In The Captive Stage, Douglas A. Jones, Jr. argues that proslavery ideology remained the dominant mode of racial thought in the antebellum north, even though chattel slavery had virtually disappeared from the region by the turn of the nineteenth century—and that northerners cultivated their proslavery imagination most forcefully in their performance practices. Jones explores how multiple constituencies, ranging from early national artisans and Jacksonian wage laborers to patrician elites and bourgeois social reformers, used the stage to appropriate and refashion defenses of black bondage as means to affirm their varying and often conflicting economic, political, and social objectives. Joining performance studies with literary criticism and cultural theory, he uncovers the proslavery conceptions animating a wide array of performance texts and practices, such as the “Bobalition” series of broadsides, blackface minstrelsy, stagings of the American Revolution, reform melodrama, and abolitionist discourse. Taken together, he suggests, these works did not amount to a call for the re-enslavement of African Americans but, rather, justifications for everyday and state-sanctioned racial inequities in their post-slavery society. Throughout, The Captive Stage elucidates how the proslavery imagination of the free north emerged in direct opposition to the inclusionary claims black publics enacted in their own performance cultures. In doing so, the book offers fresh contexts and readings of several forms of black cultural production, including early black nationalist parades, slave dance, the historiography of the revolutionary era, the oratory of radical abolitionists and the black convention movement, and the autobiographical and dramatic work of ex-slave William Wells Brown.

Vol. for 1888 includes dramatic directory for Feb.-Dec.; vol. for 1889 includes dramatic directory for Jan.-May.

Edouard Bourdet (1887-1945) was a French playwright. Controversy about the propriety of staging a New York production of his 1926 play La prisonniere [The Captive] was swept away by the "restrained though uncompromising tragedy" that resulted."

Although the recent ‘memory boom’ has led to increasing interdisciplinary interest, there is a significant gap relating to the examination of this topic in Classics. In particular, there is need for a systematic exploration of ancient memory and its use as a critical and methodological tool for delving into ancient literature. The present volume provides just such an approach, theorising the use and role of memory in Graeco-Roman thought and literature, and building on the background of memory studies. The volume’s contributors apply theoretical models such as memoryscapes, civic and cultural memory, and memory loss to a range of authors, from Homeric epic to Senecan drama, and from historiography to Cicero’s recollections of performances. The chapters are divided into four sections according to the main perspective taken. These are: 1) the Mechanics of Memory, 2) Collective memory, 3) Female Memory, and 4) Oblivion. This modern approach to ancient memory will be useful for scholars working across the range of Greek and Roman literature, as well as for students, and a broader interdisciplinary audience interested in the intersection of memory studies and Classics.

A captive insurance company is, in a nutshell, an insurance company formed by a business owner to insure the risks of the operating business. The operating business pays premiums to the captive, and the captive insures the risks of the operating business. A captive is much more than an exotic form of self-insurance: It is the creation of a new insurance company that has the potential to grow from being a mere captive into a full-blown insurance company seeking to profit from underwriting the risks of others. Adkisson's Captive Insurance Companies provides a basic introduction to captives and their benefits, including: utilize your own experience ratings; recapture underwriting profits; underwrite exposed risks and deductibles; access the reinsurance markets; and transfer wealth between generations. This book also provides a unique look at the wealth transfer, accumulation and preservation advantages of captives, as well as an overview of the types of captives, taxation of captives, and captive domiciles.

Terrorist groups and organized crime cartels pose an increasing threat of kidnapping throughout many regions in the word. At the same time, international travel has become more commonplace for both business and leisure purposes. Kidnapping and Abduction: Minimizing the Threat and Lessons in Survival provides a practical guide on the precautions travelers can take to avoid being kidnapped or derail a kidnapping attempt in progress. In the event this cannot be avoided, the book supplies advice on how to ensure survival during captivity. Readers will learn: The basic elements of kidnapping and abduction The motivations and mechanisms of kidnappers The hotspots where kidnapping/hostage taking is prevalent Vehicles best suited for avoidance of kidnap threat and proposals for up-armoring an existing vehicle How to recognize immediate threats and precautions to be taken in assessing threat level The types of weapons most favored by kidnappers and their threat level Available bullet-resistant materials and their use in stab- and bullet-resistant vests Resistance methodologies and weapons for self-defense Legislation in various countries pertaining to the carrying of weapons How to survive long-term abduction if kidnapped How to best assist the authorities once released Essential reading for anyone living, doing business, or traveling abroad or at sea, this practical handbook reveals tactics that best enable those vulnerable to protect against an attack—or in the worse-case scenario, increase their chances for survival.

“Entertainment is the very heartbeat of Sanvar, and we are the blood, and as long as it remains that way, whether we live or die is immaterial.” In the Greco-Roman culture of Sanvar, a tale unfolds that follows the story of two orphans: one incredibly important, the other apparently insignificant. Isla Eliseus is the Iram of Sanvar, and among the most powerful people in the entire empire. Despite the honor and influence of her position, Isla wrestles with a prospect too monstrous to ignore: the exploitation of children, orphaned as she was. Determined to act, Isla agrees to spy for a rebel organization committed to ending the vile practices of the orphanages. Silas Carter's life is wholly different. Raised in obscurity within a state-run orphanage, he was trained to fulfill a single task: to serve Sanvar. Like other orphans, he knows how wrong it is to kill, but has no other choice when he's sent to the regional colosseum as a gladiator, forced to live out his own worst nightmare. Although separated by social class and fortune, Silas and Isla are connected through their past. Spotting each other at a colosseum, they rekindle their friendship, meeting again for the first time since childhood: Isla as Iram, and Silas as gladiator-slave, destined for death. Using her influence in Sanvar and position as spy to the rebellion, Isla promises Silas his freedom, setting in motion a series of terrible and thought-provoking events that promise to change Sanvar forever. "Silas and Isla face internal conflict that will resonate with today’s readers: dealing with hope and betrayal, managing obstacles, facing self-doubt, finding one’s place in the world, and overcoming life circumstances beyond one’s control" - WinterPromise Publishing

This new edition provides an expanded, comprehensive history of African American theatre, from the early nineteenth century to the present day. Including discussions of slave rebellions on the national stage, African Americans on Broadway, the Harlem Renaissance, African American women dramatists, and the New Negro and Black Arts movements, the Companion also features fresh chapters on significant contemporary developments, such as the influence of the Black Lives Matter movement, the mainstream successes of Black Queer Drama and the evolution of African American Dance Theatre. Leading scholars spotlight the producers, directors, playwrights, and actors who have fashioned a more accurate appearance of Black life on stage, revealing the impact of African American theatre both within the United States and around the world. Addressing recent theatre productions in the context of political and cultural change, it invites readers to reflect on where African American theatre is heading in the twenty-first century.