Bertolt Brecht turned to cabaret; Ariane Mnouchkine went to the circus; Joan Littlewood wanted to open a palace of fun. These were a few of the directors who turned to popular theatre forms in the last century; and this sourcebook accounts for their attraction.Popular theatre forms introduced in this sourcebook include cabaret; circus; puppetry; vaudeville; Indian jatra; political satire; and physical comedy. These entertainments are highly visual; itinerant; and readily understood by audiences. Popular Theatre: A Sourcebook follows them around the world; from the bunraku puppetry of Japan to the masked topeng theatre of Bali to South African political satire; the San Francisco Mime Troupes comic melodramas; and a Fun Palace proposed for London.The book features essays from the archives of The Drama Review and other research. Contributions by Roland Barthes; Hovey Burgess; Marvin Carlson; John Emigh; Dario Fo; Ron Jenkins; Joan Littlewood; Brooks McNamara; Richard Schechner; and others; offer some of the most important; informative; and lively writing available on popular theatre. Introducing both Western and non-Western popular theatre practices; the sourcebook provides access to theatrical forms which have delighted audiences and attracted stage artists around the world.
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Review
0 of 0 people found the following review helpful. Five StarsBy Weekend GardenerThis is full of information that could change your life!2 of 4 people found the following review helpful. Read like a high school term paperBy P H LindsayRead like a high school term paper. Not the quality of knowledge of brain plasticity that I had hoped for.0 of 0 people found the following review helpful. This book is a great read for any level dance educator as it explores ...By Matthew KielDancing to Learn by Author Judith Lynn Hanna relates to how our brainrsquo;s cognition response is the key to learning movement. With thorough explanation of how the human brain works; Hanna shows us how to use that knowledge in a pedagogical approach to not only help us as educators learn but how we can relay information to our students more efficiently. As our society changes their prospective on dance to something other than being entertaining; it has become more intriguing to educators and scientists and as to how we can observe connections between the human bodyrsquo;s response and how we move. This book is a great read for any level dance educator as it explores many different scenarios of movement and how our brain functions to carry out many tasks. If you are one who is simply interested in how the brain works or are an educator of any subject matter aspiring to integrate movement in your classroom; this book is a useful tool.