Theater Enough

The Color of Theater presents a range of essays, interviews and performance texts that illustrate and examine the process, evolution and dynamics of making theater in the dawning moments of the 21st century. It brings together writings by artists, intellectuals and art activists exploring contemporary practices within multicultural, intercultural and ethnically specific theaters. This provocative and dynamic resource brings forth critical issues of cultural aesthetics engaging theater as a crucial site for examining the intricate intersections of race, gender, class, sexuality and national and global politics.Contributors include: Rustom Bharucha, Thulani Davis, Harry Elam, Guillermo Gomez-Pea, Velina Hasu Huston, Cherrfe Moraga, David Romn, Sekou Sundiata, Diana Taylor, Una Chaudhuri, Alberto Sandoval-Snchez and lO thi diem thy.

This is the first book to examine how the concept and disagreements around post-truth have been explored in the world of theater and performance. It covers a wide spectrum of manifestations and expressions-from the plays of Caryl Churchill, Anne Washburn, and David Henry Hwang, to the inherent theatricality of press conferences, FBI interviews and protests that embrace the confusion created by post-truth rhetoric to muddy issues and deflect blame, to theatrical performance, where the nature of truth is challenged through staged visuals which run counter to what the audience hears, provoking a debate about where the truth actually lies. With contributions by scholars from around the world, Theater in a Post-Truth World considers a wide array of examples from American and British drama and politics, Australian theater, and the work of performance artist Marina Abramovic. Together these provide a glimpse into how the theater in its many forms provides a venue to raise awareness and encourage critical thinking about the contemporary ubiquity of post-truth.

An inspiring collection of the dreams and visions of the founders of the American theatre movement.

Not long after the 2001 terrorist attacks in New York City, Bertolt Brecht’s name was on the lips of many writing about Broadway. Invoked knowingly—but not always knowledgeably—“Brecht” became something between marketing strategy and erudite justification for another season of Broadway musicals, another ignominy endured by the German playwright whose epic theater has only seldom been understood in the United States. To say that Brechtian and Broadway theatrical traditions represent divergence of philosophy, method, or ambition is to indulge—with the whimsy of Mark Twain—in understatement. Nevertheless, many references to Brecht since 2001 imply compatibility instead of contradiction—a confusion or corruption that suggested the need of looking closely at what Brecht wrote and intended in his epic theater more than seventy years after his first—and, unfortunately, typical—experience with United States theater. Beginning with the 1935 production of The Mother and moving through recent productions of political theater, including The Resistible Rise of Arturo Ui, Urinetown: The Musical, and My Name is Rachel Corrie, this anthology considers the encounters of Brecht and Broadway in terms of dramaturgy, performance, and reception. The essays in this anthology explore the political, cultural, and economic constraints shaping many of the encounters of Brecht and Broadway in U.S. theater history. This means looking at how, in many cases, epic theater has been co-opted and commodified by Broadway and what that commodification reveals about the culture of theater. Simultaneously, this means theorizing how epic theater finds—or can find—ways of providing a necessary bulwark against Broadway escapism, and what this suggests for the future of political theater in the U.S. What results is a dialectical history tracing Brecht’s encounters with Broadway, a history that opens-up and debates the complicated and often conflicted influence of Bertolt Brecht on United States theater. “Dr. Westgate's book on Brecht and Broadway is an excellent study of the reception of Brecht's work in the American theater and academe. Brecht, along with Moliere; Ibsen and Chekhov, is one of the most frequently performed playwrights in translation in America. A thorough investigation of the trajectory of Brecht stagings on Broadway has long been overdue. I am very grateful that Dr. Westgate has taken on the task and arrived at such a splendid result. The book is a must reading for any serious Brecht scholar.” —Carl Weber, Stanford Drama Department, Collaborator with Brecht at the Berliner Ensemble, Director of many Brecht stagings in the U.S. “This is a provocative collection of essays outlining the sometimes unexpected connections between Brecht and the Broadway theatre. Like Brecht himself, these essays are playful, argumentative, and productively dialectical in their contradictions. The book is both entertaining and educational, and bound to provoke healthy debate. I recommend it as a demonstration of the ongoing relevance of Brechtian theories of theatre to the analysis of mainstream commercial theatre." —Sean Carney, Associate Professor, McGill University

This unique text uses material never previously published on theatre life during the Communist years. Chapters begin with introductions by well-known theatre professionals or lively interviews with a major directors or playwrights.

Overwhelmed with big screen TV and home theater audio options? What do you need to build the perfect home theater experience? Home Theater For Dummies, 3rd Edition shows you how to plan a home theater system and choose components that fit your budget and your room. Beginning with the most basic information, this guide helps you choose what you need and put it all together. It explains DLP, 3LCD, HDMI, DTV, and HDTV so you can talk intelligently with salespeople at the electronics store. You’ll find out about Blu-ray, explore HD and satellite radio options, and see how to incorporate a Wii, Xbox, or Playstation 3 into your set-up. Learn to: Choose among plasma, LCD, and projection TVs Know the difference between digital TV and HDTV Assess and choose an LCD TV, a new 3D TV, or an HD radio Set up your audio system and TV for maximum performance Use a Media Center or Home Theater PC Fine-tune your system and add cool touches such as accessing home theater content from your cell phone Explore HD and satellite radio options, CD players, DVD-Audio disks, and options for old cassettes and vinyl Set up your system with the proper cables for each component, or learn what it takes to go wireless Calibrate your video with a calibration disk, an optical comparator, or a DVD containing THX Optimizer Get the perfect home theater experience by following the expert tips and techniques presented in Home Theater For Dummies, 3rd Edition. You’ll be watching movies and listening to audio in no time!

This is the most comprehensive study available of the popular theater that developed during the last decades of tsarist Russia. Swift examines the origins and significance of the new "people's theaters" that were created for the lower classes in St. Petersburg and Moscow between 1861 and 1917. His extensively researched study, full of anecdotes from the theater world of the day, shows how these people's theaters became a major arena in which the cultural contests of late imperial Russia were played out and how they contributed to the emergence of an urban consumer culture during this period of rapid social and political change. Swift illuminates many aspects of the story of these popular theaters—the cultural politics and aesthetic ambitions of theater directors and actors, state censorship politics and their role in shaping the theatrical repertoire, and the theater as a vehicle for social and political reform. He looks at roots of the theaters, discusses specific theaters and performances, and explores in particular how popular audiences responded to the plays.