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Notes:

• Latin Numbers is a work of performance history, examining the way in which Latino actors on the 20th century stage and screen communicated and influenced American ideas about race and ethnicity. Brian Eugenio Herrera looks at how these performances and performers contributed to American popular understanding of Latinos as a distinct racial and ethnic group. His book tracks the conspicuously Latin musical number the casting of Latino actors the history of West Side Story how Latina/o performers confront stereotypes and the proliferation of the gay Latino character in the AIDS era. With a flair for storytelling and a unique ability to see the deeper meanings embedded in popular culture, Herrera creates a history that will appeal to popular culture enthusiasts, theater aficionados, and those interested in the cultural history of Latinos. The book will also delight readers interested in the memorable (and many of the lesser-known) Latino performances on stage and screen. — Provided by publisher.
• Conga! Latin numbers and the good neighbor era — Stealth Latinos: casting the limits of racial legibility at midcentury — How the sharks became Puerto Rican — Executing the stereotype — Carlos comes out: gay Latin/o lovers in the AIDS era.
• Includes bibliographical references (page 225-241) and index.

Subjects:

• Hispanic Americans in the performing arts.
• Hispanic Americans — Ethnic identity.
• Hispanic Americans in popular culture.
• Hispanic Americans — Ethnic identity. fast (OCoLC)fst00957556
• Hispanic Americans in popular culture. fast (OCoLC)fst01903469
• Hispanic Americans in the performing arts. fast (OCoLC)fst00957630

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Part of the series Oberon modern plays;Oberon modern plays.
Notes:

• Play.
• It’s 1967 in Detroit. Motownmusic is getting the party started, and Chelle and her brother Lank are making ends meet by turning their basement into an after-hours joint, But when a mysterious woman finds her way into their lives, the siblings clash over much more than the family business. As their pent-up feelings erupt, so does their city, and they find themselves caught in the middle of the ’67 riots.

Subjects:

• Riots — Michigan — Detroit — Drama.
• Detroit (Mich.) — Drama.
• Riots. fast (OCoLC)fst01098069
• Michigan — Detroit. fast (OCoLC)fst01205010
• Drama. fast (OCoLC)fst01423879

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Notes:

• Drama / 2m, 1f / interior set –Back cover.
• First produced by the Gate Theatre in London on September 19, 2012 –page 4.
• Kenyatta Shakur is alone. His wife has died, and now this former Black Revolutionary and political prisoner is desperate to reconnect with his estranged daughter, Nina. If Kenyatta truly wants to reconcile his past, he must first conquer his most challenging revolution of all — fatherhood. Sunset Baby is an energized, vibrant, and witty look at the point where the personal and political collide.

Subjects:

• Fathers and daughters — Drama.
• African Americans — Drama.
• Drama. fast (OCoLC)fst01423879

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Notes:

• Includes bibliographical references (pages 182-197) and index.
• New Labour, new voicescapes, 1997-2007 — Giddensian mediation : voices in writing, representation, and actor training — Migration and materialism : David Greig, Gregory Burke, and sounding Scottish in post-devolutionary voicescapes — Vocalising allegiance : Kwame Kwei-Armah, Roy Williams, and debbie tucker green — Sending up citizenship : young voices in Tanika Gupta, Mark Ravenhill, and Enda Walsh — Women who kill children : mistrusting mothers in the work of Deborah Warner and Fiona Shaw, Beatrix Campbell and Judith Jones, and Dennis Kelly — Betrayal and beyond.
• Voice and New Writing, 1997-2007 uses the voice as a focus for critical enquiry. It explores new writing theatres’ claims to ‘find’ and to represent previously marginalised voices during Tony Blair’s decade as Prime Minister. Hearing ‘cultural evidence’ for what Raymond Williams termed ‘structures of feeling’ in the articulation of identities, Maggie Inchley attends to the negotiation of accepted etiquettes of articulation and audibility through processes used in writing, voice training and performance. In the voices of theatre this book hears the narrative of betrayal around Anthony Giddens’ ‘promise of democracy’, and an embattled belief in both transparency and dialogue as necessary conditions of representation.–Provided by publisher

Subjects:

• Voice in literature.
• English drama — 20th century — History and criticism.
• English drama — 21st century — History and criticism.
• Expression in literature.
• Voice culture.
• 1900 – 2099 fast
• Criticism, interpretation, etc. fast (OCoLC)fst01411635

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Notes:

• Includes bibliographical references and index.
• The anatomy and biomechanics of dance: Understanding the function of the bones, collagen, cartilage, ligaments, and joints. Introduction to anatomy — Foot and ankle — Knee and patella — Hip and pelvis — Spine — Shoulder and shoulder girdle — Elbow and hand — Muscles and movement analysis. Introduction to muscles and their reflexes: micro and macroscopic anatomy — Foot and leg muscles — Knee muscles — Hip and trunk muscles — Breathing — Shoulder and scapular muscles — Forearm and hand muscles — The science of exercise, musculoskeletal assessment, and conditioning. Musculoskeletal assessment and conditioning — Designing an efficient and effective performance enhancement program.
• Presented in a dance-specific way, Dance Science takes a positive approach to what a dancer can do to dance better through an understanding of anatomy and analysis of movement. With that understanding, you will be able to create an effective performance and fewer injuries. — from back cover.

Subjects:

• Dance — Physiological aspects.
• Human anatomy.
• Human mechanics.
• Kinesiology.
• Physical education and training.
• Dancing.
• Movement.
• Physical Conditioning, Human.

Requested by Torres- Narvaez, B.

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Part of the series African expressive cultures;African expressive cultures.
Notes:

• Includes bibliographical references (pages 253-272) and index.
• Introduction: poetics of uncertainty — History and mediations in making theatre — Making culture : race, history, and a theory of performance in the Gold Coast colony — The national theatre movement : urban art infrastructures and a contested national culture in independence-era Accra — Revolutionary storytelling : Pan-African theatre and remaking lost futures in 1980s Ghana — A man of the people : Mohammed Ben Abdallah as artist-politician — Stagings in millennial Ghana — Total African theatre : language, reflexivity, and ambiguity in The witch of Mopti — The best tradition goes on : audience, consumption, and the structural transformation of Concert Party popular theatre — Fake pastors and real comedians : doubling and parody in miraculous, charismatic performance — Copying independence : backstage at the fiftieth-anniversary re-enactment of Nkrumah’s independence speech — Epilogue: unfreedom as critical theory.
• Trickster Theatre traces the changing social significance of national theatre in Ghana from its rise as an idealistic state project from the time of independence to its reinvention in recent electronic, market-oriented genres. Jesse Weaver Shipley presents portraits of many key figures in Ghanaian theatre and examines how Akan trickster tales were adapted as the basis of a modern national theatre. This performance style tied Accra’s evolving urban identity to rural origins and to Pan-African liberation politics. Contradictions emerge, however, when the ideal Ghanaian citizen is a mythic hustler who stands at the crossroads between personal desires and collective obligations. Shipley examines the interplay between on-stage action and off-stage events to show how trickster theatre shapes an evolving urban world. — Publisher’s description

Subjects:

• Theater — Ghana — History — 20th century.
• Theater and society — Ghana.
• Tricksters in literature.
• Ghana. fast (OCoLC)fst01208741
• 1900 – 1999 fast
• History. fast (OCoLC)fst01411628

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Part of the series School of American Research advanced seminar series;School of American Research advanced seminar series.
Notes:

• Includes bibliographical references (pages 145-154) and index.
• Biographies / Katherine Dunham, Ronald Marshall, and Anindo Marshall — Research-to-performance methodology : embodying knowledge and power from the field to the concert stage / Rosemarie A. Roberts — Katherine Dunham’s first journey in anthropology / A. Lynn Bolles — Katherine Dunham and the folklore performance movement in post-US occupation Haiti / Kate Ramsey — Notes on Floyd’s guitar blues : Katherine Dunham’s costumes and musical production / Ronald Marshall — Dunham technique : anthropological politics of dancing through ethnography / Elizabeth Chin — Katherine Dunham made me… / Dána-Ain Davis — In the Dunham way : sewing (sowing) the seams of dance, anthropology, and youth arts activism / Aimee Meredith Cox.
• Katherine Dunham was an anthropologist. One of the first African Americans to obtain a degree in anthropology, she conducted groundbreaking fieldwork in Jamaica and Haiti in the early 1930s and wrote several books including Journey to Accompong, Island Possessed, and Las Danzas de Haiti. Decades before Margaret Mead was publishing for popular audiences in Redbook, Dunham wrote ethnographically informed essays for Esquire and Mademoiselle under the pseudonym Kaye Dunn. Katherine Dunham was a dancer. The first person to head a black modern dance company, Dunham toured the world, appeared in numerous films in the United States and abroad, and worked globally to promote the vitality and relevance of African diasporic dance and culture. Dunham was a cultural advisor, teacher, Kennedy Center honoree, and political activist. This book explores Katherine Dunham’s contribution to anthropology and the ongoing relevance of her ideas and methodologies, rejecting the idea that art and academics need to be cleanly separated from each other. Drawing from Dunham’s holistic vision, the contributors began to experiment with how to bring the practise of art back into the discipline of anthropology–and vice versa.–Publisher description.

Subjects:

• Dunham, Katherine.
• Women dancers — United States — Biography.
• African American dancers — Biography.
• Women anthropologists — United States — Biography.
• African American anthropologists — Biography.
• Dunham, Katherine. fast (OCoLC)fst00034303
• United States. fast (OCoLC)fst01204155
• Dunham, Katherine, 1909-2006. (DE-588)119394219 gnd
• Biography. fast (OCoLC)fst01423686

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Notes:

• Includes bibliographical references and index.
• Second-hand Rose : the stage before the Broadway brand — A factory for making plays : Broadway’s industrial district — Sing for your supper : theater-related craft work in radio, film, and television — Oh, what a beautiful mornin’ : show construction at mid-century — Sunrise, sunset : the decline of Broadway craft and the rise of regional theaters — Every day a little death : Times Square after the collapse of a theatrical production center — When the money keeps rolling in you don’t ask how : Broadway craft in a globalized industry.
• Behind the scenes of New York City’s Great White Way, virtuosos of stagecraft have built the scenery, costumes, lights, and other components of theatrical productions for more than a hundred years. But like a good magician who refuses to reveal secrets, they have left few clues about their work. Blue-Collar Broadway recovers the history of those people and the neighborhood in which their undersung labor occurred. Timothy R. White begins his history of the theater industry with the dispersed pre-Broadway era, when components such as costumes, lights, and scenery were built and stored nationwide. Subsequently, the majority of backstage operations and storage were consolidated in New York City during what is now known as the golden age of musical theater. Toward the latter half of the twentieth century, decentralization and deindustrialization brought the emergence of nationally distributed regional theaters and performing arts centers. The resulting collapse of New York’s theater craft economy rocked the theater district, leaving abandoned buildings and criminal activity in place of studios and workshops. But new technologies ushered in a new age of tourism and business for the area. The Broadway we know today is a global destination and a glittering showroom for vetted products. Featuring case studies of iconic productions such as Oklahoma! (1943) and Evita (1979), and an exploration of the craftwork of radio, television, and film production around Times Square, Blue-Collar Broadway tells a rich story of the history of craft and industry in American theater nationwide. In addition, White examines the role of theater in urban deindustrialization and in the revival of downtowns throughout the Sunbelt. –Jacket.

Subjects:

• Theater — New York (State) — New York — History.
• Theater — United States — History.
• Broadway (New York, N.Y.) — History.
• Theaters — New York (State) — New York — Employees — History.
• Theaters — United States — Employees — History.
• Theater and society — New York (State) — New York — History.
• Theater and society — United States — History.
• New York (State) — New York. fast (OCoLC)fst01204333
• New York (State) — New York — Broadway. fast (OCoLC)fst01316843
• United States. fast (OCoLC)fst01204155
• Broadway New York, NY. (DE-588)4075359-1 gnd
• History. fast (OCoLC)fst01411628

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Notes:

• Includes index.
• First season: Spring 1980 — Second season: 1980-81 — Third season: 1981-82 — Fourth season: 1982-83 — Fifth season: 1983-84 — Sixth season: 1984-85 — Seventh season: 1985-86 — Eighth season: 1986-87 — Ninth season: 1987-88 — Tenth season: 1988-89 — Eleventh season: 1989-90 — Twelfth season: 1990-91 — Thirteenth season: 1991-92 — Fourteenth season: 1992-93 — Final season: Autumn 1993.
• In his nearly fourteen years as chief drama critic of The New York Times, Frank Rich was both admired as a passionate advocate for the best in New York theater and reviled as the Butcher of Broadway for his presumed destructive power over the commercial fate of Broadway shows. Hot Seat is Rich’s definitive chronicle of his long run – an encyclopedic anthology of more than three hundred of his best reviews and essays, interspersed with further thoughts, entirely new to this volume, about his adventures on the aisle at the tumultuous time when Broadway was decimated by AIDS and colonized by the British musical.

Subjects:

• Theater — New York (State) — New York — Reviews.
• New York (State) — New York. fast (OCoLC)fst01204333
• Reviews. fast (OCoLC)fst01423760

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Notes:

• Includes index.
• In 1958, former circus aerialist Dudley Riggs opened a Minneapolis coffeehouse with a stage for performers and created an American comedic institution. What started as a way to draw customers on slow nights became the Brave New Workshop, a comedy theater sinking its satirical talons deep into the culture of Minneapolis-St. Paul for over half a century. This theater helped launch the careers of many talented performers, including satirist-turned-senator Al Franken and his Saturday Night Live partner in comedy, Tom Davis, as well as comedian Louie Anderson, Daily Show co-creator Lizz Winstead, screenwriter Pat Proft of the Naked Gun films and many others. Author Rob Hubbard tells the story of the hilarity, irreverence and imagination of the Brave New Workshop–a funhouse mirror to the world around it. –Page 4 of cover.

Subjects:

• Brave New Workshop (Minneapolis, Minn.) — History.
• Theatrical companies — Minnesota — Minneapolis — History.
• Theater — Minnesota — Minneapolis — History.
• Brave New Workshop (Minneapolis, Minn.) fast (OCoLC)fst00603662
• Minnesota — Minneapolis. fast (OCoLC)fst01204260
• History. fast (OCoLC)fst01411628

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