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See below for a selection of the latest books from Street theatre category. Presented with a red border are the Street theatre books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Street theatre books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
Myanmar (Burma) exists in a timewarp and since recent political changes is becoming one of the most visited countries in the world. The country is eighty-seven per cent buddhist, studded with monastries, pagodas, dirt-track roads, oxcarts and elegant villages much as they were when the West intruded little more than 100 years ago. The country is still farmed by water buffalo, and its rituals remain true to their old-Asia form. Although tourism has increased significantly in the past 12 months there are many regions still off-limits. This book, in the form of a photo essay, captures an insider's view of a fragile and mystical aspect of Burmese culture. The curtain is drawn to reveal the backstage of the Burmese theatre; a world populated by animist spirit media (nakadaws), monsters from the Ramayana Buddhist texts, princesses (minthami) and princes (mintha). We go behind the scenes to see the preparations of these performers as they travel around the towns and countryside between temporary bamboo stages constructed for all-night festivals. With contributing essays from Professor Ward Keeler and U Ohn Maung, this book is both a visual and informative testament to Burmese performing arts.
Since Singapore declared independence from Malaysia in 1965, Chinese street opera has played a significant role in defining Singaporean identity. In carefully tracing the history of amateur and professional performances in Singapore, Tong Soon Lee reflects on their role in fostering cultural nationalism and entrepreneurship. He explains that the government welcomes Chinese street opera performance because they combine tradition and modernism and promote a national culture that brings together Singapore\u2019s four main ethnic groups--Eurasian, Malay, Chinese, and South Asian. In performing Chinese street opera, amateur troupes preserve their rich heritage by underscoring the Confucian mind-set that a learned person engages in the arts for moral and unselfish purposes. Educated performers also control behavior, emotions, and values. They are creative and innovative, and their use of new technologies indicates a modern, entrepreneurial spirit. Their performances bring together diverse ethnic groups to watch and to perform, Lee argues, while also encouraging a national attitude focused on both remembering the past and preparing for the future in Singapore.
Explores the link between cultural expression and political protest; During the 1960s, the SNCC Freedom Singers, The Living Theatre, the Diggers, the Art Workers Coalition, and the Guerrilla Art Action Group fused art and politics by staging unexpected and uninvited performances in public spaces. Through their activism and the response it provoked, art, theater, and politics began to converge and assume a new visibility in everyday life. While their specific political visions varied, these groups shared the impulse to stage performances and actions publicly - in the streets - eschewing museums, theaters, and other conventional halls of culture. Bradford D. Martin offers detailed portraits of each of these groups and examines why they embraced public performance as a vehicle to express and advance their politics. At a time when the New Left and the counterculture were on the rise, these artists reflected the decade's political and cultural radicalism and helped to define a new aesthetic. Civil rights activists mobilized singing in the struggle for desegregation, introducing a vibrant musical form into the public space. The Living Theatre culminated an arduous quest to mesh artistic and political goals, leading audiences from theaters into the streets to begin the beautiful nonviolent anarchist revolution. The Diggers playfully engaged San Francisco's counterculture in politics with their carnivalesque public actions. The Art Workers Coalition and the Guerrilla Action Art Group sought to disrupt the conventional art world, mounting protests in and around New York City museums. By questioning the values and assumptions that separated art from politics, these groups not only established public performance as a legitimate aesthetic but also provided a new creative vocabulary for future generations of artists. Their continued involvement with the women's liberation movement, rural communes, and political street theater into the 1970s and beyond challenges the popular myth that activists disengaged from politics after the 1960s.
Before movie screens filled the country and television screens filled our homes, entertainment had to travel to the people. The traveling tent show was a popular form of melodrama and variety entertainment through much of the nineteenth and into the twentieth century. One of the last of these shows belonged to Art Names and His Famous Players, a show that played to venues in Kansas, western Oklahoma, eastern Colorado, and West Texas from about 1920 to 1945. Tent Show captures the glamour the shows held for audiences and the hard work and financial jeopardy faced by their performers. Donald W. Whisenhunt, whose father was one of Names's partners, draws on family papers, letters, original documents, and interviews to shed light on this form of entertainment. Anyone interested in the entertainment business--or curious about life before television and movie theaters--will find Tent Show to be an unaffected look at this fastpaced, often unglamorous business and the people who chose this way of life.