Theatre

This catalog contains openly-licensed course materials developed for the Open Educational Resources (OER) Degree Initiative, led by Achieving the Dream. Lumen maintains this content in the same condition it was provided to us by participating faculty and institutions.

BCcampus Open Education contributes to the development of an open future for teaching practices and educational resources.

DOAB is a community-driven discovery service that indexes and provides access to scholarly, peer-reviewed open access books and helps users to find trusted open access book publishers. All DOAB services are free of charge and all data is freely available.

GALILEO Open Learning Materials brings together open educational resources throughout the University System of Georgia, including open textbooks and ancillary materials.

The LibreTexts mission is to unite students, faculty and scholars in a cooperative effort to develop an easy-to-use online platform for the construction, customization, and dissemination of open educational resources (OER) to reduce the burdens of unreasonable textbook costs to our students and society.

OAPEN promotes and supports the transition to open access for academic books by providing open infrastructure services to stakeholders in scholarly communication. We work with publishers to build a quality-controlled collection of open access books and provide services for publishers, libraries, and research funders in the areas of hosting, deposit, quality assurance, dissemination, and digital preservation.

OER initiatives aim to grow a sustainable culture of sharing and continuous improvement among educators at all levels.

This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. They present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film.

Based on the words and experiences of the people involved, this book tells the story of the community arts movement in the UK, and, through a series of essays, assesses its influence on present day participatory arts practices. Part I offers the first comprehensive account of the movement, its history, rationale and modes of working in England, Northern Ireland, Scotland and Wales; Part II brings the work up to the present, through a scholarly assessment of its influence on contemporary practice that considers the role of technologies and networks, training, funding, commissioning and curating socially engaged art today. The community arts movement was a well-known but little understood and largely undocumented creative revolution that began as part of the counter-cultural scene in the late 1960s. A wide range of art forms were developed, including large processions with floats and giant puppets, shadow puppet shows, murals and public art, events on adventure playgrounds and play schemes, outdoor events and fireshows. By the middle of the 1980s community arts had changed and diversified to the point where its fragmentation meant that it could no longer be seen as a coherent movement. Interviews with the early pioneers provide a unique insight into the arts practices of the time. Culture, Democracy and the Right to Make Art is not simply a history because the legacy and influence of the community arts movement can be seen in a huge range of diverse locations today. Anyone who has ever encountered a community festival or educational project in a gallery or museum or visited a local arts centre could be said to be part of the on-going story of the community arts. This book is open access and available on www.bloomsburycollections.com . It is funded by the University of Manchester.

Eubanks Winkler and Schoch reveal how – and why – the first generation to stage Shakespeare after Shakespeare’s lifetime changed absolutely everything. Founder of the Duke’s Company, Sir William Davenant influenced how Shakespeare was performed in a profound and lasting way. This open access book provides the first performance-based account of Restoration Shakespeare, exploring the precursors to Davenant’s approach to Restoration Shakespeare, the cultural context of Restoration theatre, the theatre spaces in which the Duke’s Company performed, Davenant’s adaptations of Shakespeare’s plays, acting styles, and the lasting legacy of Davenant’s approach to staging Shakespeare. The eBook editions of this work are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Queens University Belfast

Nandita Dinesh places Kipling’s ""six honest serving-men"" (who, what, when, where, why, how) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dinesh’s personal narrative with the public story of modern conflict, illustrating as it does, the importance of theatre as a force for ethical deliberation and social justice. In it Dinesh asks how theatre might intervene in times and places of conflict and how we might reflect on such interventions. In pursuit of answers, Theatre and War adopts the methods of auto-ethnography, positioning the theatrical practitioner at the heart of conflict zones in northern Uganda, Guatemala, Northern Ireland, Mexico, Rwanda, Kenya, Nagaland, and Kashmir. No longer a detached observer, the researcher and practitioner has to be able to meld theory with practice; to speak to ‘doing’, without undervaluing the importance of ‘thinking about doing’. Each chapter approaches the need for a synthesis of theory and practice by way of a term of inquiry―Why, Where, Who, What, When―and each is equipped with a set of unflinchingly honest field notes that are designed to reveal some of the ‘hows’ from the author’s own repertoire: questions and issues that were encountered during her own theatrical undertakings, along with first hand reflection on the complexities, potential, and challenges that attended her global work in community theatre. Within these notes are strategies that give the reader a practical insight into how the discussion might find its footing on the ground of war. The range and scope of this book make it required reading for those interested in theatre―practitioners, researchers, and students alike—as well as those seeking to understand the applications of the arts for ethics, politics, and education.

Theatre Lighting Before Electricity covers the intricacies of dealing with stage lighting before the advent of electricity. Ranging from ancient Greek times to 1882, theater historian Frederick Penzel (shows that theatre lighting has a long and ingenious history. As early as the sixteenth century, Italian theatres had colored lighting displays. Scenes were lighted by large central chandeliers, and early forms of sidelights, reflectors, and floodlights were in use. Lighting was adjusted to create moods or to reinforce dramatic actions. Gaslighting was first generally used in theatres in 1817 and before the end of that year the most important London theatres were completely illuminated by gaslight. Penzel demonstrates that by the time electricity had come into use, most modem stage lighting devices had been in development for many years, and were only being modified for use with a more powerful light source. Originally published in 1978, this was the first written history of early theatre lighting and contains many valuable technical illustrations. This book continues to present an unparalleled resource on early stage lighting.