This book is the first major study of amateur theatre, offering new perspectives on its place in the cultural and social life of communities. Historically informed, it traces how amateur theatre has impacted national repertoires, contributed to diverse creative economies, and responded to changing patterns of labour. Based on extensive archival and ethnographic research, it traces the importance of amateur theatre to crafting places and the ways in which it sustains the creativity of amateur theatre over a lifetime. It asks: how does amateur theatre-making contribute to the twenty-first century amateur turn?
The Methuen Drama Handbook of Theatre History and Historiography is an authoritative guide to contemporary debates and practices in this field. The book covers the key themes and methods that are current in theatre history research, with a particular focus on expanding the object of study to include engagement with theatre and performance practices and the development of theatre histories around the world. Central to the book are eighteen specially commissioned essays by established and emerging scholars from a wide range of international contexts, whose discussion of individual case studies is predicated on their understanding and experience of their 'local' landscape of theatre history. These essays reveal where important work continues to be done in the field and, most valuably, draws on academic contexts beyond the Western academy to expand our knowledge of the exciting directions that such an approach opens up. Prefaced by an introduction tracing the development of the discipline of theatre history and changing historiographical approaches, the Handbook explores current issues pertaining to theatre and performance history research, as well as providing up to date and robust introductions to the methods and historiographic questions being explored by researchers in the field. Featuring a series of essential research tools, including a detailed list of resources and an annotated bibliography of key texts, this is an indispensable scholarly handbook for anyone working in theatre and performance history and historiography.
Subscription Theater asks why turn-of-the-century British and Irish citizens spent so much time, money, and effort adding their names to subscription lists. Shining a spotlight on private play-producing clubs, public repertory theaters, amateur drama groups, and theatrical magazines, Matthew Franks locates subscription theaters in a vast constellation of civic subscription initiatives, ranging from voluntary schools and workers' hospitals to soldiers' memorials and Diamond Jubilee funds. Across these enterprises, Franks argues, subscribers created their own spaces for performing social roles from which they had long been excluded. Whether by undermining the authority of the Lord Chamberlain's Examiner of Plays and London's commercial theater producers, or by extending rights to disenfranchised women and property-less men, a diverse cast of subscribers including typists, plumbers, and maids acted as political representatives for their fellow citizens, both inside the theater and far beyond it. Citizens prized a "democratic" or "representative" subscription list as an end in itself, and such lists set the stage for the eventual public subsidy of subscription endeavors. Subscription Theater points to the importance of printed ephemera such as programs, tickets, and prospectuses in questioning any assumption that theatrical collectivity is confined to the live performance event. Drawing on new media as well as old, Franks uses a database of over 23,000 stage productions to reveal that subscribers introduced nearly a third of the plays that were most frequently revived between 1890 and the mid-twentieth century, as well as nearly half of all new translations, and they were instrumental in staging the work of such writers as Shaw and Ibsen, whose plays featured subscription lists as a plot point or prop. Although subscribers often are blamed for being a conservative force in theater, Franks demonstrates that they have been responsible for how we value audience and repertoire today, and their history offers a new account of the relationship between ephemera, drama, and democracy.
Focusing on contemporary English theatre, this book asks a series of questions: How has theatre contributed to understandings of the North-South divide? What have theatrical treatments of riots offered to wider debates about their causes and consequences? Has theatre been able to intervene in the social unease around Gypsy and Traveller communities? How has theatre challenged white privilege and the persistent denigration of black citizens? In approaching these questions, this book argues that the nation is blighted by a number of internal rifts that pit people against each other in ways that cast particular groups as threats to the nation, as unruly or demeaned citizens – as ‘social abjects’. It interrogates how those divisions are generated and circulated in public discourse and how theatre offers up counter-hegemonic and resistant practices that question and challenge negative stigmatization, but also how theatre can contribute to the recirculation of problematic cultural imaginaries.
Sikkim has a population of 3,16,355 people (1981 census) and an area of 4276 Sq. Kms. Despite its small area, much ethnic, linguistic and cultural diversity is exhibited. Very few studies on the diverse tribal culture were undertaken in the eighteenth and early nineteenth century. No anthropological studies have been undertaken on Sikkim since its integration with India. This work prepared under Man and Biosphere Programme of UNESCO is a significant contribution to the knowledge of this little known part of the mountain world. In the present book, Dr. Veena Bhasin, who carried out field work during 1981 to 1983 in North Sikkim records the complex patterns of the two diverse culture of the Lepchas and the Bhutias of North Sikkim. A micro approache has been used to explore indepth, the myriad aspects of life at Dzongu reserve habited by Pepaches and Lachen and Lachung valleys habited by Bhutias. The Social organisation, religious beliefs, economic structure and social control have been described in detail.
Exhibit-A To dream the im-poss-ible dream to fight the un-beat-able foe to run where the brave (or wise) dare not go -From the Broadway production of The Man of La Mancha, music by Darien and Leigh, 1965 Gracing the awesome coastline of California like a set of stained glass and adobe rosary beads, the 18th-century chain of twenty-one old Spanish missions offer the modern tourist a window into the history of the golden state at once colorful, quaint, often romanticized and just possibly not as benign as the tourist literature would lead us to believe. Investigating just that possibility, three amateur researchers have uncovered an historic mission artifact that, proven authentic, could shaken the golden state to its foundations. Nor would the repercussions end there, cautioned research director Brother Kolbe. Not by a long shot. At the state capitol in Sacramento, the governors Mission Affairs Department, and entrenched bereaucrazy representing the vested interest of the church, civic groups, university and private concerns, is naturally interested in the discovery. With real estate totaling in the multi-billion dollar range, including treasure troves of priceless relics and artwork, the Mission Affairs Department is somewhat hesitant at relinquishing control of their flock of iconic golden geese. Exposing the scandalous mission hullabaloo to the light of day may very well, researcher Samara Del Rio smiled with a perfectly beatific malfeasance, induce a state of anarchy. This my quest, to follow that star no matter how hopeless, no matter how far Along with Sam, ostensibly the team sociologist; Franciscan Brother and linguist Kolbe McCeanna and computer technician Felicia Bonaventura have tracked the legendary article to the derelict ruins of a minor auxiliary mission, Mision Estancia San Micmac, abandoned deep in the cathedral redwoods of Californias rugged pacific coast foothills. Exhibit-A.: as Sacramento knows, the notorious artifact is a legendary mission document lost since the colonial era, and thought to be a Spanish translation of aboriginal petroglyphs, entitled Las Cuentitas Primaveritas de Isla Califia. Past as prologue, a highly divisive work of folkloric Outside Art, colonial-era historians date the slim manuscript to the year 1561. Spakespearean scholars, however, citing key internal references to The Bards colonial-era play The Tempest, insist that the text is no older that the year 1611. Anti-Stratfordians, of course, call the Spakespearean theory leaky as an unstaunched wench. Adding to the debate, pre-Columbian archivists at Villa Poggio Gherado in Canterbury, England claim tevidence supporting a composition date of 1348. Equally divided, modern pundits dismiss Las Cuentitas as nothing more than psychosocial gibberish and third-rate poetic doggerel anyway, or else venerate the document as instrumental to a radical psychosocial transformation. Either way, if birds of a feather flock together than the infamous manuscript resembles a traditional book to the extent a penguin resembles an ostrich. [Embedded in translation throughout the plot of The California Tales], Las Cuentitas represents an extraordinary multimedia-literary genre suppressed censored and banned since the 1960s as irredeemably subversive to the status quo. During its brief hayday in the sun, the tempestuous genre was known as Prosperos Salient Heliotropic Articulation Grids: pSHAGs. And, particularly threatening to the dominate paradigm, pSHAG poetry, (or poemetry), was known, rather tongue-in-cheek, as Teleothanantological Neuropeptidal Algorithms: T.N.A.s. Moreover, reputedly encrypted within a Prospero SHAG TNA are the sole surviving fragments of the theoretical Archetypical Tale: the mother of all manuscripts, the lore at the core. Archetypical Tale theorists insist that this so-called consummate communiqu is simultaneously primordial and pansophic, pro
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