n cynnig cyfleoedd i gastiau mawr, hyblyg o unrhyw faint, oedran a rhywedd. Mae Tuesday yn waith gosod ar fanyleb TGAU Drama CBAC. Yn y gyfrol ddwyieithog hon, fe welwch y ddrama wreiddiol Saesneg ynghyd â chyfieithiad Cymraeg y dramodydd Daf James, Un Bore Mawrth.
‘I expect the plummet, I brace, but no. The wind is now a breeze is now a whisper and I’ve stopped; suspended in the sky…’ Greasy fish’n’chips, sticks of rock and a pot-bellied Spider-Man throwing himself off the pier; the annual ‘Birdman’ competition is in full flight. It’s the busiest weekend of the year in this faded seaside town, but Bayview B&B is somehow closed for business. A finalist in the Theatre503 Playwriting Award, Alison Carr's play Caterpillar is a darkly funny, searing and tender drama about those moments when we find ourselves teetering on the edge. Caterpillar was first performed at Theatre503, London, in September 2018 before transferring to the Stephen Joseph Theatre, Scarborough, produced by Small Truth Theatre in association with Theatre503 and Michelle Barnette Productions.
‘The end-of-the-world quiz waits for no man, literally. Onwards, ever onwards, to our fiery decline. Round three…’ It's the end of the world. The last night on Earth. An asteroid is heading straight for us and there's nothing we can do about it. Except for maybe host a pub quiz – which is exactly what landlady Kathy and her quizmaster Rav are doing. But, with time ticking, some unexpected guests explode on the scene – Bobby wants to settle old scores, and Fran wants one last shot at love. Alison Carr's play The Last Quiz Night on Earth is an innovative comedy-drama featuring a fully interactive pub quiz for the audience to participate in, complete with real teams, real questions and real swapping each other's answers for marking. It was premiered by Box of Tricks in 2020 on a UK tour, taking in a host of theatres, community venues and pubs. Ideal for performance by amateurs – either in theatres or more unconventional spaces (such as theatre bars and local pubs) – this play offers rich opportunities for audience participation. Quizzing compulsory, alcohol optional.
In 1918, the end of the First World War triggered the return of Alsace and Lorraine to France after almost fifty years of annexation into the German Empire. Enthusiastic crowds in Paris and Alsace celebrated the return of the 'lost provinces,' but return proved far more difficult than expected. Over the following two decades, politicians, administrators, industrialists, cultural elites, and others grappled with the question of how to make the region French again. Differences of opinion emerged, and reintegration rapidly descended into a multi-faceted struggle as voices at the Parisian centre, the Alsatian periphery, and outside France's borders offered their views on how to introduce French institutions and systems into its lost borderland. Throughout these discussions, the border itself shaped the process of reintegration, by generating contact and tensions between populations on the two sides of the boundary line, and by shaping expectations of what it meant to be French and Alsatian. Borderland is the first comprehensive account of the return of Alsace to France which treats the border as a driver of change. It draws upon national, regional, and local archives to follow the difficult process of Alsace's reintegration into French society, culture, political and economic systems, and legislative and administrative institutions. It connects the microhistory of the region with the 'macro' levels of national policy, international relations, and transnational networks, and with the cross-border flows of ideas, goods, people, and cultural products that shaped daily life in Alsace as its population grappled with the meaning of return to France. In revealing the multiple voices who contributed to the region's reintegration, it underlines the ways in which regional populations and cross-border interactions have forged modern nations.
This study evaluates how the ideology of Socialist Realism, developed by the Soviets in policies and the practices of art, has been influential in the Asia-Pacific region from 1917 until today.Focusing primarily on Russia, then China, Vietnam, Korea, Singapore, Indonesia, the Philippines and Australia, this book demonstrates how each society adopted and adapted the Soviet example to make some of the most important imagery of recent history. Included is an examination of how the practice of Western art history, the nature of art history in Asia and the forces of the Cold War have led to this influence being inadequately acknowledged across Asia and more widely.The book will be relevant to those interested in art history, Asian studies, political history and cultural history.
National Theatre Connections 2020
Mojisola Adebayo; Chris Bush; Alison Carr; John Donnelly; Vivienne Franzmann; Hattie Naylor; Andrew Muir; Frances Poet; Silva Semerciyan; Chris Thompson
Methuen Drama
2020
nidottu
National Theatre Connections is an annual festival which brings new plays for young people to schools and youth theatres across the UK and Ireland. Commissioning exciting work from leading playwrights, the festival exposes actors aged 13-19 to the world of professional theatre-making, giving them full control of a theatrical production - from costume and set design to stage management and marketing campaigns. NT Connections have published over 150 original plays and regularly works with 500 theatre companies and 10,000 young people each year.This anthology brings together 9 new plays by some of the UK's most prolific and current writers and artists alongside notes on each of the texts exploring performance for schools and youth groups. Wind / Rush Generation(s) by Mojisola Adebayo Tuesday by Alison CarrA series of public apologies (in response to an unfortunate incident in the school lavatories) by John Donnelly THE IT by Vivienne Franzmann The Marxist in Heaven by Hattie Naylor Look Up by Andrew Muir Crusaders by Frances Poet Witches Can’t Be Burned by Silva Semerciyan Dungeness by Chris Thompson .
National Theatre Connections 2021: 11 Plays for Young People
Miriam Battye; Mojisola Adebayo; Alison Carr; John Donnelly; Vivienne Franzmann; Hattie Naylor; Andrew Muir; Frances Poet; Silva Semerciyan; Chris Thompson
Methuen Drama
2021
muu
Each year, the National Theatre commissions ten new plays for young people to perform, bringing together some of the UK's most exciting writers with the theatre-makers of tomorrow. This 2021 pack captures the two new plays written for the 2021 festival that are perfect for schools and youth groups to perform and study. Written with flexibility in mind, these are perfect for exploration both virtually and in-person, responding to the restrictions in place due to Covid-19. It also includes National Theatre Connections 2020 anthology which features 9 plays, 8 of which are included in the 2021 festival performances. The plays included in this pack are: Find a Partner by Miriam Battye Like There’s No Tomorrow, created by the Belgrade Young Company with Justine Themen, Claire Procter and Liz Mytton Wind / Rush Generation(s) by Mojisola Adebayo Tuesday by Alison Carr A series of public apologies (in response to an unfortunate incident in the school lavatories) by John Donnelly THE IT by Vivienne Franzmann The Marxist in Heaven by Hattie Naylor Look Up by Andrew Muir Crusaders by Frances Poet Witches Can’t Be Burned by Silva Semerciyan Dungeness by Chris Thompson .
National Theatre Connections 2023
Simon Longman; Lisa McGee; Leo Butler; Jordan Tannahill; Avaes Mohammad; Jon Brittain; Molly Taylor; Shamser Sinha; Ed Harris; Alison Carr
BLOOMSBURY PUBLISHING PLC
2023
nidottu
National Theatre Connections 2023 draws together ten new plays for young people to perform, from some of the UK's most exciting and popular playwrights. These are plays for a generation of theatre-makers who want to ask questions, challenge assertions and test the boundaries, and for those who love to invent and imagine a world of possibilities.The plays offer young performers an engaging and diverse range of material to perform, read or study. Touching on themes like climate change, politics, toxic masculinity and gang culture, the collection provides topical, pressing subject matter for students to explore in their performance.This 2023 anthology represents the full set of ten plays offered by the National Theatre 2023 Festival, as well as comprehensive workshop notes that give insights and inspiration for building characters, running rehearsals and staging a production.
What's stronger than magic itself? A Brownstone with a mission.Brownstone Security continues cleansing Seattle's magical mobster underbelly while Alison draws strength from her trusted circle as she fights off the virus draining her powers.She uncovers the smuggling of magical pets and the harmful side effects of testing savage spells on humans and still has time to chase down her enemies.It's dirty, dangerous work and leaves her friends the targets of vicious attacks.Not smart, bad guys. Do you even know who you are messing with?It would help if Hana wouldn't let her guard down in her continuing quest for companionship.But it takes a direct assault on Brownstone HQ for Alison to stop playing nice. A warning to the bad guys: a Brownstone never backs down from a fight, especially when protecting those she cares for. Don't miss the third thrilling adventure in the series that's guaranteed to keep your heart pounding
An ordinary journey. A shocking secret. And the perfect murder...Hattie travels on the 18.53 train home every night. She sits in the same seat, in the same carriage, and sees the same people. The unwritten rule is you don't talk to your fellow passengers, but Hattie has been watching them all for months now to distract herself from her own troubles.Then one night a commuter suddenly drops dead. And the terrible accident changes everything.In the aftershock of the tragic death, the group of strangers huddled around the two tables in carriage 3 strike up a conversation. Boundaries are shattered, connections are made and Hattie becomes tangled up in the lives of her fellow passengers as they travel to and from London every day.But Hattie has no idea what she's letting herself in for. The ordinary people on her ordinary journey all have dangerous secrets. When another commuter is killed, Hattie suspects someone in carriage 3 is responsible. Who can she trust? And is the truth closer to home and more dangerous than she could have guessed?An absolutely addictive psychological thriller that will keep you up late into the night. If you love Behind Closed Doors, Gone Girl and The Perfect Couple, you'll be gripped.What readers are saying about Alison James: 'Oh my god This had me on the edge of my seat, read it in one sitting... Fantastic... I was completely gripped... Absolutely loved it, totally deserves five stars.' Bonnie's Book Talk, ⭐⭐⭐⭐⭐'WOW This book grabs you in from the first chapter and just doesn't let go. I stayed up until 2am just to finish it, it was that good. Five stars - a must read ' NetGalley reviewer, ⭐⭐⭐⭐⭐'Wow, this had me picking up my Kindle at every available opportunity. I finished this in less than 24 hours, desperate to find out what happened ... Kept me gripped from the off... An absolute triumph.' Goodreads reviewer, ⭐⭐⭐⭐⭐
Oxford Reading Tree Traditional Tales: Level 1+: The Big Carrot
Alison Hawes; Nikki Gamble; Teresa Heapy
Oxford University Press
2011
nidottu
The Big Carrot is based on the traditional tale of The Enormous Turnip. The carrot is stuck in the ground - how many people will it take to pull it out in time for dinner? This popular story written by Alison Hawes and beautifully illustrated by Stuart Trotter will capture your child's imagination! It has been sensitively rewritten to enable your child to read it with confidence whilst capturing the magic of the original tale. There are useful tips for parents and an engaging story map inside the book to help you and your child retell the story together. The Oxford Reading Tree Traditional Tales series includes 40 of the best known stories from all over the world, which have been passed down for generations. They are a perfect introduction to different cultures, traditions and morals. All the stories are carefully levelled to Oxford Reading Tree levels and matched to the phonics progression in Letters and Sounds enabling your children to read the stories independently. Books contain inside cover notes to support children in their reading. Help with childrens reading development is also available at www.oxfordowl.co.uk.