Dafydd Sills-Jones, Jouko Aaltonen and Pietari Kaapa
Four Plays by Wan Fang
Edited by Valerie Pellatt
This anthology is a collection of four contemporary Chinese plays by the playwright Wan Fang, presented in the original Chinese and in English translation. Since the 1990s, modern Chinese drama has experienced a revival, and these plays are representative of the kind of theatre which audiences in China now enjoy. The time is ripe for them to be staged internationally through the medium of translation. This book provides Chinese and English versions consecutively, to enable the plays to be used for study or performance. The volume also offers an introduction to the development of modern Chinese drama over the twentieth century, as a background to the plays included here. In addition, Wan Fang’s own introduction to the writing of plays, and these plays in particular, gives us insights into the mechanisms of writing and staging in a twenty-first-century Chinese context.
Community, Orange Is the New Black, The Walking Dead, and Supernatural
Joseph M. Valenzano III and Erika Engstrom
Religion Across Television Genres: Community, Orange Is the New Black, The Walking Dead, and Supernatural connects communication theories to the religious content of TV programs across an array of platforms and content genres, specifically the NBC comedy Community, the critically acclaimed Netflix series Orange Is the New Black, AMC’s international megahit The Walking Dead, and the CW’s long-running fan favorite Supernatural. Its contemporary relevancy makes Religion Across Television Genres ideal for use as a library resource, scholarly reference, and textbook for both undergraduate and graduate courses in mass media, religious studies, and popular culture.
Edited by Louis Fantasia
Playing Shakespeare’s Lovers examines Shakespeare’s romantic characters from multiple perspectives. Contributing actors, directors, educators and scholars bring diverse and wide-ranging insights into the motives, context, history and challenges of performing Shakespeare’s "infinite variety" of lovers. The volume begins with an introductory essay, followed by brief essays and interviews, on various characters within the world of Shakespeare’s lovers.
Why Song Sounds the Way It Does
Lynn Whidden and Paul Shore
Why does human music sound the way it does? To better understand this, the authors look at the human and even animal ability for mimicry, at existing acoustic niches and introduce the idea of at least three habitats for music. Is there a unified sound quality for music created indoors, for song sung outdoors, and for music produced with electric signals?
Whidden and Shore seek answers from music ethnography, from the closed space of medieval churches, from Gothic architecture, from particular buildings such as the Prague Estates Theatre and from their own experience and that of others in the contemporary electronic music environment. Drawing on fieldwork, archival materials and media studies research, they propose a model that will inspire scholars to explore human music in its rightful and important place in the natural world.
4 Plays, 100 Ways
Robin Beth Levenson
Iconic Russian writer Anton Chekhov is recognized as the most translated and produced playwright in the world after William Shakespeare—that is, he is the most produced and most highly regarded modern playwright in English translation. Chekhov’s style models our behaviors and aspirations in alluring and intricate ways, unmatched in playwriting. His plays determined Realism in language and acting practice from the late 19th century to the present. Acting Chekhov in Translation: 4 Plays, 100 Ways explores the history of translation, contemporary and controversial approaches to stage translation, the notion of "action" from Aristotle to Adler (and beyond), and Chekhov’s inimitable dramaturgy. English translations, adaptations and versions of The Seagull, Uncle Vanya, The Three Sisters and The Cherry Orchard are each considered from the actors’ points of view, from the page to the stage.
The nature of stage translation has recently undergone novel and provocative changes: how can someone who does not know the source language adapt or translate a play? It is done frequently, and the outcomes are investigated herein. For the translator as well as practitioners, understanding theatre craft is essential to producing playable and engaging productions. Differences in the language, punctuation, syntax, sound, rhythm, stage directions and what appears on the written page in various translations affect the work of the actor on the playscript.
The purpose of this inquiry is not to definitively evaluate or interpret Chekhov’s plays but to discover approaches to working on plays in translation and to determine practical tools we may use in the analysis of dramatic form, as well as human behavior. This book includes selections from 145 translations and translators of all four plays and a glossary of acting terms that helps describe concepts for practical script analysis.
Through Montaigne’s Essays
The book explores the term of «interartistic phenomenon» that Vassilena Kolarova introduces in the semiotic field of intermedial researches. The writer manifests the existence of the interartistic phenomenon which expresses the relation arising between arts at the time of an aesthetic perception of a work of art. Her concept of interartistic phenomenon differs from intertextuality since it affects arts. The semiotic analysis is concentrated on the works of Michel de Montaigne focusing the research on his famous «Essays» and «The Diary of Montaigne’s Travels». The aim of the research is to study the work of Montaigne as a work of art in first place. The varieties of the «interartistic phenomenon» which exist in the work of Montaigne are analyzed in light of the artistic vocabulary he is using to qualify his work. The author of the book takes notice of the interartistic conception in the work of Montaigne revealed by the convergence of nature and art, particularly in the diary of Montaigne’s travels. Here the author studies the interartistic phenomenon in the context of the Renaissance and its evolution from ancient philosophy (Horace – Ut pictura poesis, Philostrate – ekphrasis) through Renaissance (Leonardo da Vinci’s Paragone) to modern ideas whereas the research is done from a theoretical point of view.
Edited by Paola Gilardi, Delphine Abrecht, Andreas Klaeui and Yvonne Schmidt
Seit 1982 kreiert das Theater Sgaramusch inhaltlich wie ästhetisch anspruchsvolle Stücke für Kinder, die sich auch an Erwachsene richten. Der vorliegende Band beleuchtet verschiedene Facetten seines Schaffens, das immer poetisch sein will, nie didaktisch. Das Buch versucht zudem eine Standortbestimmung des Theaters für ein junges Publikum in der Schweiz.
Depuis 1982, le Théâtre Sgaramusch crée des spectacles au contenu et à l’esthétique ambitieux pour les enfants mais aussi pour les adultes. Le présent ouvrage aborde plusieurs facettes de leur engagement qui se veut toujours poétique, jamais didactique. Cette publication propose également divers éclairages sur la situation du théâtre pour le jeune public en Suisse.
Dal 1982 il Theater Sgaramusch crea spettacoli esigenti sul piano dei contenuti ed estetico, rivolti sia ai bambini che agli adulti. Il presente volume esplora vari aspetti del suo lavoro artistico, che vuole essere poetico, non didattico. Il libro tenta inoltre di fare il punto della situazione sul teatro per un pubblico giovane in Svizzera.
Founded in 1982, Theater Sgaramusch creates challenging plays in terms of content and aesthetics, staged for children and adults alike. The present volume showcases various facets of the company’s oeuvre – which aims to be poetic and never didactic – and seeks to assess the current standing of theatre for young audiences in Switzerland.
An Analysis of Wojciech Jerzy Has’s Movie
The book features a detailed analysis and interpretation of «The Saragossa Manuscript» (1964) by Wojciech Jerzy Has. The interpretative key is the director’s reference to the aesthetics of various art trends, starting with baroque, through romanticism, symbolism, surrealism and the culture of Orient. The artistic references named here which to a high degree can be brought down to quotations and hints (the composition of stop-frames referring to the style of a given painter or an art trend) are to a large extent the consequence of having been adapted by a particular novel (Jan Potocki). Notwithstanding, also this time Has stigmatised the project with his own style by referring to the aesthetics of surrealism which was alien to the literary prototype.