The World of Theatre is the first introduction to theatre book to truly focus on diversity and globalism, integrating coverage of multicultural, international and experimental theatre throughout. Theatre is presented as a global and multicultural form that reflects both traditional and evolving world views. While the American commercial theatre and European forms are central to the text, alternative theatres are placed side by side for comparison and contrast in each chapter, thus avoiding the sense of “otherness” created by devoting separate chapters to diversity and departures from the western tradition.

World of Theatre: Tradition and Innovation, The

Felner, Mira

Orenstein, Claudia

Humor & Entertainment

Pearson

Reading the Puppet Stage

Drawing on the author's two decades of watching, writing, and teaching about puppetry from a critical perspective, this is a collection of insights into how we watch, understand, and appreciate puppetry. Reading the Puppet Stage uses examples from a broad range of puppetry genres, from Broadway shows and the Muppets, to the rich field of contemporary performing object experimentation internationally, to the wealth of Asian puppet traditions, as well as the author's own experienced perspectives on the ways performing objects can create and structure meaning. These examples are married with an understanding of the dramaturgical interplay between puppets, performers, and language. An introductory approach for students, critics, and artists, this book underlines where significant artistic concerns lie in puppetry and outlines the supportive networks and resources that shape the community of those who make, watch, and love this ever-developing art.

Computers & Technology

Programming

Routledge

Puppet And Spirit: Ritual, Religion, And Performing Objects

Cusack, Tim

(college Teacher)

New York : Routledge, 2023

Are traditions of popular theatre still alive in politically-engaged theatre today? In San Francisco they are. The San Francisco Mime Troupe is a modern link in the long history of public performances that have a merry air but have a voice of political protest and social comment. Every summer since 1962 the Troupe has taken free outdoor performances to public parks in the Bay Area. In a style that is festive and a spirit that is revolutionary the Mime Troupe has relied on popular theatre forms to address timely political and social issues. Their productions maintain a contemporary political edge, while showing their origins to be the popular traditions of the commedia dell'arte, circus downing, vaudeville, puppetry, and minstrel shows. With The Minstrel Show or Civil Rights in a Cracker Barrel (1965) they expressed support of the civil fights movement. With L'Amant Militaire (1967) they voiced support of Vietnam War protests.To discover what makes these apparently frivolous theatrical traditions effective for contemporary political theatre, Festive Revolutions explores the historical origins of the popular forms the Mime Troupe draws on. In old Europe, where performance traditions began, political turmoil blended with festive celebration. The lineage of the Mime Troupe's Punch the Red can be traced back to the Italian puppet figure Pulcinella through its English and Russian counterparts Punch and Petrushka. In the Mime Troupe the use of stereotypes and reliance upon colorful festivity are diverse strategies for dodging censorship. Productions like Ripped Van Winkle continue today to rekindle the radicalism the Troupe inherited from the culture of the 1960s.Festive Revolutionsshows that such forms have inspired political theatre for centuries.

Festive Revolutions: The Politics of Popular Theatre Forms and the San Francisco Mime Troupe (Performance Studies)

Politics & Social Sciences

Social Sciences

UNIVERSITY PRESS OF MISSISSIPPI

Are traditions of popular theatre still alive in politically-engaged theatre today? In San Francisco they are. The San Francisco Mime Troupe is a modern link in the long history of public performances that have a merry air but have a voice of political protest and social comment. Every summer since 1962 the Troupe has taken free outdoor performances to public parks in the Bay Area. In a style that is festive and a spirit that is revolutionary the Mime Troupe has relied on popular theatre forms to address timely political and social issues. Their productions maintain a contemporary political edge, while showing their origins to be the popular traditions of the commedia dell'arte, circus clowning, vaudeville, puppetry, and minstrel shows. With The Minstrel Show or Civil Rights in a Cracker Barrel (1965) they expressed support of the civil rights movement. With L'Amant Militaire (1967) they voiced support of Vietnam War protests.
To discover what makes these apparently frivolous theatrical traditions effective for contemporary political theatre, Festive Revolutions explores the historical origins of the popular forms the Mime Troupe draws on. In old Europe, where performance traditions began, political turmoil blended with festive celebration. The lineage of the Mime Troupe's Punch the Red can be traced back to the Italian puppet figure Pulcinella through its English and Russian counterparts Punch and Petrushka. In the Mime Troupe the use of stereotypes and reliance upon colorful festivity are diverse strategies for dodging censorship. Productions like Ripped Van Winkle continue today to rekindle the radicalism the Troupe inherited from the culture of the 1960s.
Festive Revolutions shows that such forms have inspired political theatre for centuries.

Festive Revolutions: The Politics of Popular Theater and the San Francisco Mime Troupe

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Books by Orenstein, Claudia