Theatre And Event

The Theatrical Event discusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectator—the theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performance—on stage or in the street, historical or contemporary—that is watched by an audience is a theatrical event. The concept underlines the “eventness” of all encounters between performers and spectators. In the first part of the book, Willmar Sauter presents various models for the analysis of theatrical events, examining the relationship between performance and perception and the interaction between the performative event and its context. Using examples from ancient and recent theatre history and discussing traditional and nontraditional approaches to theatre theory, he builds a paradigmatic change in the concept of theatre. Constructs such as playing culture (as opposed to written culture), theatrical communication, theatricality, and theatre as a model of cultural event are brought into focus and their methodological advantages explored. The second part of the book uses the theoretical groundwork of the first part to enhance a variety of topics, including such legends as Sarah Bernhardt and other historical phenomena such as a Swedish Renaissance play, Strindberg's ideas on acting, the question of ethnicity in the political theatre of the 1930s, and critical writings on contemporary performances. Sauter examines how Robert Lepage's staging of A Dream Play is viewed by critics and scholars and analyzes Dario Fo's intercultural transfer to outdoor performances in Stockholm and the unusual sensationalism of Strindberg's Miss Julie.

(Vocal Selections). Winner of the New York Drama Critics' Circle Award for Best Musical, The Band's Visit is a musical adaptation of the 2007 Israeli film of the same name. This vocal selections folio features 11 vocal line arrangements with piano accompaniment composed by David Yazbek: Answer Me * The Beat of Your Heart * Haled's Song About Love * It Is What It Is * Itzik's Lullaby * Omar Sharif * Papi Hears the Ocean * Something Different * Soraya * Waiting * Welcome to Nowhere.

As the symbolists, constructivists and surrealists of the historical avant-garde began to abandon traditional theatre spaces and embrace the more contingent locations of the theatrical and political ‘event’, the built environment of a performance became not only part of the event, but an event in and of itself. Event-Space radically re-evaluates the avant garde’s championing of nonrepresentational spaces, drawing on the specific fields of performance studies and architectural studies to establish a theory of ‘performative architecture’. ‘Event’ was of immense significance to modernism’s revolutionary agenda, resisting realism and naturalism – and, simultaneously, the monumentality of architecture itself. Event-Space analyzes a number of spatiotemporal models central to that revolution, both illuminating the history of avant-garde performance and inspiring contemporary approaches to performance space.

Theatrical Events. Borders, Dynamics and Frames is written to develop the concept of ‘Eventness’ in Theatre Studies. The book as a whole stresses the importance of understanding theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects. The Theatrical Event concept means not only that performers and spectators meet, but also that the specific mental sets, backgrounds and cultural contexts they bring in, strongly contribute to the character of a particular event. Moreover, this concept gives space to the study of the role societal developments – such as technological, political, economical or educational ones – play in theatrical events.

"A jewel box of a musical: small, delicate, brimming with emotion and charm."—Vogue "It may sound like heresy to fans of the 2006 film, but this bewitching stage adaptation arguably improves on the movie, expanding its emotional breadth and elevating it stylistically while remaining true to the original's raw fragility."?Hollywood Reporter Retaining the film's popular music and lyrics, acclaimed Irish playwright Enda Walsh adapts this charming tale of a complicated romance between an Irish street musician and a young Czech immigrant for the stage. A hit musical Off-Broadway, Once premiered on Broadway in spring 2012 to rave reviews. Enda Walsh is the author of five Edinburgh Festival Fringe First Award-winning plays, including Penelope, The Walworth Farce, and The New Electric Ballroom. He also co-wrote the film Hunger, which won the Camera d'Or award at the Cannes Film Festival. Glen Hansard and Markéta Irglová are the stars and songwriters of the 2006 film Once, for which they won an Academy Award for Best Song. The two comprise the musical folk-rock duo The Swell Season, which is currently touring the United States. A documentary film of the duo, The Swell Season, was an official selection of the 2011 Tribeca Film Festival. Hansard is also a member of the Irish band The Frames and Irglová is a classically trained Czech pianist and vocalist.

The Fantasticks tells an age-old tale. Its ingredients are simple: a boy, a girl, two fathers, and a wall. Its scenery, a tattered cardboard moon, hovers over an empty wooden platform. With these bare essentials, Jones and Schmdt launched a theatrical phenomenon unmatched the world over.

“Smart, funny and utterly engrossing…This unexpectedly rich sequel reminds us that houses tremble and sometimes fall when doors slam, and that there are living people within, who may be wounded or lost…Mr. Hnath has a deft hand for combining incongruous elements to illuminating ends.” —Ben Brantley, New York Times It has been fifteen years since Nora Helmer slammed the door on her stifling domestic life, when a knock comes at that same door. It is Nora, and she has returned with an urgent request. What will her sudden return mean to those she left behind? Lucas Hnath’s funny, probing, and bold play is both a continuation of Ibsen’s complex exploration of traditional gender roles, as well as a sharp contemporary take on the struggles inherent in all human relationships across time.

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In the beginning of the 21st century, European theatre-makers have sought to consider the disastrous events of the 20th century as the unfinished business of the contemporary. In this book, Kear argues that by thinking through the logic of the event, contemporary performance offers an affective interrogation of 'the event' of the European century.