In The Portable Theater, Alan Ackerman investigates the crucial importance of theater in the works of Walt Whitman, Herman Melville, William Dean Howells, Louisa May Alcott, and Henry James. Whether as drama critics, playwrights, amateur actors, or simply as avid theater goers, each of these authors thought deeply about the theater and represented it in literature.
David Hare is one of the most important playwrights to have emerged in the UK in the last forty years. This volume examines his stage plays, television plays and cinematic films, and is the first book of its kind to offer such comprehensive and up-to-date critical treatment. Contributions from leading academics in the study of modern British theatre sit alongside those from practitioners who have worked closely with Hare throughout his career, including former Director of the National Theatre Sir Richard Eyre. Uniquely, the volume also includes a chapter on Hare's work as journalist and public speaker; a personal memoir by Tony Bicât, co-founder with Hare of the enormously influential Portable Theatre; and an interview with Hare himself in which he offers a personal retrospective of his career as a film maker which is his fullest and clearest account of that work to date.
Text and illustrations provide instruction on how to build, transport, set up, and use portable stage sets, describing various theatre types, and including discussion of stage construction in churches, schools, and other spaces.
Everyday Movies documents the twentieth-century rise of portable film projectors. It demonstrates that since World War II, the vast majority of movie-watching did not happen in the glow of the large screen but rather took place alongside the glitches, distortions, and clickety-clack of small machines that transformed home, classroom, museum, community, government, industrial, and military venues into sites of moving-image display. Reorienting the history of cinema away from the magic of the movie theater, Haidee Wasson illustrates the remarkable persistence and proliferation of devices that fundamentally rejected the sleek, highly professionalized film show. She foregrounds instead another kind of apparatus, one that was accessible, affordable, adaptable, easy to use, and crucially, programmable. Revealing rich archival discoveries, this book charts a compelling and original history of film that brings to light new technologies and diverse forms of media engagement that continue to shape contemporary life.
In this fascinating and colorful book, researcher and performer John McCormick focuses on the marionette world of Victorian Britain between its heyday after 1860 and its waning years from 1895 to 1914. Situating the rich and diverse puppet theatre in the context of entertainment culture, he explores both the aesthetics of these dancing dolls and their sociocultural significance in their life and time. The history of marionette performances is interwoven with live-actor performances and with the entire gamut of annual fairs, portable and permanent theatres, music halls, magic lantern shows, waxworks, panoramas, and sideshows. McCormick has drawn upon advertisements in the Era, an entertainment paper, between the 1860s and World War I, and articles in the World’s Fair, a paper for showpeople, in the first fifty years of the twentieth century, as well as interviews with descendants of the marionette showpeople and close examinations of many of the surviving puppets. McCormick begins his study with an exploration of the Victorian marionette theatre in the context of other theatrical events of the day, with proprietors and puppeteers, and with the venues where they performed. He further examines the marionette’s position as an actor not quite human but imitating humans closely enough to be considered empathetic; the ways that physical attributes were created with wood, paint, and cloth; and the dramas and melodramas that the dolls performed. A discussion of the trick figures and specialized acts that each company possessed, as well as an exploration of the theatre’s staging, lighting, and costuming, follows in later chapters. McCormick concludes with a description of the last days of marionette theatre in the wake of changing audience expectations and the increasing popularity of moving pictures. This highly enjoyable and readable study, often illuminated by intriguing anecdotes such as that of the Armenian photographer who fell in love with and abducted the Holden company’s Cinderella marionette in 1881, will appeal to everyone fascinated by the magic of nineteenth-century theatre, many of whom will discover how much the marionette could contribute to that magic.
The works of Friedrich Nietzsche have fascinated readers around the world ever since the publication of his first book more than a hundred years ago. As Walter Kaufmann, one of the world’s leading authorities on Nietzsche, notes in his introduction, “Few writers in any age were so full of ideas,” and few writers have been so consistently misinterpreted. The Portable Nietzsche includes Kaufmann’s definitive translations of the complete and unabridged texts of Nietzsche’s four major works: Twilight of the Idols, The Antichrist, Nietzsche Contra Wagner and Thus Spoke Zarathustra. In addition, Kaufmann brings together selections from his other books, notes, and letters, to give a full picture of Nietzsche’s development, versatility, and inexhaustibility. “In this volume, one may very conveniently have a rich review of one of the most sensitive, passionate, and misunderstood writers in Western, or any, literature.” —Newsweek
