Part One: The history of amateur theatre in Victoria, commencing in 1788 in New South Wales, from Melbourne in 1842 and working through decades to modern day, based on an award-winning PhD thesis. Live cultural performances presented by First Nations People for over sixty years are respectfully acknowledged.Part Two: The Culture and Voices of Victorian musical and non-musical amateur theatre are represented by individual stories from 129 currently operating theatre companies in urban and regional Victoria. Known past theatre companies are listed to honour their existence and some research data collated from interviews with representatives from 70 theatre companies gives insight into the transformative benefits of amateur theatre, and perceived strengths, threats and weaknesses of companies.

"Contains the informal history of forty theatres that were built, as either legitimate houses or movie palaces and that are currently operating as legitimate theatres"--p. xiii.

Packed full of drama games, ideas and suggestions, Drama Menu is a unique new resource for drama teachers.

(Applause Books). Theatregoers' favorite history of Broadway is back in an updated and expanded 2010 edition including more than 500 color production photos, vintage archival photos, and Playbill covers from all forty currently operating Broadway theatres. Thirty-eight of the original chapters have been expanded to cover all the shows that have opened in the ten years since the popular 2000 edition, with two new chapters added to include Broadway theatres recently refurbished and returned to life. This unique chronicle is the first work to present a detailed theatre-by-theatre roundup of players and productions that have enchanted audiences at Broadway's great playhouses from 1900 to 2010. The work is an expanded treatment of "At This Theatre," the popular feature in Playbill's Broadway theatre programs. "At This Theatre" offers playgoers instant nostalgia by listing notable hits (and some famed fiascos) that have played through the years in the theatre that they are attending. The book also pays tribute to the distinguished impresarios who built and managed these houses, and the brilliant architects and interior designers who created them. The original 1984 edition was created by Playbill senior editor Louis Botto. Botto worked with editor Robert Viagas on the 2000 update. With the third edition, Botto has passed the author torch to Viagas, who founded Playbill.com and the acclaimed Playbill Broadway Yearbook series, and who has written the updates in Botto's style.

In 1974, a group of determined, young high school actors started doing plays under the name of Steppenwolf Theatre Company, eventually taking residence in the basement of a church in Highland Park, a suburb of Chicago. Thus began their unlikely journey to become one of the most prominent theatre companies in the world. Steppenwolf Theatre Company has changed the face of American Theatre with its innovative approach that blends dynamic ensemble performance, honest, straightforward acting, and bold, thought-provoking stories to create compelling theatre. This is the first book to chronicle this iconic theatre company, offering an account of its early years and development, its work, and the methodologies that have made it one of the most influential ensemble theatres today. Through extensive, in-depth interviews conducted by the author with ensemble members, this book reveals the story of Steppenwolf's miraculous rise from basement to Broadway and beyond. Interviewees include co-founders Jeff Perry, Gary Sinise and Terry Kinney, along a myriad of ensemble, staff, board members and others.

Afong Moy is fourteen years old when she’s brought to the United States from Guangzhou Province in 1834. Allegedly the first Chinese woman to set foot on U.S. soil, she has been put on display for the American public as “The Chinese Lady.” For the next half-century, she performs for curious white people, showing them how she eats, what she wears, and the highlight of the event: how she walks with bound feet. As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Inspired by the true story of Afong Moy’s life, THE CHINESE LADY is a dark, poetic, yet whimsical portrait of America through the eyes of a young Chinese woman.

''... brilliantly original ... brings cultural and post-colonial theory to bear on a wide range of authors with great skill and sensitivity.' Terry Eagleton

De Zweedse August Strindberg (1849-1912) wordt gezien als een van de meest belangrijke toneelschrijvers van rond de eeuwwisseling. Zijn choquerende theaterstukken had veel weerklank bij het publiek in die tijd, en inspireert tot op de dag van vandaag toneelschrijvers en publiek. Strindberg was een onophoudelijke innovator van verschillende theatervormen, een bron van inspiratie voor onder meer Eugene O'Neill, Samuel Beckett en Ingmar Bergman en heeft een vruchtbare bodem gelegd voor het moderne toneel. Zijn voorwoord voor Miss Julie en zijn inleiding bij A Dream Play zijn alom bekend en vaak herdrukt. Wat minder bekend is, is dat Strindberg veel toneelstukken recenseerde en kritieken schreef over het theater in z'n algemeen, en zijn toneelstukken in het bijzonder. Dit boek bevat de meest belangrijke van zijn kritieken, chronologisch weergegeven en geannoteerd, waarvan vele voor het eerst in het Engels.

For generations, fans and critics have characterized classic American radio drama as a “theater of the mind.” This book unpacks that characterization by recasting the radio play as an aesthetic object within its unique historical context. In Theater of the Mind, Neil Verma applies an array of critical methods to more than six thousand recordings to produce a vivid new account of radio drama from the Depression to the Cold War. In this sweeping exploration of dramatic conventions, Verma investigates legendary dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis Cooper on key programs ranging from The Columbia Workshop, The Mercury Theater on the Air, and Cavalcade of America to Lights Out!, Suspense, and Dragnet to reveal how these programs promoted and evolved a series of models of the imagination. With close readings of individual sound effects and charts of broad trends among formats, Verma not only gives us a new account of the most flourishing form of genre fiction in the mid-twentieth century but also presents a powerful case for the central place of the aesthetics of sound in the history of modern experience.