In this title, first published in 1985, Michael Bristol draws on several theoretical and critical traditions to study the nature and purpose of theatre as a social institution: on Marxism, and its revisions in the work of Mikhail Bakhtin; on the theories of Emile Durkheim and their adaptations in the work of Victor Turner; and on the history of social life and material culture as practiced by the Annales school. This valuable work is an important contribution to literary criticism, theatre studies and social history and has particular importance for scholars interested in the dramatic literature of Elizabethan England.

Discover how one spectacular building project revolutionized Miami, how one man's moxie helped turn a fractious tropical city into a cultural capital of the Americas. In Center of Dreams, New York Times bestselling author Les Standiford tells the inspiring story of the Adrienne Arsht Center for the Performing Arts. The vision for this building, which would become the most ambitious cultural arts complex since the Kennedy Center, began in an unlikely place and time. Miami in the 1970s was divided by social and ethnic tensions. The city comprised a growing population of immigrants from the Cuban revolution, a well-established African American community, Florida "crackers," and a continual influx of tourists and retirees. Critics said a cultural center would never be possible in a place of such extreme diversity. But Parker Thomson, a lawyer and Boston transplant, knew his adopted city could become a world-leading community in the twenty-first century. He believed a performing arts center was critical to this vision. Everyone said his dream was impossible, he would never succeed, it couldn't be done. Not in Miami. But Thomson persevered against political opposition, economic roadblocks, and engineering problems. It took thirty years to overcome the odds and the obstacles, but he finally made the dream a reality. With Thomson's efforts, along with help from cultural leaders, iconic design work by architect Cesar Pelli, and support from philanthropist Adrienne Arsht, the center opened its doors in 2006 with a star-studded gala. Today the Arsht Center is a cutting-edge venue of style and art, a landmark beloved by the city's residents, and a magnet for tourists from all over the world. Presenting performances that celebrate the richness of Miami's diverse population, it showcases emerging local artists and attracts international stars. Resident companies include the New World Symphony, the Florida Grand Opera, and the Miami City Ballet. Its improbable story is a testament to the influence of cultural advocacy, the importance of government support for the arts, and the power of the arts to repair and sustain communities.

Brazil has one of the most vibrant theater cultures in the world, home to a wide variety of theatrical expression. This collection of 15 interviews includes some of the country's most prolific creative minds--Ze Celso (Teatro Oficina), Antunes Filho, Gerald Thomas, Nos do Morro, Rudolfo Vasquez (Os Satyros), Antonio Araujo (Teatro Vertigem), Enrique Diaz (Cia do Atores) and Lia Rodrigues, to name a few--discussing their approaches to the collaborative theater process. They describe a collective creative environment in which practitioners are concerned with fundamental questions about social, cultural and artistic contexts in which productions are staged, and the interdisciplinary climate that predominated from the beginning of the 1980s.

Join in the fun with Sam-I-Am in this iconic Dr. Seuss classic about the joy of trying new things. And don’t miss the Netflix series adaptation! I do not like green eggs and ham. I do not like them, Sam-I-am. With unforgettable characters and signature rhymes, Dr. Seuss’s beloved favorite has cemented its place as a children’s classic. Kids will love the terrific tongue twisters as the list of places to enjoy green eggs and ham gets longer and longer...and they might even find themselves craving something new! Beginner Books are fun, funny, and easy to read! Launched by Dr. Seuss in 1957 with the publication of The Cat in the Hat, this beloved early reader series motivates children to read on their own by using simple words with illustrations that give clues to their meaning. Featuring a combination of kid appeal, supportive vocabulary, and bright, cheerful art, Beginner Books will encourage a love of reading in children ages 3–7.

Theatrical Events. Borders, Dynamics and Frames is written to develop the concept of ‘Eventness’ in Theatre Studies. The book as a whole stresses the importance of understanding theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects. The Theatrical Event concept means not only that performers and spectators meet, but also that the specific mental sets, backgrounds and cultural contexts they bring in, strongly contribute to the character of a particular event. Moreover, this concept gives space to the study of the role societal developments – such as technological, political, economical or educational ones – play in theatrical events.

This innovative book offers an interdisciplinary analysis of Shakespearean theatre, presented in a series of imaginative readings of plays from every period of the playwright's career, from Two Gentlemen of Verona and The Taming of the Shrew to King Lear and The Tempest , mapping a new approach to ideas of the theatre as an institution.