The Chemistry Of The Theatre

This innovative, theoretical work focuses on temporal issues in theatre and the 'chemistry' of theatre - the ways in which a variety of factors in performance combine to make up what we call 'theatre'. Discussing a range of canonical plays, from Shakespeare to Beckett, the book makes a unique contribution to theatre and performance studies.

This book examines the questions “What can science do for the theatre?” and “What can the theatre do for science?” which raise challenges for both theatre professionals and scientists. Unusually, this book deals with plays first and foremost as reading material — as texts to be read alone or in dramatic readings — rather than emphasizing performances on the stage. Concrete examples are given to demonstrate the potential pedagogic value of using the dialogic style and plot structure of plays in science, with a special focus on chemistry. Very few books have dealt with the subject of science-in-theatre and virtually none with chemistry-in-theatre. Texts of the author's two recent plays, Insufficiency and Phallacy, are included in their entirety to offer concrete examples of plays dealing with actual (rather than invented) chemistry. Insufficiency represents an example from the field of beer and champagne bubbles, where the topics of academic tenure and fashion in chemistry are analyzed, whereas in Phallacy, a case history of the similarities and differences between science and art is presented for debate. Contents:Preface:Plays on the Page Rather than StagePlays Dealing with ChemistryInsufficiency:A Play in 9 ScenesPhallacy:A Play in 27 Scenes Readership: Students and professionals in the fields of science and theatre, as well as people who are interested in these two fields. Keywords:Insufficiency;Phallacy;Theatrical Texts;Science-in-Theatre;Drama in the ClassroomReviews:“First hook the fish and then bring it on board. This book is an excellent hook for arousing interest for chemistry and science by playfully uncovering high complexity behind apparent simplicity.”Jean-Marie Lehn “In these tantalizing plays, Djerassi again delivers compelling science-in-fiction, superbly crafted and bristling with his inimitable verve and zest.”Dudley Hershbach “Djerassi's creativity and passion connect science and the arts. Chemistry, drama, ethics, sociology, humor, and more … artistically conceived, engaging, and enriching to all.”Bassam Z Shakhashiri University of Wisconsin President of the American Chemical Society “The essay is an interesting one and its arguments deserve to be discussed. In this edition, the plays themselves are then presented as examples. This edition is well worth a read for the essay alone.”Lablit.com “Scientists who become literary writers are rare … Djerassi's one-man campaign to change that state of affairs has been energetic, inventive and fruitful.”Chemistry World “The bookset is very enjoyable reading, and offers pleasant plots that lead to unexpected outcomes… I vividly recommend this book to all students of the exact sciences, but also to their supervisors, who can use these fictional characters and research activities to discuss the moral principles that underlie the lifelong job of scientists.”The Journal of Astronomical Data “We are pleased to recommend this book both to chemical educators as well as to persons interested in science in general and chemistry in particular. It should also provide chemistry teachers with an example of a neglected genre, Chemistry in Theatre, and an opportunity to show students how 'fashion in science' may influence academic faculty tenure and how chemical analysis may affect the market value of historical art object.”Journal of Chemical Education “Both are highly entertaining and also informative, with well-developed characters and skillful building of tension. The book makes an excellent, stimulating and often provocative read.”Chemistry & Industry

Chemistry in Theatre: Insufficiency, Phallacy or Both.

The essays collected in this volume were initially presented at the Fifth International Conference on Consciousness, Theatre, Literature and the Arts, held at the University of Lincoln, June 15–17, 2013. The conference was organised on the basis of the success of its predecessors in 2005, 2007, 2009 and 2011, and on the basis of the success of the Rodopi book series Consciousness, Literature and the Arts, which has to date seen 34 volumes in print, with another 12 in press or in the process of being written. The 2013 conference and the book series highlight the continuing growth of interest within the interdisciplinary field of consciousness studies, and in the distinct disciplines of theatre studies, literary studies, film studies, fine arts and music in the relationship between the object of these disciplines and human consciousness. 35 delegates from 12 countries across the world attended the June 2013 conference in Lincoln; their range of disciplines and approaches is reflected well in this book.

THE STORY: An idiosyncratic look at the way love can remake our lives in the most surprising ways, THE CHEMISTRY OF CHANGE is the story of a dysfunctional family who must learn to function when the matriarch, Lee, falls unexpectedly and deeply in l

This book presents a pioneering critical study of Complicite’s work throughout the years. Drawing on an extensive overview of the available research material – including interviews, manuscripts and the company’s own archive – the book is framed within a clearly defined research perspective and explores the singularity of theatre communication. The book results from an encounter between the London-based – but cosmopolitan in scope – company, and a fresh application of the form-oriented scholarship of Eastern Europe, Yuri Lotman’s semiosphere in particular. Focused on the aesthetics of Complicite, this study achieves a critical distance and undertakes multidimensional scrutiny of the available research material. By identifying the principles of Complicite’s aesthetics, the book attempts to grasp the company’s artistic paradigm. It focuses on ways of creating, preserving, and decoding meanings, rather than on the nuances of performance or contextual issues.