Taking as a starting point a design for a mobile theater made at the Architectural Association of London between 1970 and1971 by Spanish architect Javier Navarro de Zuvillaga (born 1942), this book traces the architectural counterculture of that time and the relations with the alternative performing arts. Architect Javier Navarro de Zuvillaga (1942) graduated in 1968 at Madrid School of Architecture. During the academic year 1970-1971 he travelled from Madrid to London thanks to a grant of the British Council to complete his postgraduate training at the Architectural Association. There he designed a building called Mobile Theater. It was a theatrical device composed of several 8 x 2,5 meters trucks carefully designed, which contained all the building elements needed to shape a space for the performing arts or other collective uses. The assembly time —estimated for four workers— was six and a half hours. This project was internationally showed and published between 1971 and 1975, but was never built. This book intends to release this project, largely ignored by canonical historiography, and to culturally place it in time and space: the agitated city of London in 1971. After the convulsions of May 1968, architectural counterculture rearmed on very different fronts, from the disciplinary rally to the guerilla positions. This architectural design accounts for these events, since it had a temporal development that goes beyond its mere conception as an artifact. The long and frustrated process for construction —1969 to 1976— calls for a particular intra-history, which this books will tell.

"This chapter focuses on the development of different marketing mix concepts and how they have never aligned appropriately with nonprofit arts organizations. The chapter starts with a discussion of the nonprofit arts, how they came into existence as we know them today, and how the challenges of our market economy affect them"--

Taking as a starting point a design for a mobile theater made at the Architectural Association of London between 1970 and1971 by Spanish architect Javier Navarro de Zuvillaga (born 1942), this book traces the architectural counterculture of that time and the relations with the alternative performing arts. Architect Javier Navarro de Zuvillaga (1942) graduated in 1968 at Madrid School of Architecture. During the academic year 1970-1971 he travelled from Madrid to London thanks to a grant of the British Council to complete his postgraduate training at the Architectural Association. There he designed a building called Mobile Theater. It was a theatrical device composed of several 8 x 2,5 meters trucks carefully designed, which contained all the building elements needed to shape a space for the performing arts or other collective uses. The assembly time --estimated for four workers-- was six and a half hours. This project was internationally showed and published between 1971 and 1975, but was never built. This book intends to release this project, largely ignored by canonical historiography, and to culturally place it in time and space: the agitated city of London in 1971. After the convulsions of May 1968, architectural counterculture rearmed on very different fronts, from the disciplinary rally to the guerilla positions. This architectural design accounts for these events, since it had a temporal development that goes beyond its mere conception as an artifact. The long and frustrated process for construction --1969 to 1976-- calls for a particular intra-history, which this books will tell.

A New York Times Notable Book Arthur Gelb was hired by The New York Times in 1944 as a night copyboy—the paper’s lowliest position. Forty-five years later, he retired as its managing editor. Along the way, he exposed crooked cops and politicians, mentored a generation of our most-talented journalists, was the first to praise the as-yet-undiscovered Woody Allen and Barbra Streisand, and brought Joe Papp instant recognition. From D-Day to the liberation of the concentration camps, from the agony of Vietnam to the resignation of a President, from the fall of Joe McCarthy to the rise of the “Woodstock Nation,” Gelb gives an insider’s take on the great events of this nation's history—what he calls “the happiest days of my life.”

Orienting Hollywood moves beyond the conventional popular wisdom that Hollywood and Bombay cinema have only recently become intertwined because of economic priorities, instead uncovering a longer history of exchange. Through archival research, interviews, industry sources, policy documents, and cultural criticism, Nitin Govil not only documents encounters between Hollywood and India but also shows how connections were imagined over a century of screen exchange.

Joseph Papp (1921-1991), theater producer, champion of human rights and of the First Amendment, founder of the New York Shakespeare Festival and Public Theater, changed the American cultural landscape. Born Yussel Papirofsky in Williamsburg, Brooklyn, he discovered Shakespeare in public school and first produced a show on an aircraft carrier during World War II. After a stint at the Actors’ Lab in Hollywood, he moved to New York, where he worked as a CBS stage manager during the golden age of television. He fought Parks Commissioner Robert Moses (as well as Mayors Wagner, Lindsay, Beame and Koch) winning first the right to stage free Shakespeare in New York’s Central Park, then municipal funding to keep it going. He built the Delacorte Theater and later rebuilt the former Astor Library on Lafayette Street, transforming it into the Public Theater. In addition to helping create an "American" style of Shakespeare, Papp pioneered colorblind casting and theater as a not-for-profit institution. He showcased playwrights David Rabe, Elizabeth Swados, Ntozake Shange, David Hare, Wallace Shawn, John Guare, and Vaclav Havel; directors Michael Bennett, Wilford Leach and James Lapine; actors Al Pacino, Colleen Dewhurst, George C. Scott, James Earl Jones, Meryl Streep, Kevin Kline, Sam Waterston, and Denzel Washington; and produced Hair, Sticks and Bones, for colored girls, The Normal Heart, and A Chorus Line, the longest running musical in Broadway history. "This first biography of the late Joseph Papp will be a hard act to follow." — Booklist "The final portrait that emerges might have been jointly painted by Goya, Whistler and Francis Bacon." — Benedict Nightingale, front-page New York Times Sunday Book Review Playwright Tony Kushner called Papp "one of the very few heroes this tawdry, timid business has produced" and the book, a "nourishing and juicy biography." "Helen Epstein recounts [Papp's] career in [this] definitive, meticulously researched and highly readable biography. [...] It is a tribute to Epstein’s narrative skill that the detailed account of Papp’s decline and eventual defeat by cancer [...] reads as both riveting and horrifying." — Ellen Schiff, All About Jewish Theatre Oklahoma-born Paul Davis created 51 iconic posters for Joseph Papp, starting in 1975 with the New York Shakespeare Festival production of "Hamlet" starring Sam Waterston. "It was inspiring to work with Joe," says Davis. "We would discuss what he wanted to achieve in a production, and he trusted me to find a way to express it. And he respected the poster as its own dramatic form." The artist’s work has been exhibited in the U.S., Europe and Japan. He is a recipient of a special Drama Desk award created for his theater art. Davis was elected to the Art Directors Club Hall of Fame and the Society of Illustrators Hall of Fame, and is a Fellow of the American Academy in Rome.