As part of a biodiversity project in the Appalachians Eric is hoping to discover new species of life on the forest floor, but his cousin, Danny, at whose home Eric is staying, is acting strangely. As a matter of fact, Danny's whole family seems to be getting more strange by the day. And what is that thing Eric has spotted lurking in the forest at night? Worse yet, Eric is beginning to feel something strange happening to himself. Has Eric discovered something considerably bigger and more sinister in the forest than he ever imagined or maybe it's all just in his head---in more ways than one.
In this tribute to Selma Kramer, eminent child analyst and colleague and close friend of the late Margaret Mahler, senior analysts explore the continuing relevance of Mahler's separation-individuation theory to developmental and clinical issues. Editors Salman Akhtar and Henri Parens have grouped the original contributions to Beyond the Symbiotic Orbit into sections that reevaluate Mahler's theory. Section I is a timely reassessment of Mahler's working model from the standpoint of contemporary clinical and research findings. It includes comparisons of Mahler with Winnicott and Kohut, and commentaries on the status of separation-individuation theory in relation to psychosexual theory, early ego development, and observational infancy research. Section II addresses the contribution of separation-individuation theory to our understanding of pathogenesis. Neurosis, severe character pathology, psychosomatic phenomena, eating disorders, and sexual perversions are among the topics of specific chapters. The final section explores the role of separation-individuation theory in the treatment of analysands of different ages and with different kinds of psychopathology; it also considers separation-individuation theory with respect to specific aspects of the treatment process, including reconstruction, transference, and termination. A fresh reappraisal of a major perspective on early development, Beyond the Symbiotic Orbit is a fitting testimonial to Selma Kramer, who has played so important a role in elaborating Mahler's theory. Following from Kramer's own example, the contributors show how separation-individuation theory, in its ability to accomodate ongoing clinical and research findings, is subject to continuing growth and refinement. They not only advance our understanding of Mahler's working model, but pursue the implications of this model in new directions, underscoring the many areas of exploration that separation-individuation theory opens to us.
Puppetry has become a significant force in contemporary theatre and thousands of puppets from various cultures and time periods have been collected by scholars, enthusiasts, and curators, who wisely realized that these material images can teach us much about the societies for which they were created. This book consists of essays by the curators of the most significant puppet collections in the United States and by leading scholars in the field. In addition to the descriptive and analytical essays on the collections, the book includes an overview of American puppetry today, a history of puppetry in the United States, and essays on the theater of Julie Taymor, the Jim Henson Company, Howdy Doody's custody case, puppet conservation, and the development of virtual performance space. The fourteen collections discussed include those of the Smithsonian Institution, the Harvard University Theatre Collection, the Brander Matthews Collection at Columbia University, the American Museum of Natural History, and the Center for Puppetry Arts in Atlanta. Appendices provide a listing of additional puppetry collections and a filmography of puppetry at the New York Public Library Donnell Media Center. The work concludes with a bibliography and index and is illustrated with many beautiful photographs of puppeteers and puppets on display and in performance.
Theatre, like other subjects in the humanities, has recently undergone quintessential changes in theory, approach, and research. Modern Drama – a collection of twelve essays from leading theatre and drama scholars – investigates the contemporary meanings and the cultural and political resonances of the terms inherent in the concepts of 'modern' and 'drama,' delving into a range of theoretical questions on the history of modernism, modernity, postmodernism, and postmodernity as they have intersected with the shifting histories of drama, theatre, and performance. Using incisive analyses of both modern and postmodern plays, the contributors examine varied topics such as the analysis of periodicity; the articulation of social, political, and cultural production in theatre; the re-evaluation of texts, performances, and canons; and demonstrations of how interdisciplinarity inflects theatre and its practice. Including work by Sue-Ellen Case, Elin Diamond, Harry J. Elam Jr, Alan Filewod, Erika Fischer-Lichte, Stanton B. Garner Jr, Shannon Jackson, Loren Kruger, Josephine Lee, David Savran, Michael Sidnell, and Ann Wilson, the collection highlights the importance of continuing to investigate not only critical texts but also the terms of the debate themselves. Incorporating both drama history and modern studies, this compilation will be an invaluable work to all scholars of theatre and drama, and as well as those students of the humanities and modernism.
When Flynn was sixteen, he was a new kid in a new school. At first, he was ignored. Then he was bullied, tormented, and beaten. Chad Reese offered him a way out. He introduced him to Toddy and Bones. They made Flynn's enemies their own. Before long, he was the most popular kid at school. But there was a price. When he wouldn't pay it, they took something he loved. Now, thirty years later, Flynn is rich and successful. Everything he touches seems to turn into gold. Until he comes back home to discover that the payment for living the good life has been long overdue.
This anthology of essays, a companion to Puppet and Spirit: Ritual, Religion, and Performing Objects, Volume I, aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world. The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections in contemporary artistic work in various mediums? How do puppets open avenues for discussion in a world that seems to be increasingly polarized around religious values? How do we describe, analyze, and theorize the present moment? What new questions do puppets address for our times, and how does the puppet’s continued entanglement with these concerns trouble or comfort us? The essays in this book, from scholars and practitioners, provide a range of useful models and critical vocabularies for addressing this aspect of puppet performance, further expanding the growing understanding and appreciation of puppetry generally. This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.
This book is a comprehensive history of the most successful straight-to-video horror franchise of all time: Puppet Master. It provides an in-depth exploration of all 14 films to date--including a made-for-TV crossover and a theatrical reboot--and the action figures, comics, and other merchandise that have helped to keep the brand alive for the past 30 years. Puppet Master was the first film for independent producer extraordinaire Charles Band's Full Moon Entertainment, launching a franchise and a micro-budget studio that have both continued to this day. What led to the film's success? How did a little movie about killer puppets, designed to cater to the then-booming video market, wind up surviving video stores themselves? How did a series that had never even had a theatrical entry wind up with an unusually successful toy series? All of these questions are answered within these pages. Featuring new interviews with some of the biggest creative minds behind the franchise, as well as dozens of behind-the-scenes photos, this book is the ultimate guide to horror's most murderous marionettes.
This volume seeks to instigate a discussion about dementia in theatre. The discussions in this book borrow from the literature on dementia’s representation in other artforms, while reflecting on theatre’s unique capacity to incorporate multiple artforms in a live context (hypermediacy). The author examines constructions of diegesis and the use of various performance tools, including physical theatre, puppetry, and postdramatic performance. She discusses stage representations of interior experiences of dementia; selfhood in dementia; the demarcation of those with dementia from those without; endings, erasure, and the pursuit of catharsis; placelessness and disruptions of traditional dramatic constructions of time; and ultimately, performances creatively led by people with dementia. The book traces patterns of narrativisation on the stage—including common dramaturgical forms, settings, and character relationships—as well as examples that transcend mainstream representation. This book is important reading for theatre and performance students, scholars, and practitioners, as well as cultural studies writers engaged in research about narratives of dementia.
