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Rozik, Eli
This book offers a theory of the archaic mode of fictional thinking and a methodology for the analysis of fictional worlds. It presupposes the mutual independence of the description of a fictional world, in any language or medium, and the described fictional world. Such a world is generated by an autonomous fictional structure, which reflects the spontaneous expectations of the spectator, and thematic specification. A model of this structure is presented, comprising seven layers: personified, mythical, praxical, naive, ironic and aesthetic - and overriding these layers, the fictional experience on the level of relationship between the fictional world and spectator. This experience depends on the spectator's ability to complement such a description with pertinent associations, drawn from shared cultural resources, and psychical mechanisms of response. Explanations and examples are couched in poetic, pragmatic, aesthetic and rhetoric methodologies. An Introduction surveys the major contributions made to a methodology of fictional analysis since Aristotle's Poetics, problematises them and suggests possible alternatives. Part I is devoted to the inner structure of fictional worlds; i.e. , to the poetic rules that generate them. The innovation of this approach lies in its multi-layered nature. Part II deals with the structure of the fictional experience, which is metaphoric and rhetoric in nature. Part III deals with the specific structures of fictional worlds that reflect the particular intentions and purposes of their authors. Part IV contains analyses of actual fictional worlds that illustrate the application of the previously presented principles. The focus throughout is on theatre fictional worlds which by their nature exhibit the most complex fictional thoughts that the human brain can generate. The theoretical insights gained for theatre assumedly apply to descriptions of such worlds in any language or medium. More than a hundred fictional worlds created during 2500 years of theatre recorded history are analysed. The volume has been purposefully designed to address undergraduate and postgraduate student needs to provide a fundamental competence of theatre studies. 323pp.
Sussex Academic Press, 2009, Cloth/Laminated Boards, Book Condition: New, Jacket Condition: No d/j as Published. First Edition. . 8vo - over 7" - 9" tall.
ISBN: 9781845193263
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Inventory #22910
Price: £ 35.00 GBP ($ 42.00 approx. - € 37.10 approx.)
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Afford,Thelma
From the 1920s to the 1940s, there was a diverse flowering of amateur theatres in Adelaide which were experimental, creatively inventive and ahead of their times. Other Australian capital cities had their own Little Theatres during this period, but some of the Adelaide theatres were unique in anticipating later creative theatre movements, including overseas ones. These Little Theatres helped to form the basis of Adelaide's reputation as 'the city of culture' and also laid the groundwork for the later development of the Adelaide Festival of Arts. Certainly the subsequent landscapes of the Australian theatre scene would have been very different without Adelaide's Little Theatres of the 1920s to 1940s. 240pp.
Currency Press, 2004, Paperback, Book Condition: New, Jacket Condition: No d/j as Published. First Edition. . 8vo - over 7" - 9" tall.
ISBN: 0868197505
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Inventory #11998
Price: £ 12.50 GBP ($ 15.00 approx. - € 13.25 approx.)
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Garebian, Keith
Christopher Newton has placed the Shaw Festival firmly on the map world-class theatre. His best Shavian productions are revolutionary re-interpretations of plays that are normally treated as Edwardian period pieces or didactic entertainments. In this first full-length study of Newton, critic Keith Garebian shows how the pairing of Shaw and Newton, that once seemed 'not bloody likely' has become one of the most exciting enterprises in Canadian theatre, with startling results. The book begins with a biographical section that sketches some of the most pervasive influences on Newton's artistic sensibility, and suggests what has particularly inspired his ever-growing fascination with Shaw. Successive chapters document Newton's concept of Shaw as a surrealist, and contain detailed descriptions of productions at Niagara-on-the-Lake from 1980-1990. Among other things, readers are shown a Caesar and Cleopatra set in a Shadow Box; Heartbreak House as a dream-play of the night and anarchy; Major Barbara as a double quest; You Never Can Tell as part comic romance, part farcical metaphor; the metatheatrical suggestions of Man and Super-man; and, a Misalliance as metaphor of a convulsive new age. As Garebian shows, Newton's approach for all its paradoxes, succeeds in making George Bernard Shaw our dynamic contemporary. 164pp. N.B. Slight mark to bottom edge of front cover.
Mosaic Press, 1993, Paperback, Book Condition: Like New, Jacket Condition: No d/j as Published. . . 8vo - over 7" - 9" tall.
ISBN: 0889625085
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Inventory #27470
Price: £ 7.50 GBP ($ 9.00 approx. - € 7.95 approx.)
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The Worshipful Company of Musicians and Designed By Hawkins, John
No Publication Date. N.B. Two small indentations to front board. 284pp.
The Worshipful Company of Musicians, 0, Cloth/Gilt, Book Condition: Very Good, Jacket Condition: No Jacket. . . 8vo - over 7" - 9" tall.
ISBN: 095371800X
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Inventory #29758
Price: £ 15.00 GBP ($ 18.00 approx. - € 15.90 approx.)
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Fowke, Edith and Mills, Alan
N.B. Reading crease to spine. 249pp.
Doubleday, 1984, Paperback, Book Condition: Very Good, Jacket Condition: No d/j as Published. . . 4to - over 9" - 12" tall.
ISBN: 0385194994
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Inventory #23633
Price: £ 12.50 GBP ($ 15.00 approx. - € 13.25 approx.)
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