Where Are the People? How Could the People’s Bodies Voice Themselves in the Form of Theatrical Aesthetics? At That Time, the Audience Really Stood Up. In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater. “People’s theater” belongs to the people. It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms. People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figure out the body aesthetics that carry historical conflicts and the experience to find the form and channel of expression, and continue for work of thinking and creation. “People Theater” is nothing but a rehearsal for a revolution. This book has reviewed and reflected on the half-century development of people’s theater in inter-Asian societies, demonstrates how the theatrical practitioners and artists in different communities strived to open various spaces, dealt with the censorship from the authoritarian regime to the neoliberal societies, and experimented with diverse aesthetics and local objects to address political issues. ▍Preface “It is a collection with the premise that can motivate our critical thinking with bodily energy. It reflects how we realize the statement—‘Viewing as participating; audience as actors.’It is also a book where some keywords constantly appear, like resistance, politics, the oppressed, and conversation. With its humming buzz and murmur against the present situation, it is a collection of words refusing to remain silent.”— Lin Hsin I（Associate Professor at the Institute of Applied Art, National Yang Ming Chiao Tung University） ▍People’s Theater Practitioners Asian People’s Theatre Festival Society (Hong Kong)／Assignment Theatre (Taiwan)／Centre for Applied Theatre, Taiwan (Taipei)／Grass Stage (Shanghai)／Langasan Theatre (Hualien)／Makhampom Theatre Group (Ching Dao/Bangkok)／Oz Theatre Company (Taipei)／Philippine Educational Theater Association, PETA (Manila)／Shigang Mama Theater (Taichung Shigang)／Teater Kubur (Jakarta)／Teatro em Casa (Mozambique)／Theater Playground SHIIM (Busan)／Trans-Asia Sisters Theater (Taiwan)／WANG Mo-lin (Taiwan)／Wiji Thukul (Solo)／Yasen no Tsuki (Tokyo) ▍Characteristics of this book 1.Beyond the geographical limitations of Taiwan and East Asia, combined the context of Inter-Asian societies and Third-World society, appreciate the theater work methods that are intertwined with folk culture and community traditions, and promote the practice of public theater. 2. This book focuses on depicting network relationships in specific historical periods, and explores how the cooperation and interaction of troupes in these heterogeneous regions occurred. And how do these interactions affect the characteristics and forms of popular theater organizations in the transition of different policies? 3. What this book looks back on is not only the continuation and development of troupes but also the sudden change or gap between new people theaters and old people theaters.

In praising “the witty high school romp” How I Paid for College, the New York Times Book Review said, it “makes you hope there’s a lot more where this came from.” There is. In this hilarious sequel Attack of the Theater People, Edward Zanni and his merry crew of high school musical-comedy miscreants move to the magical wonderland that is Manhattan. It is 1986, and aspiring actor Edward Zanni has been kicked out of drama school for being “too jazz hands for Juilliard.” Mortified, Edward heads out into the urban jungle of eighties New York City and finally lands a job as a “party motivator” who gets thirteen-year-olds to dance at bar mitzvahs and charms businesspeople as a “stealth guest” at corporate events. When he accidentally gets caught up in insider trading with a handsome stockbroker named Chad, only the help of his crew from How I Paid for College can rescue him from a stretch in Club Fed. Laced with the inspired zaniness of classic American musical comedy, Attack of the Theater People matches the big hair of the eighties with an even bigger heart.

A comprehensive history of Russian theatre, written by an international team of experts.

An annotated world theatre bibliography documenting significant theatre materials published world wide since 1945, plus an index to key names throughout the six volumes of the series.

A latecomer continually hampered by government control and interference, the Russian theatre seems an unlikely source of innovation and creativity. Yet, by the middle of the nineteenth century, it had given rise to a number of outstanding playwrights and actors, and by the start of the twentieth century, it was in the vanguard of progressive thinking in the realms of directing and design. Its influence throughout the world was pervasive: Nikolai Gogol', Anton Chekhov and Maksim Gor'kii remain staples of repertories in every language, the ideas of Konstantin Stanislavskii, Vsevolod Meierkhol'd and Mikhail Chekhov continue to inspire actors and directors, while designers still draw on the graphics of the World of Art group and the Constructivists. What distinguishes Russian theater from almost any other is the way in which these achievements evolved and survived in ongoing conflict or cooperation with the State. This second edition of Historical Dictionary of Russian Theatre covers the history through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on individual actors, directors, designers, entrepreneurs, plays, playhouses and institutions, Censorship, Children’s Theater, Émigré Theater, and Shakespeare in Russia. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian Theatre.

DIVComing from a broad cross-section of academic disciplines and theoretical positions, this collection of essays questions and reworks Marxist critiques of capitalism that center on the West and which posit a uniform model of development. More specifically/div

The Collected Works of W. B. Yeats, Volume VIII: The Irish Dramatic Movement is part of a fourteen-volume series under the general editorship of eminent Yeats scholars Richard J. Finneran and George Mills Harper. This complete edition includes virtually all of the Nobel laureate's published work, in authoritative texts and with extensive explanatory notes. Edited by the distinguished Yeats scholars Mary FitzGerald and Richard J. Finneran, The Irish Dramatic Movement gathers together -- for the first time -- all of the poet's time-honored essays on drama and the groundbreaking movement that led to the enduring Irish theater of today. Although the reputation of W. B. Yeats as one of the preeminent writers of the twentieth century rests primarily on his poetry, drama and the theatre were among his abiding concerns. Indeed, in 1917 he wrote, "I need a theatre; I believe myself to be a dramatist." Here in this volume is the collection of all his major dramatic criticism for the years 1899-1919, including previously uncollected material. A practicing dramatist himself, Yeats had strong convictions about the goals of the Irish theater and the appropriate plays to be produced. The essays in this collection address many topics, from the turbulent early years of what became the Abbey Theatre to the controversies over the plays of John Millington Synge and the relationship between drama and nationalism. Also evident are Yeats's judgments on numerous plays, playwrights, and productions, both in Irish and in English. FitzGerald and Finneran's volume includes an Introduction and a History of the Text, as well as copious but unobtrusive annotation. The Irish Dramatic Movement is an essential volume for both readers of Yeats and students of the early years of twentieth-century theater.