Through a contemporary Gothic lens, the book explores theatre theories, processes and practices that explore; the impacts of continuing drought and natural disaster, the conflicts concerning resource extraction and mining and current political debates focussed on climate change denial. While these issues can be argued from various political and economic platforms, theatrical investigations as discussed here suggest that scholars and theatre makers are becoming empowered to dramaturgically explore the ecological challenges we face now and may face in the future. In doing so the book proposes that theatre can engage in not only climate change analysis and discussion but can develop climate literacies in a broader socio-cultural context.
Vibrant and candid memoirs of the late, great British character actor, Pete Postlethwaite. After training as a teacher, Pete Postlethwaite started his acting career at the Liverpool Everyman Theatre where his colleagues included Bill Nighy, Jonathan Pryce, Antony Sher and Julie Walters. After routine early appearances in small parts for television programmes such as THE PROFESSIONALS, Postlethwaite's first success came with the acclaimed British film DISTANT VOICES, STILL LIVES in 1988. He then received an Academy Award nomination for his role in THE NAME OF THE FATHER in 1993. His performance as the mysterious lawyer "Kobayashi" in THE USUAL SUSPECTS is well-known, and he appeared in many successful films including ALIEN 3, BRASSED OFF, THE SHIPPING NEWS, THE CONSTANT GARDENER, as Friar Lawrence in Baz Luhrmann's ROMEO + JULIET, and in INCEPTION with Leonardo diCaprio. Pete Postlethwaite was one of the best-loved and widely admired performers on stage, TV (SHARPE, THE SINS) and in cinema. In THE ART OF DISCWORLD, Terry Pratchett said that he had always imagined Sam Vimes as 'a younger, slightly bulkier version of Pete Postlethwaite', while Steven Spielberg called him 'the best actor in the world', about which Postlethwaite said: 'I'm sure what Spielberg actually said was, "the thing about Pete is that he thinks he's the best actor in the world."' This is the story of a diverse and multi-talented actor's eventful life, told in his own candid and vibrant words.
The children were disappearing. And the worst thing about it? No one noticed A rainmaker brings rain to a drought-stricken town. The stranger amazes the townspeople with magic mirrors and bewitches the children with his beautiful butterfly. First, one child vanishes. Then another. And another. Only one young man sees through the lies and decides to act. You'll love this dark, mysterious young adult novel. Winner of the Governor General's Award. Get it now.
You read the sad stories in the papers: another ornate, 1920s, single-screen theatre closes, to be demolished and replaced by a strip mall. That's progress, and in this 20-screen multiplex world, it's happening more and more. Only a handful of the 100 or so neighborhood theatres that once graced these streets are left in San Francisco, but they live on in the photographs featured in this book. The heyday of such venues as the Clay, Noe, Metro, New Mission, Alexandria, Coronet, Fox, Uptown, Coliseum, Surf, El Rey, and Royal was a time when San Franciscans thronged to the movies and vaudeville shows, dressed to the hilt, to see and be seen in majestic art deco palaces. Unfortunately, this era has passed into history despite the dedicated efforts of many neighborhood preservation groups.
1m, 8f, plus / Int. Based on the original play Wild Dust, this engaging Wild West story has been delighting audiences for years. And now, the original playwright, Flip Kobler, has joined forces with veteran composer Dennis Poore to turn Wild Dust the play into Wild Dust: The Musical. It's 1887 and a dust storm is about to hit the town of Willow Creek. The west was still wild, but the wind was wilder. Wild Dust the Musical, takes place at a time when the west was wild, the women were soft and the men were brave. The worst dust storm in a decade was about to hit the town, and all the men had gone to drive the horses and cattle to safer shelter to ride out the storm. That left the women of town to fend for themselves in the only building strong enough to withstand the pounding sand - the town brothel. So four fallen ladies and three ladies of the town are thrown together for the next 72 hours, along with a mysterious cowboy and a dancing corpse For three days they confront the elements, each other, and hardest of all - themselves. It's a comic romp with lots of slamming doors, mistaken identities, and one very dead body.No one is exactly what they seem, and everyone's got a secret hidden up their sleeve. Wild Dust: The Musical is a comic romp that's not to be missed.
Dervish Dust is the authorized biography of "cool cat" actor James Coburn, covering his career, romances, friendships, and spirituality. Thoroughly researched with unparalleled access to Coburn's friends and family, the book's foundation is his own words in the form of letters, poetry, journals, interviews, and his previously unpublished memoirs, recorded in the months before his passing. Dervish Dust details the life of a Hollywood legend that spanned huge changes in the entertainment and filmmaking industry. Coburn grew up in Compton after his family moved from Nebraska to California during the Great Depression. His acting career began with guest character roles in popular TV series such as The Twilight Zone, Bonanza, and Rawhide. In the 1960s Coburn was cast in supporting roles in such great pictures as The Magnificent Seven, Charade, and The Great Escape, and he became a leading man with the hit Our Man Flint. In 1999 Coburn won an Academy Award for his performance in Affliction. Younger viewers will recognize him as the voice of Henry Waternoose, the cranky boss in Monsters, Inc., and as Thunder Jack in Snow Dogs. An individualist and deeply thoughtful actor, Coburn speaks candidly about acting, show business, people he liked, and people he didn't, with many behind-the-scenes stories from his work, including beloved classics, intellectually challenging pieces, and less well-known projects. His films helped dismantle the notorious Production Code and usher in today's ratings system. Known for drum circles, playing the gong, and participating in LSD research, Coburn was New Age before it had a name. He brought his motto, Go Bravely On, with him each time he arrived on the set in the final years of his life, when he did some of his best work, garnering the admiration of a whole new generation of fans.
Using the theatre as a central metaphor, this text provides a flexible framework to explore the psychic realities of the characters within us. Case studies underscore how different kinds of patients construct particular fantasies as a response to the pain of earlier life scenarios.
A radically new view of the nature and purpose of consciousness How is consciousness possible? What biological purpose does it serve? And why do we value it so highly? In Soul Dust, the psychologist Nicholas Humphrey, a leading figure in consciousness research, proposes a startling new theory. Consciousness, he argues, is nothing less than a magical-mystery show that we stage for ourselves inside our own heads. This self-made show lights up the world for us and makes us feel special and transcendent. Thus consciousness paves the way for spirituality, and allows us, as human beings, to reap the rewards, and anxieties, of living in what Humphrey calls the "soul niche." Tightly argued, intellectually gripping, and a joy to read, Soul Dust provides answers to the deepest questions. It shows how the problem of consciousness merges with questions that obsess us all—how life should be lived and the fear of death. Resting firmly on neuroscience and evolutionary theory, and drawing a wealth of insights from philosophy and literature, Soul Dust is an uncompromising yet life-affirming work—one that never loses sight of the majesty and wonder of consciousness.
In this witty, engaging, and challenging book, Carolyn Steedman has produced an originaland sometimes irreverentinvestigation into how modern historiography has developed. Dust: The Archive and Cultural History considers our stubborn set of beliefs about an objective material worldinherited from the nineteenth centurywith which modern history writing and its lack of such a belief, attempts to grapple. Drawing on her own published and unpublished writing, Carolyn Steedman has produced a sustained argument about the way in which history writing belongs to the currents of thought shaping the modern world. Steedman begins by asserting that in recent years much attention has been paid to the archive by those working in the humanities and social sciences; she calls this practice "archivization." By definition, the archive is the repository of "that which will not go away," and the book goes on to suggest that, just like dust, the "matter of history" can never go away or be erased. This unique work will be welcomed by all historians who want to think about what it is they do.
The scripts of the Admiral's Men (later Prince Henry's Men), the Chamberlain's Men (later the King's Men) boy actors and Worcester's/Queen Anne's Men are examined in detail to document the differing costume practices of these companies, especially the ways in which in their earlier days they reconciled visual splendor with the greatest possible economy.
