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"This book introduces readers to project planning and management techniques and connects those techniques to the traditional production practices of American theatre"--
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Sparzwänge, Fusionen oder gar Schliessungen von Sparten und gesamten Ein-richtungen sind kein Tabu mehr. Auf Zuschusskürzungen, Kostensteigerungen und vor allem den zunehmenden Wettbewerb um Besucher müssen die Häuser mit nachhaltig tragfähigen Veränderungen reagieren. Angesichts dieser Entwicklungen ist es unerlässlich, sich mit dem Marketing einem Konzept zuzuwenden, das sich in der Privatwirtschaft seit langem bewährt hat, und dessen Einsatz zum Beispiel im öffentlichen Museumsbereich bereits zu beachtenswerten Erfolgen geführt hat.Dieses Buch bietet einen Überblick über die dabei erforderlichen konzeptionellen Grundlagen, die Formulierung und Umsetzung der Marketingziele und -strategien sowie das praktische Instrumentarium für das Theatermarketing.
Theater management --- Theater --- Marketing --- Kulturmanagement. --- Marketing. --- Theater.
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From Philip Henslowe to David Merrick, the producer or theatre manager has generally been seen as a combination of Shylock and Simon Legree, usurer and slavedriver, wholly concerned with profit and loss, indifferent to art and artists. Yet no single person has greater responsibility in what George Henry Lewes called the "perilous game" of play production. The essays in this volume examine five English and American theatrical managers, from the Elizabethan period to the twentieth century: Philip Henslowe, Tate Wilkinson, Stephen Price, Edwin Booth, and Charles Wyndham. The contributors, who evaluate the relationship of each manager to the drama of his time, include Bernard Beckerman, Charles Beecher Hogan, Benard Hewitt, Charles Shattuck, and George Rowell. Joseph Donohue's essay, "The Theatrical Manager and the Uses of Theatrical Research," introduces the volume.Originally published in 1971.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Theater -- Production and direction. --- Theater management -- Biography. --- Theater management. --- Drama --- Music, Dance, Drama & Film --- Theater management --- Biography --- Theater administration --- Theatre management --- Biography. --- Management --- Theater --- Production and direction --- United States --- Great Britain --- United States of America
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""All of us in the arts field are hungry to improve our skills in arts management. The grim tenor of the times makes this witty and fun guide even more valuable to us all!"" Ben Cameron, Former Executive Director, Theater Communications Group. ""Dr. Jim Volz knows how to organize, how to manage, how to motivate, how to assign priorities. In short, he knows how to get the job done."" Abe J. Bassett, Former Dean, Indiana University/Purdue University. Jim Volz is one of America's leading theatre consultants with over three decades of work with theatre, dance, music, museum and arts center managem
Theater management. --- Theater administration --- Management --- Theater --- Production and direction --- Théâtre --- Gestion. --- Arts --- Management. --- Théâtre
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"All roads lead to London - and to the West End theatre. This book presents a new history of the beginnings of the modern world of London entertainment. Putting female-centred, gender-challenging managements and styles at the centre, it redraws the map of performance history in the Victorian capital of the world. Bratton argues for the importance in Victorian culture of venues like the little Strand Theatre and the Gallery of Illustration in Regent Street in the experience of mid-century London, and of plays drawn from the work of Charles Dickens as well as burlesques by the early writers of Punch. Discovering a much more dynamic and often woman-led entertainment industry at the heart of the British Empire, this book seeks a new understanding of the work of women including Eliza Vestris, Mary Ann Keeley and Marie Wilton in creating the template for a magical new theatre of music, feeling and spectacle"--
Theater --- Women in the theater --- Theater management --- Theater administration --- Management --- History --- Production and direction --- West End (London, England) --- History.
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Motion picture theaters --- Theater management --- Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Theater administration --- Management --- Theater --- Cinemas --- Movie theaters --- Moving-picture theaters --- Theaters, Motion picture --- Theaters --- Management&delete& --- Vocational guidance --- Distribution&delete& --- History and criticism --- Production and direction --- E-books --- Distribution --- Theater management.
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Performing arts --- Actors --- Theatrical managers --- Theater --- Music, Dance, Drama & Film --- Drama --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Managers, Theatrical --- Theater managers --- Theater management --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Show business --- Arts --- Performance art --- Dictionaries --- Biography --- London (England) --- Londen (England) --- Londinium (England) --- Londres (England) --- Londýn (England) --- Lunnainn (England)
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Stagestruck traces the making of a vibrant French theater industry between the reign of Louis XIV and the French Revolution. During this era more than eighty provincial and colonial cities celebrated the inauguration of their first public playhouses. These theaters emerged as the most prominent urban cultural institutions in prerevolutionary France, becoming key sites for the articulation and contestation of social, political, and racial relationships. Combining rich description with nuanced analysis based on extensive archival evidence, Lauren R. Clay illuminates the wide-ranging consequences of theater's spectacular growth for performers, spectators, and authorities in cities throughout France as well as in the empire's most important Atlantic colony, Saint-Domingue.Clay argues that outside Paris the expansion of theater came about through local initiative, civic engagement, and entrepreneurial investment, rather than through actions or policies undertaken by the royal government and its agents. Reconstructing the business of theatrical production, she brings to light the efforts of a wide array of investors, entrepreneurs, directors, and actors-including women and people of color-who seized the opportunities offered by commercial theater to become important agents of cultural change.Portraying a vital and increasingly consumer-oriented public sphere beyond the capital, Stagestruck overturns the long-held notion that cultural change flowed from Paris and the royal court to the provinces and colonies. This deeply researched book will appeal to historians of Europe and the Atlantic world, particularly those interested in the social and political impact of the consumer revolution and the forging of national and imperial cultural networks. In addition to theater and literary scholars, it will attract the attention of historians and sociologists who study business, labor history, and the emergence of the modern French state.
Theater management --- Theater --- Theater and society --- Theater administration --- Management --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Society and theater --- History --- Economic aspects --- Production and direction --- Social status --- Social aspects --- West Indies, French --- France --- Antilles, French --- Antilles françaises --- French Antilles --- French West Indies --- Antilles, Lesser --- Social life and customs
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Vorliegende Studie tritt dem verbreiteten Urteil entgegen, August Wilhelm Iffland hätte das Berliner Nationaltheater von 1796 bis 1814 im Gegensatz zu Goethes Weimarer Bühne nur unter ökonomischem Aspekt geführt. Sie untersucht die komplexen Prozesse ökonomischer und ästhetischer Wertebildung im Theater und seinem Umfeld. Analysiert werden Repertoiregestaltung, Theaterkritiken, Theaterbilder und Bühnenstücke. Die Studie wird von einem dokumentarischen Anhang, bestehend aus einem Bild- und einem Textteil, ergänzt. Der Bildteil enthält Quellen, die Ifflands Berliner Zeit illustrieren. Der Textteil enthält u. a. Briefe von und an Iffland, Quittungen und Rechnungen der Autoren und Schauspieler, Gehaltslisten und Verträge. Erstmals wird ein monographischer Text des Berliner Lustspieldichters Julius von Voß über Iffland abgedruckt. Die Texte dienen zur Erläuterung der Monografie und sollen darüber hinaus der Forschung gleichzeitig neues Quellenmaterial liefern.
Theatrical managers --- Theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Managers, Theatrical --- Theater managers --- Theater management --- History --- Iffland, August Wilhelm, --- Iffland, August Wilhelm --- Ifland, Wilhelm August --- Career in the theater. --- Königliches Nationaltheater --- Königliches Preussisches Nationaltheater zu Berlin --- Berliner Nationaltheater --- Kön. National-Theater in Berlin --- Königl. National Theater in Berlin --- History. --- Französisches Komödienhaus (Berlin, Germany)
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This book considers the varied careers of controversial Irish adventurer Thomas Sheridan (1719-1788) in terms of a continuum of phonocentrist obsession. Variously employed as an actor-manager, elocutionist, lecturer and educational theorist, Sheridan believed that the key to Irish national renewal and European cultural revival was the cultivation of the spoken word. His stewardship of the Smock Alley Theater in Dublin was marked by considerable innovation along with bitter controversy. His lectures on oratory provoked admiration and ridicule in roughly equal measure, yet he would have a profou
Sheridan, Thomas --- Actors --- Theatrical managers --- Educators --- Theater --- Oratory --- Argumentation --- Oratory, Primitive --- Speaking --- Language and languages --- Rhetoric --- Speeches, addresses, etc. --- Debates and debating --- Elocution --- Eloquence --- Lectures and lecturing --- Persuasion (Rhetoric) --- Public speaking --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Managers, Theatrical --- Theater managers --- Theater management --- History --- Sheridan, Thomas,
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