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Royal Court: International is the first full-length study of the Royal Court Theatre's International Department. It charts the engagement of the UK's premiere theatre for new writing with an internationalist agenda and takes readers inside the process developed by the Court for the workshop projects it has undertaken in different parts of the world since the late 1990s. Covering the theatre's unique programming of international plays and seasons, it highlights new writing from different parts of the globe, including France, Spain, Germany, Russia, Eastern Europe, Brazil, Cuba, Mexico, Columbia, Iran, the Near East, North Africa, Nigeria and India. First-hand accounts of the work appear in contributions from Stephen Daldry, Elyse Dodgson and Vicky Featherstone, and in interviews with Marcos Barbosa (Brazil), Anupama Chandrasekhar (India), Dominic Cooke, Sasha Dugdale, Marius von Mayenburg (Germany), Mark Ravenhill and Indhu Rubasingham. Book jacket.

PERFORMING ARTS --- Playwriting --- Theater --- History & Criticism. --- Study and teaching (Higher) --- English Stage Company. --- Fürstliches Schauspielhaus --- Royal Court Theatre. --- Great Britain. --- London.

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Mallarmé a toujours exprimé une passion pour le théâtre, de même que pour l’écriture théâtrale. Livre et Nature se donnent comme deux aspects d’un même Théâtre pouvant porter le nom de l’un ou de l’autre : « un théâtre inhérent à l’esprit, quiconque d’un œil certain regarda la nature le porte avec soi, résumé de types et d’accords ; ainsi que les confronte le volume ouvrant des pages parallèles ».Les études ici rassemblées procèdent à une élucidation du sens spirituel que Mallarmé donnait au théâtre. Elles envisagent celui-ci dans son rapport aux vécus eux-mêmes dramatiques de l’auteur (Chap. I), à ses conceptions de la « logique » du théâtre et de la « fête » sociale et politique (Chap. II), du théâtre et de la musique (Chap. III), du théâtre et de la peinture (Chap. IV), du théâtre et de la vérité morale (Chap. V), enfin du théâtre et de la notion de rythme cosmique présente dans la lecture bachelardienne de Mallarmé (Chap. VI). La Conclusion insiste sur l’ambiguïté spirituelle de ce théâtre notamment dans ces mots : « la Divinité, qui jamais n’est que Soi », et dans le « Rien » ou « Néant » de cette théâtrale « Divinité ».

Authors and theater --- Authors and theater. --- Theater --- Théâtre --- Ästhetik. --- Écrivains et théâtre --- History --- Philosophy. --- Philosophie. --- Histoire --- Mallarmé, Stéphane, --- Criticism and interpretation. --- Critique et interprétation. --- Fürstliches Schauspielhaus --- 1800-1899. --- France.

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Dancer, Nun, Ghost, Goddess explores the story of the dancers Giō and Hotoke, which first appeared in the fourteenth-century narrative Tale of the Heike . The story of the two love rivals is one of loss, female solidarity, and Buddhist salvation. Since its first appearance, it has inspired a stream of fiction, theatrical plays, and visual art works. These heroines have become the subjects of lavishly illustrated hand scrolls, ghosts on the noh stage, and Buddhist and Shinto goddesses. Physical monuments have been built to honor their memories; they are emblems of local pride and centerpieces of shared identity. Two beloved characters in the Japanese literary imagination, Giō and Hotoke are also models that have instructed generations of women on how to survive in a male-dominated world.

Arts, Japanese --- Dancers in art. --- Buddhist nuns in art. --- Women heroes in art. --- Tanz. --- Literatur. --- Legende. --- Nonne --- Göttin --- Geist --- Themes, motives. --- Giō, --- Hotoke Gozen, --- Fürstliches Schauspielhaus --- Chōsen Kōgei Kenkyūkai. --- Japanese arts --- Giō, --- 仏御前, --- 祇王,

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On New Year's Day 1818, Mary Shelley's novel Frankenstein was first published in an anonymous three-volume edition of 500 copies. Some thought the book was too radical in implication. A few found the central theme intriguing ... no-one predicted its success. This book, celebrating the two hundredth birthday of Frankenstein, traces, in colorful and engaging ways, the journey of Shelley's Frankenstein from limited edition literature to the bloodstream of contemporary culture. It includes new research on the novel's origins, and a facsimile reprint of the earliest-known manuscript version of the creation scene. Frankenstein's legacy is to be seen all over the world--on small and large screens, in print and online, on stage and on hoardings, in graphic novels, comics and even on cereal packets. From a Regency nightmare, Frankenstein's creature has even become a cuddly childhood companion--thoroughly munstered, so to speak. The real creation myth of modern times--the era of genetic engineering, three-parent babies, nanotechnology, artificial intelligence, robotics and singularity, human/animal interfaces and secularism--is no longer Adam and Eve in the Garden of Eden. The real creation myth is Frankenstein. -- Inside jacket flap.

ART / Film & Video. --- ART / Popular Culture. --- ART --- ART --- Frankenstein films. --- Frankenstein films. --- LITERARY COLLECTIONS / Essays. --- LITERARY COLLECTIONS --- Literatur. --- Rezeption. --- Film & Video. --- Popular Culture. --- Essays. --- Frankenstein's Monster, --- Frankenstein's Monster, --- Frankenstein, Victor, --- Frankenstein, Victor, --- Shelley, Mary Wollstonecraft, --- Fürstliches Schauspielhaus. --- Bibel --- Frankenstein (Shelley, Mary Wollstonecraft).

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In Shakespeare's London, the stage of the playhouse, the stake of the bear baiting arena, and the scaffold of public execution constituted an ensemble of related spectacles that shared the same audiences. Andreas Hofele argues that this generated a powerful exchange of images and a spill-over of animal features into Shakespeare's characters.

Theatrical science --- Shakespeare, William --- Human body in literature --- Human-animal relationships in literature --- Shakespeare, William, --- Criticism and interpretation --- Dramatic production --- Knowledge --- Animals --- Animals. --- Drama. --- Human body in literature. --- Human-animal relationships in literature. --- Literature. --- Theater. --- Criticism and interpretation. --- Dramatic production. --- Fürstliches Schauspielhaus --- Animal --- Shakespeare, William, - 1564-1616 - Criticism and interpretation --- Shakespeare, William, - 1564-1616 - Dramatic production --- Shakespeare, William, - 1564-1616 - Knowledge - Animals --- Shakespeare, William, - 1564-1616