Why are storytellers so often women, and how does that affect the status of fairy tales? Are they a source of wisdom or a misleading temptation to indulge in romancing?

    He was resident director of Chicago's famed Second City and house metaphysician for Saturday Night Live, a talent in his own right, and one of the brightest and wackiest theater gurus ever. Jeff Griggs was a student of Close's at the ImprovOlympic in Chicago when he was asked to help the aging mentor (often in ill health) by driving him around the city on his weekly errands. The two developed a volatile friendship that shocked, angered, and amused both of them--and produced this hilarious and ultimately endearing chronicle of Close's last years. With all the elements of a picaresque novel, Guru captures Close at his zaniest but also shows him in theatrical situations that confirm his genius in conceptualizing and directing improvisational theater. Between comic episodes, Jeff Griggs gives the reader the essentials of Close's biography: his childhood in Kansas, early years as an actor, countercultural exploits in the 1960s (he toured with Ken Kesey and the Merry Pranksters and designed light shows for the Grateful Dead), years with the Compass Players and then with Second City, and continuing experimentation with every drug imaginable, which pretty much cost him his health and ultimately his life. He was comedian, director, teacher, writer, actor, poet, fire-eater, junkie, and philosopher. Being a really good actor does not necessarily guarantee that you will be a very good improviser, Close liked to say. Being an actual, complete, hopeless, wretched geek in real life doesn't disqualify you from being a solid improviser, either. He approached improv the same way he conducted his life--in bizarre, dark, and dangerous fashion. Guru captures it.

    Proposing instead that kitsch is the product of a larger sensibility of loss, Celeste Olalquiaga shows how it enables the momentary re-creation of experiences that exist only as memories or fantasies. Simultaneously exposing and celebrating this process, Olalquiaga gives us a bold, trenchant analysis of what and how we see when we look at kitsch.

    not necessarily in that order.Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love.American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.

    We could not read literature in translation, it was argued, without asking ourselves if linguistic and cultural phenomena really were translatable and exploring in some depth the concept of equivalence. Professor Bassnett tackles the crucial problems of translation and offers a history of translation theory, beginning with the ancient Romans and encompassing key 20th-century structuralist work. She then explores specific problems of literary translation through a close, practical analysis of texts, and completes her book with extensive suggestions for further reading.

    His systematic attempt to outline a psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre.Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors.The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century."

    Home Style, which won the 1979 Woodrow Wilson Foundation Award and the 1980 D.B. Hardeman prize, has been re-issued in a "Longman Classics" Edition and features a new Foreword by renowned scholar John Hibbing of The University of Nebraska.

    Routledge is an imprint of Taylor & Francis, an informa company.

    The Professor and Other Writings is a hilarious and heartbreaking exploration of gender, identity, and sexuality in the grand tradition of such feminist luminaries as Susan Sontag, Camille Paglia, and Joan Didion.

    Author of the popular momsieblog.com, she leads and presents workshops on both writing and addiction, with a special emphasis on being a woman in recovery while parenting young children.

    This ironic perspective on the human condition is valuable but it cannot advance liberalism's social and political goals. In fact, Rorty believes that it is literature and not philosophy that can do this, by promoting a genuine sense of human solidarity. Specifically, it is novelists such as Orwell and Nabokov who succeed in awakening us to the cruelty of particular social practices and individual attitudes. Thus, a truly liberal culture would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. Rorty uses a wide range of references--from philosophy to social theory to literary criticism--to elucidate his beliefs.

    Haraway offers provocative new ways to reconfigure our relations to the earth and all its inhabitants. She eschews referring to our current epoch as the Anthropocene, preferring to conceptualize it as what she calls the Chthulucene, as it more aptly and fully describes our epoch as one in which the human and nonhuman are inextricably linked in tentacular practices. The Chthulucene, Haraway explains, requires sym-poiesis, or making-with, rather than auto-poiesis, or self-making. Learning to stay with the trouble of living and dying together on a damaged earth will prove more conducive to the kind of thinking that would provide the means to building more livable futures. Theoretically and methodologically driven by the signifier SF—string figures, science fact, science fiction, speculative feminism, speculative fabulation, so far—Staying with the Trouble further cements Haraway's reputation as one of the most daring and original thinkers of our time.

    In Music by Philip Glass, he tells of his musical struggle and growth, from the Juilliard School, through his studies in Paris with the great teacher Nadia Boulanger (whose other students included Aaron Copland and Virgil Thomson) and working with Ravi Shankar to 'translate' his scores for Western musicians, to his immersion in the avant-garde theater of Mabou Mines, LaMama, and Robert Wilson.

    Using the innovative concept of slow violence to describe these threats, Rob Nixon focuses on the inattention we have paid to the attritional lethality of many environmental crises, in contrast with the sensational, spectacle-driven messaging that impels public activism today. Slow violence, because it is so readily ignored by a hard-charging capitalism, exacerbates the vulnerability of ecosystems and of people who are poor, disempowered, and often involuntarily displaced, while fueling social conflicts that arise from desperation as life-sustaining conditions erode.In a book of extraordinary scope, Nixon examines a cluster of writer-activists affiliated with the environmentalism of the poor in the global South. By approaching environmental justice literature from this transnational perspective, he exposes the limitations of the national and local frames that dominate environmental writing. And by skillfully illuminating the strategies these writer-activists deploy to give dramatic visibility to environmental emergencies, Nixon invites his readers to engage with some of the most pressing challenges of our time.

    With Fay Simpson’s help, actors can better analyze character, hear their inner bodies, dissect the self into layers of consciousness, and more.Engage your mind and your body in order to develop your characters fully. The Lucid Body technique breaks up stagnant movement patterns and expands your emotional and physical range. Through energy analysis, this program shows how to use physical training to create characters from all walks of life—however cruel, desolate, or neurotic those characters may be. Rooted in the exploration of the seven chakra energy centers, chapters include:Nonjudgmental MindAudible ExhaleMeditationWhat is a Chakra?The HeartThe ThroadThe CrownTaking Off the ArmorFinding Your PersonaAnd much more,This book offers you a way of thinking and a set of tools that can lead you through a process of self-examination that will help you release old physical and emotional habits in the hope of expanding your acting potential.