Theatres Of Glass

In the winter of 1847, the cloisters of Westminster Abbey enjoyed a sudden growth in popularity, though the visitors who streamed in were not of the usual kind. They were naturalists, come to see the very first marine aquarium in England, a large collection of madrepores and sea sponges kept in glass cases in the drawing-room of Ashburnham House. The Abbey aquarium was established not by the Revered Lord John Thynne, the Sub-Dean of the Abbey, but by his extraordinary wife Anna, a great beauty and mother of 10 children, who by a process of serendipity, discovered how to keep and breed her pet sea creatures in glass tanks in central London. Anna's invention of the aquarium coincided with a major philosophical turning point in history. Married to a clergyman, she found herself working in a field which cut right through to the heart of the prevailing conflict about the origins and development of life on the planet.

This new edition of Physical Theatres: A Critical Introduction continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice. This comprehensive book: traces the roots of physical performance in classical and popular theatrical traditions looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jérôme Bel examines the contemporary practice of companies such as Théatre du Soleil, Complicite and Goat Island focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood. Extensive cross references ensure that Physical Theatres: A Critical Introduction can be used as a standalone text or together with its companion volume, Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance. New to this edition: a chapter on The Body and Technology, exploring the impact of digital technologies on the portrayal, perception and reading of the theatre body, spanning from onstage technology to virtual realities and motion capture; additional profiles of Jerzy Grotowski, Wrights and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial performance, new training practices, immersive and site-specific theatres, and the latest developments in neuroscience, especially as these impact on the place and role of the spectator.

The depths of the oceans are the last example of terra incognita on earth. Adamowsky presents a study of the sea, arguing that – contrary to popular belief – post-Enlightenment discourse on the sea was still subject to mystery and wonder, and not wholly rationalized by science.

When Theatres of Memory was first published in 1994, it transformed the debate about what is to be considered history and questioned the role of "heritage" that lies at the heart of every Western nation's obsession with the past. Today, in the age of Downton Abbey and Mad Men, we are once again conjuring historical fictions to make sense of our everyday lives. In this remarkable book, Samuel looks at the many different ways we use the 'unofficial knowledge' of the past. Considering such varied areas as the fashion for "retrofitting," the rise of family history, the joys of collecting old photographs, the allure of reenactment societies and televised adaptations of Dickens, Samuel transforms our understanding of the uses of history. He shows us that history is a living practice, something constantly being reassessed in the world around us.

THE STORY: The scene is the Morley farm, in the prairie country of Saskatchewan, Canada. Margaret and Walter Morley have been estranged for fourteen years, ever since his encounter with a water witch resulted in the arrival of his illegitimate da

This book is an up-to-date and comprehensive account of Roman theatre architecture. It contains information, plans, and photographs of every theatre in the Roman Empire for which there is archaeological evidence, together with a full analysis of how Roman theatres were designed, built, and paid for, and how theatres differ in different parts of the Roman Empire. It is lavishly illustrated with plans, text figures, photographs, and maps.

Modern Theatres 1950–2020 is an investigation of theatres, concert halls and opera houses in Asia, Europe, the Middle East and North and South America. The book explores in detail 30 of the most significant theatres, concert halls, opera houses and dance spaces that opened between 1950 and 2010. Each theatre is reviewed and assessed by experts in theatre buildings, such as architects, acousticians, consultants and theatre practitioners, and illustrated with full-colour photographs and comparative plans and sections. A further 20 theatres that opened from 2009 to 2020 are concisely reviewed and illustrated. An excellent resource for students of theatre planning, theatre architecture and architectural design, Modern Theatres 1950 – 2020 discusses the role of performing arts buildings in cities, explores their public and performances spaces and examines the acoustics and technologies needed in a great building. This beautifully illustrated book is also a must-read for architects, theater designers, theatre historians, and theatre practitioners.

This history and catalog of the movie theaters of Illinois follows their evolution from the early opera houses, to the storefront nickelodeons, to the awe-inspiring movie palaces, to the post—World War II theaters and the advent of the multiplex. Each theater has its own story, and together these stories make up a fascinating history of cinema viewing in Illinois. This richly illustrated book—the first dealing exclusively with Illinois theatres— contains nearly 3,000 descriptions of historic movie houses, from the early 1880s to 1960. The alphabetically arranged entries, which include such information as the theater’s name, location, number of seats, and the dates it opened and closed, cover cities and towns from Abingdon to Zion, including Chicago and its surrounding suburbs. The book opens with a history of the movie house, beginning with silent movies shown on walls and ending with the multiplex era. It also includes a chapter on television’s impact and information on renovated historic theatres in the state. Appendices include lists of Illinois-operated movie theatre circuits, theatre websites and include a bibliography.