I have known over the years that it has never yet happened that the uterus is admired in the highest regard. But I equally feel that unless it is truly known, it will be considered just as an organ (like others) below the belly button, performing its natured duties. And for making you known I’m plunging myself into the depths of this mighty organ. It has been observed that in “healthcare exigency” wherein effort, prompt action and splendid competence are the criteria, therein epistemic situations arise, but on account of ignorance or incomplete knowledge, widespread misconceptions, and limited options we remain untouched by unbiased and errorfree real knowledge. As a consequence, we have to face hard times. With the aid of the chapter privileged in the booklet, I endeavour to build awareness concerning this constituting part of the larger whole with the aim that woman commits themselves to take resolution for themselves and take hold of pertinent treatment right on time, thereby maintaining the stature of this organ.

Theatricality and the Arts presents a series of investigations of the notion of 'theatricality'. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.

Ten years ago, Magnolia Steele fled Franklin, Tennessee after an incident that left her with hazy memories and a horror of the place where she had been born and bred. Though her abrupt departure destroyed most of her treasured relationships, she vowed never to return . . . until she has no choice. When Magnolia's breakout acting role in a Broadway musical ends in disgrace, there's only one place she can go. She finds herself on her momma's porch, suitcase in hand. Drama follows Magnolia around like a long lost friend. She reluctantly agrees to help her momma's catering company at a party for a country music star, only to find herself face-to-face with a sleazy music agent from her past. After a very public spat, Magnolia not only finds him dead but herself center stage in the police's investigation. Now she must scramble to prove her innocence, relying on the help of acquaintances old and new. But the longer Magnolia stays in Franklin, the more she remembers about the big bad incident that chased her away. The past might not be finished with her yet, and what she doesn't remember could be her biggest danger.

The period 1890-1940 was a particularly rich and influential phase in the development of modern English theatre: the age of Wilde and Shaw and a generation of influential actors and managers from Irving and Terry to Guilgud and Olivier. Jean Chothia's study is in two parts beginning with a portrait of the period, setting the narrative context and considering the dramatic social and cultural changes at work during this time. It then focuses on some of the main themes in the theatre, from Shaw and comedy, to the rise of political and radio drama, providing an interpretative framework for the period. This volume will be of great benefit to students and academics of English literature and drama, as it covers the work of the major dramatists of the period as well as considering the dramatic output of literary figures, such as James, Eliot and Lawrence.

This volume is mainly a collection of papers presented at the 1995 Mandelieu conference in France which brought together artists and critics. The theme was that of contemporary African theatre in the former British and French empires. The contributions are of interest to those working in theatre generally and to those specialising in African performance, development studies and comparative literature. The varied topics include: popular theatre, Soyinka and France, syncretic theatre, comparisons between Anglophone and Francophone theatre in the Cameroon, censorship, development theatre and Sony Labou Tansi. There are also interview with Southern African writers and pieces of creative writing.

Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre responds to a rising tide of experimentation in theatre practice that eliminates or obscures light. It brings together leading and emerging practitioners and researchers in a volume dedicated to exploring the phenomenon and showcasing a range of possible critical and theoretical approaches. This book considers the aesthetics and phenomenology of dark, gloomy and shadow-strewn theatre performances, as well as the historical and cultural significances of darkness, shadow and the night in theatre and performance contexts. It is concerned as much with the experiences elicited by darkness and obscured or diminished lighting as it is with the conditions that define, frame and at times re-shape what each might 'mean' and 'do'. Contributors provide surveys of relevant practice, interviews with practitioners, theoretical reflections and close critical analyses of work by key innovators in the aesthetics of light, shadow and darkness. The book has a particular focus on the work of contemporary theatre makers – including Sound&Fury, David Rosenberg and Glen Neath, Lundahl & Seitl, Extant, and Analogue – and seeks to deepen the engagement of theatre and performance studies with what might be called 'the sensory turn'. Theatre in the Dark explores ground-breaking areas that will appeal to researchers, practitioners and audiences alike.

Challenges the notion that the theater of the 1960s falls neatly into two categories, mainstream or experimental

Darkness has a history and a uniquely modern form. Distinct from night, shadows, and artificial light, “artificial darkness” has been overlooked—until now. In fact, controlled darkness was essential to the rise of photography and cinema, science and spectacle, and a century of advanced art and film. Artificial Darkness is the first book to historicize and theorize this phenomenon and map its applications across a range of media and art forms. In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production—such as photography darkrooms, film studios, and laboratories—and their sites of reception, including theaters, cinemas, and exhibitions. He argues that artists, scientists, and entertainers like Étienne-Jules Marey, Richard Wagner, Georges Méliès, and Oskar Schlemmer revolutionized not only images but also everything surrounding them: the screen, the darkness, and the experience of bodies and space. At the heart of the book is “the black screen,” a technology of darkness that spawned today’s blue and green screens and has undergirded numerous advanced art and film practices to this day. Turning familiar art and film narratives on their heads, Artificial Darkness is a revolutionary treatment of an elusive, yet fundamental, aspect of art and media history.

USA TODAY BESTSELLER! Bestselling and award-winning author and investigative reporter Hank Phillippi Ryan delivers another twisty, thrilling, cat and mouse novel of suspense that will have you guessing, and second-guessing, and then gasping with surprise. We all have our reasons for being who we are—but what if being someone else could get you what you want? After a devastating betrayal, a young woman sets off on an obsessive path to justice, no matter what dark family secrets are revealed. What she doesn’t know is that she isn’t the only one plotting her revenge. An affluent daughter of privilege. A glamorous manipulative wannabe. A determined reporter, in too deep. A grieving widow who must choose her new reality. Who will be the first to lie? And when the stakes are life and death, do a few lies really matter? At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Thomas Fitzwalter, a young builder, is waiting in a site porta cabin to price a job when he is a witness to an assault on a young woman. Through the porta cabin window Thomas captures images of the assault with a camera he has with him. One of the images is of a charismatic American preacher, so called, who is standing in the doorway of the trailer angrily gesticulating at the woman. The builder intervenes and a fight occurs in which he holds his own against the woman's assailant but when a second thug appears on the scene - from out of the blue - Thomas is overwhelmed by the bigger man. His quietus is approaching but he is saved from serious injury by the woman who takes off one of her shoes and using it club fashion batters the thug into submission. The consequences that follow from the fight unfold against a backdrop of building site values, police corruption, religious hypocrisy, various human relationships and social events, all of which have a bearing on one of the most dramatic Saturday nights Thomas has ever experienced.