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Dieses Lehrbuch vermittelt in kompakter Weise die Grundlagenterminologie zur Analyse filmischer Inszenierung. Ausgehend von den zentralen Gestaltungsebenen des Films - der visuellen Organisation des Bildfeldes durch die Kamera, der auditiven Gestaltung auf der Tonspur und der Synthese des Materials im Schnitt - wird Schritt für Schritt ein Vokabular zur Erfassung und Beschreibung der Filmform entwickelt. Dabei werden zentrale Gestaltungsmittel wie Kameraarbeit, Lichtsetzung und Bildgestaltung ebenso berücksichtigt wie Sounddesign und Filmmusik, Schnitt und Montage, Raumgestaltung und Filmarchitektur. Darauf aufbauend wird dieses Grundgerüst in einem abschließenden Teil mit dramaturgischen Organisationsmustern und narrativen Strategien des filmischen Erzählens verknüpft und um grundlegende Kategorien zur Beschreibung von Schauspielstilen und filmischen Gattungen ergänzt. Der Inhalt Visuelle Analyse.- Auditive Analyse.- Schnitt und Montage.- Narrative Analyse.- Schauspiel.- Gattungen Die Zielgruppen - Dozierende und Studierende der Film-, Theater-, Kultur-, Bild- und Medienwissenschaft sowie der Medienpädagogik - MedienpädagogInnen und LehrerInnen Die AutorInnen Dr. Oliver Keutzer, Sebastian Lauritz, M.A. und Claudia Mehlinger, M.A. sind wissenschaftliche Mitarbeiter am Institut für Film-, Theater- und empirische Kulturwissenschaft der Johannes Gutenberg Universität Mainz. Dr. Peter Moormann ist Junior-Professor für Medienästhetik mit dem Schwerpunkt Musik an der Universität Köln.

Mass media. --- Communication. --- Performing arts. --- Theater. --- Culture --- Media Sociology. --- Media and Communication. --- Theatre and Performance Arts. --- Cultural Studies. --- Study and teaching.

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‘WILDE NOW is an important contribution to the study of Oscar Wilde as a proto-postmodernist. With this book, Pierpaolo Martino has greatly enhanced our knowledge of the importance of Wilde’s life and works to the development of contemporary music, literature and film. The richness of the research and scholarship that went into the creation of this study is evident in all of the chapters. The analysis of the Wildean strand in modern music is exceptionally rewarding. This volume will undoubtedly be of value to both new and established scholars of Wilde’s life and literary oeuvre’. -Graham Price, Media Studies Lecturer, NUI Maynooth, Author of Oscar Wilde and Contemporary Irish Drama: Learning to be Oscar’s Contemporary. WILDE NOW reads Oscar Wilde through our now, through a contemporary sensibility (and approach), in which literature and popular culture interrogate and are interrogated by critical concepts and categories such as performance, celebrity, intermediality, and consumerism. This volume exceeds the shape and meaning of a critical study to turn into a drama of five different acts/moments in Wilde’s life and work: his early performances in Dublin, London and Oxford; the 1882 American tour; his successful season of the first half of the 1890s, his prison years and finally his glorious resurrection in contemporary pop culture. Most importantly WILDE NOW approaches these moments through contemporary rewritings and performances of “Oscar Wilde” in the fields of cinema, music and literature by such artists as Al Pacino, Rupert Everett, Stephen Fry, Gyles Brandreth, David Hare, David Bowie, Morrissey, Nick Cave, Neil Tennant and Gavin Friday. These artists – through their awareness of the importance of being/playing Oscar in their specific worlds and cultural contexts – will also show us that Wilde can be conceived as a subversive, critical role one might successfully perform and appropriate, now more than ever. Pierpaolo Martino is Associate Professor of English Literature at the University of Bari, Italy. He is the author of Mark the Music: The Language of Music in English Literature from Shakespeare to Salman Rushdie (2012), and co-editor of Oscar Wilde in the Third Millennium: Approaches, Directions, Re-evaluations (2022).

Sociology of culture --- Theatrical science --- performances (kunst) --- populaire cultuur --- theater --- Adaptation (Literary, artistic, etc.). --- Performing arts. --- Theater. --- Celebrities. --- Popular Culture. --- Popular music. --- Adaptation Studies. --- Theatre and Performance Arts. --- Celebrity Studies. --- Pop and Rock.

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This volume is the first book to map a broad range of practices and critically examine the impact of education and outreach programmes in theatres and theatre companies around the globe. This innovative volume looks specifically at the manner in which theatres and theatre companies engage in educational, outreach and community work. An array of global case studies examines a wide range of existing and innovative practices, and scrutinises how this work achieves successful results and delivers impact and outcome on investment. The editors set the scene briefly in terms of the history of education in theatre organisations, and then move on to chart some of the difficulties and challenges associated with this work, as well as looking into the conceptual issues that need to be interrogated so that we may understand the impact of outreach and education work on the communities and audiences it aims to reach. A range of theatre practitioners and academics describe their work, its background, and what the authors understand to be successful outcomes for both the participants and the theatres. Finally, the book offers suggestions for both practitioners and researchers regarding further development in this work. .

Performing arts. --- Creativity and Arts Education. --- Performing Arts. --- Show business --- Arts --- Performance art --- Education in the theater. --- Theater and society. --- Actors --- Society and theater --- Theater --- Social status --- Social aspects --- Art education. --- Art --- Art education --- Education, Art --- Art schools --- Analysis, interpretation, appreciation --- Education --- Theater. --- Theatre and Performance Arts. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Study and teaching.

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This book examines plays produced in England in the 1890s and early 1900s and the ways in which these plays responded to changing perceptions of marriage. Bernard Shaw, Oscar Wilde, and other late-Victorian dramatists challenged romanticized ideals of love and domesticity, and in the process, these authors appropriated and rewrote the genre conventions that had dominated English drama for much of the nineteenth century. In their plays, theater became a forum for debating the problems of traditional marriage and envisioning alternative forms of partnership. This book is written for scholars specializing in the areas of Victorian studies, dramatic literature, theater history, performance studies, and gender studies.

English drama --- History and criticism. --- Theater—History. --- Theater. --- Actors. --- Performing arts. --- Theatre History. --- Performers and Practitioners. --- Performing Arts. --- Show business --- Arts --- Performance art --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Theatre and Performance Arts. --- History.

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“Grounded in a thorough mastery of scholarly literature on eighteenth-century French theatre, McMahan’s study ingeniously interprets Luigi Riccoboni and his troupe as theatrical migrants who used comedy as a means of cultural diplomacy. . . McMahan’s innovative approach to commedia dell’arte as a “transnational brand” offers a robust contribution to Theatre and Performance Studies scholarship.” —Daniel Smith, Michigan State University, USA “In bringing to the attention of an Anglophone audience a neglected theatrical figure, McMahan performs his own act of translational border crossing, which is revealing not just about its subject, but also about the value of critical work that itself moves fruitfully across all sorts of national, disciplinary, and temporal borders.” —Jessica Goodman, St. Catherine’s College, Oxford, UK “McMahan not only offers a vibrant, lucid history of a fascinating eighteenth-century institution, he also draws new insights from the Théâtre Italien’s re-entry into France that illuminate the phenomenon of cross-cultural theatre, a defining feature of performance in the modern era.” —Pannill Camp, Washington University in St. Louis, USA How do nationalized stereotypes inform the reception and content of the migrant comedian’s work? How do performers adapt? What gets lost (and found) in translation? Border-Crossing and Comedy at the Théâtre Italien, 1716-1723 explores these questions in an Early Modern context. When a troupe of commedia dell’arte actors were invited by the French crown to establish a theatre in Paris, they found their transition was anything but easy. They had to learn a new language and adjust to French expectations and demands. This study presents their story as a dynamic model of coping with the challenges of migration, whereby the actors made their transnational identity a central focus of their comedy. Relating their work to popular twenty-first century comedians, this book also discusses the tools and ideas that contextualize the border-crossing comedian’s work—including diplomacy, translation, improvisation, and parody—across time. Matthew McMahan is the Assistant Director of the Center for Comedic Arts at Emerson College, USA, where he teaches the history of comedy, sketch, and improvisation.

Actors --- Theater and society --- Social conditions --- History --- Society and theater --- Theater --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Social status --- Social aspects --- Theater. --- Performing arts. --- Theatre History. --- Global and International Theatre and Performance. --- Theatre and Performance Arts. --- Show business --- Arts --- Performance art --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- History.