Northwestern University Press – serie

The thoroughly revised third edition of the bible of improvisational theater.Viola Spolin's improvisational techniques changed the very nature and practice of modern theater. The first two editions of Improvisation for the Theater sold more than 100,000 copies and inspired actors, directors, teachers, and writers in theater, television, film. These techniques have also influenced the fields of education, mental health, social work, and psychology.The revised edition features:30 new exercises, including introductions (Slow/Fast/Normal; Extended Sound; Mirror Speech; Unrelated Conversation)More than 200 updated classic exercisesnew section of traditional theater games for warm-up use "Paul Sills' Sayings of Viola Spolin" New glossary of side-coaching phrases, with definitions of their meaning and value Alphabetical list of all games and exercises

The Foundations of Arithmetic is undoubtedly the best introduction to Frege's thought; it is here that Frege expounds the central notions of his philosophy, subjecting the views of his predecessors and contemporaries to devastating analysis. The book represents the first philosophically sound discussion of the concept of number in Western civilization. It profoundly influenced developments in the philosophy of mathematics and in general ontology.

In this highly praised and seminal work, Alan Merriam demonstrates that music is a social behavior—one worthy and available to study through the methods of anthropology. In it, he convincingly argues that ethnomusicology, by definition, cannot separate the sound-analysis of music from its cultural context of people thinking, acting, and creating.The study begins with a review of the various approaches in ethnomusicology. He then suggests a useful and simple research model: ideas about music lead to behavior related to music and this behavior results in musical sound. He explains many aspects and outcomes of this model, and the methods and techniques he suggests are useful to anyone doing field work. Further chapters provide a cross-cultural round-up of concepts about music, physical and verbal behavior related to music, the role of the musician, and the learning and composing of music.The Anthropology of Music illuminates much of interest to musicologists but to social scientists in general as well.

Limited Inc is a major work in the philosophy of language by the celebrated French thinker Jacques Derrida. The book's two essays, "Limited Inc" and "Signature Event Context," constitute key statements of the Derridean theory of deconstruction. They are the clearest exposition to be found of Derrida's most controversial idea, that linguistic meaning is fundamentally indeterminate because the contexts that fix meaning are never stable. Limited Inc includes an important new afterword by the author.

The thirteen stories of "Dialogues in Paradise "are eloquent in a way the West associates with both the modern and the ancient: the dark oracles of Aeschylus and Sophocles, the paranoid mystery of Kafka, the moving stream of Woolf. The work of Can Xue (a pseudonym of Changsa writer Deng Xiao-hua) renews our consciousness of the long tradition of the irrational in our literature, where dreams and reality constitute one territory, its borders open, the passage back and forth barely discernible. She fuses lyrical purity with the darkest visions of the grotesque and the result is a unique literary experience

What does it mean to be "an excellent teacher?" To Dorothy Heathcote, one of this century's most respected educational innovators, it means seeing one's pupils as they really are, shunning labels and stereotypes. It means taking risks: putting aside one's comfortable, doctrinaire role and participating fully in the learning process. Above all, it means pushing oneself and one's students to the outer limits of capability - often, with miraculous results.In this lively collection of essays and talks from 1967-80, Heathcote shares the findings of her groundbreaking work in the application of theatre techniques and play to classroom teaching. She provides a time-tested philosophy on the value of dramatic activity in breaking down barriers and overcoming inertia. Her insistence that teachers must step down from their pedestals and immerse themselves in the possibility of the moment makes for magical and challenging reading.

One of Latin America's most important and prolific writers, Griselda Gambaro has focused on the dynamics of repression, complicity, and violence--specifically, the terror of violent regimes and their devastating effects on the moral framework of society. Information for Foreigners is a drama of disappearance, an experimental work dealing with the theme of random and meaningless punishment in which the audience is led through darkened passageways to a series of nightmarish tableaux. The collection also includes The Walls and Antigona Furiosa.

In this work, acclaimed Jungian James Hillman examines the concepts of myth, insights, eros, body, and the mytheme of female inferiority, as well as the need for the freedom to imagine and to feel psychic reality. By examining these ideas, and the role they have played both in and outside of the therapeutic setting, Hillman mounts a compelling argument that, rather than locking them away in some inner asylum or subjecting them to daily self-treatment, man's "peculiarities" can become an integral part of a rich and fulfilling daily life.Originally published by Northwestern University Press in 1972, this work had a profound impact on a nation emerging self-aware from the 1960s, as well as on the era's burgeoning feminist movement. It remains a profound critique of therapy and the psychological viewpoint, and it is one of Hillman's most important and enduring works.

This play is based on Ovid's 15-volume work of transformation myths. Positioned in and around a large pool on the stage, the characters enact Zimmerman's adaptations of Ovid's tales, juxtaposing the ancient and the contemporary in both language and image. The tone of the drama likewise echoes the themes of change and contrast, from the humour of Phaeton's therapy session to the tragedy of Midas and his daughter. The volume contains a production history, the play script, and, because the visual aspect of the play is important, photographs from some of its past productions.

Sailor, painter, doctor, lawyer, polyglot, and writer, Dmitri Bystrolyotov (1901 - 75) led a life that might seem far-fetched for a spy novel, yet here the truth is stranger than fiction. The result of a thirty-five-year journey that started with a private meeting between the author and Bystrolyotov in 1973 Moscow and continued through the author's subsequent research in international archives, Stalin's Romeo Spy: The Remarkable Rise and Fall of the KGB's Most Daring Operative pieces together a life lived in the shadows of the twentieth century's biggest events. One of the 'Great Illegals,' a team of outstanding Soviet spies operating in Western countries between the world wars, Bystrolyotov was the response to Sidney Reilly, the British prototype for James Bond. A dashing man, his modus operandi was the seduction of women - among them a French embassy employee, a German countess, the wife of a British official, and a Gestapo officer - which enabled Stalin to look into diplomatic pouches of many European countries. Risking his life, Bystrolyotov also stole military secrets from Nazi Germany and Fascist Italy. A man of extraordinary physical courage, he twice crossed the Sahara Desert and the jungles of Congo. But his success as a spy didn't save him from Stalin's purges, at the height of which he was arrested and tortured until he falsely confessed to selling out to the enemy. Sentenced to twenty years of hard labor in the Gulag, Bystrolyotov risked more severe punishment by documenting the regime's crimes against humanity in unpublished and suppressed memoirs that rival those of Aleksandr Solzhenitsyn. The first full-length biography in any language, at once a real-life spy thriller, a drama of desire, and a prison memoir, Stalin's Romeo Spy is the true account of a flawed yet extraordinary man.

As the first African American woman to have a play professionally produced in New York City (Gold Through the Trees, in 1952) and the first woman to win an Obie for Best Play (for Trouble in Mind, in 1956), Alice Childress occupies an important but surprisingly under-recognized place in American drama. She herself rejected an emphasis on the pioneering aspects of her career, saying that “it’s almost like it’s an honor rather than a disgrace” and that she should “be the fiftieth and the thousandth by this point”—a remark that suggests the complexity and singularity of vision to be found in her plays. Childress worked as an actress before turning to playwriting in 1949, and she was a political activist all of her life. Spanning the 1940s to the 1960s, the plays collected here are the ones Childress herself believed were her best, and offer a realistic portrait of the racial inequalities and social injustices that characterized these decades. Her plays often feature strong-willed female protagonists whose problems bring into harsh relief the restrictions faced by African American women. This is the first volume devoted exclusively to the work of a major playwright whose impact on the American theater was profound and lasting.

Craig Wright is one of the most widely produced, consistently entertaining playwrights of his generation. The three plays gathered in this volume—Melissa Arctic (winner of the 2005 Helen Hayes Award), Orange Flower Water, and The Pavilion—are all set in the fictional town of Pine City, Minnesota. The plays share a focus on love and relationships and feature a consistent undercurrent of observation and speculation about the nature of time. Melissa Arctic brings Shakespeare’s The Winter’s Tale into the present, retaining the original’s captivating mix of the comic and tragic. A brutally frank exploration of marriage, Orange Flower Water examines the irresistible lure and poisonous effects of unrealistic expectations within love, and portrays the inescapably compromised contours of relationships founded on adultery. The Pavilion, a lyrical and rueful homage to Our Town, is a meditation on dashed dreams and unquenchable hopes, set at a twenty-year high school reunion. In all three plays, Wright shows himself to be one of the most perceptive and engaging playwrights working today.

A young playwright, Thomas, has written an adaptation of the 1870 novel Venus in Fur by Leopold von Sacher-Masoch (after whom the term “masochism” was coined); the novel is the story of an obsessive adulterous relationship between a man and the mistress to whom he becomes enslaved. At the end of a long day in which the actresses Thomas auditions fail to impress him, in walks Vanda, very late and seemingly clueless, but she convinces him to give her a chance. As they perform scenes from Thomas’s play, and Vanda the actor and Vanda the character gradually take control of the audition, the lines between writer, actor, director, and character begin to blur. Vanda is acting . . . or perhaps she sees in Thomas a masochist, one who desires fantasy in “real life” while writing fantasies for a living. An exploration of gender roles and sexuality, in which desire twists and turns in on itself, Venus in Fur is also a witty, unsettling look at the art of acting—onstage and off.

The Nether, a daring examination of moral responsibility in virtual worlds, opens with a familiar interrogation scene given a technological twist. As Detective Morris, an investigator of the Nether's online offerings, questions Mr. Sims about his activities in a role-playing realm so realistic it could be life, she finds herself on unexpectedly slippery ground. Sims argues for the freedom to explore even the most deviant corners of our imagination. Morris holds that we cannot flesh out our malign fantasies without consequence. Their clash of wills leads to a consequence neither could have imagined. Suspenseful, ingeniously constructed, and fiercely intelligent, Haley's play forces us to confront deeply disturbing questions about the boundaries of reality.

This chapbook collection offers new poems from the prolific career of a community leader, activist, and healer. Luis J. Rodríguez’s work asks profound questions of us as readers and fellow humans, such as, ""If society cooperates, can we nurture the full / and healthy development of everyone?"" In his introductory remarks, Martín Espada describes the poet as a man engaged in people and places: ""Luis Rodríguez is a poet of many tongues, befitting a city of many tongues. He speaks English, Spanish, ‘Hip Hop,’ ‘the Blues,’ and ‘cool jazz.’ He speaks in ‘mad solos.’ He speaks in ‘People’s Sonnets.’ He speaks in the language of protest. He speaks in the language of praise.

Studies of eastern European literature have largely confined themselves to a single language, culture, or nationality. In this highly original book, Glaser reveals the rich cultural exchange among writers working in Russian, Ukrainian, and Yiddish in the Ukrainian territories, from Nikolai Gogol's 1829 The Sorochintsy Fair to Isaac Babel's stories about the forced collectivization of the Ukrainian countryside in 1929. The marketplace, which was an important site of interaction among members of these different cultures, emerged in all three languages as a metaphor for the relationship between Ukraine's coexisting communities, as well as for the relationship between the Ukrainian borderlands and the imperial capital. It is commonplace to note the influence of Gogol on Russian literature, but Glaser shows him to have also been a profound influence on Ukrainian and Yiddish writers, such as Hryhorii Kvitka-Osnovianenko and Sholem Aleichem. And she shows how Gogol must be understood not only within the context of his adopted city of St. Petersburg but also that of his native Ukraine.

In this first study in English of a master of Polish cinema, Annette Insdorf explores Has's thirteen feature films with the same deep insight of her groundbreaking book on Krzysztof Kieslowski, Double Lives, Second Chances (Northwestern, 2013).Wojciech Has's films are still less known outside of his native Poland than those of his countrymen Andrzej Wajda, Krzysztof Zanussi, and Krzysztof Kieslowski. Yet thanks to his singular vision, many critics rank Has among the masters of world cinema. Some of his movies have developed a cult following, notably The Saragossa Manuscript, the favorite film of the Grateful Dead's Jerry Garcia, which has been praised by directors Luis Buñuel, Francis Ford Coppola, and Roman Polanski.Has's films reveal the inner lives of his characters, which he portrays by giving free rein to his own wildly creative imagination. In addition to The Saragossa Manuscript, his diverse and innovative filmography includes The Hourglass Sanatorium, a vividly surreal depiction of Hassidic life in Poland between the world wars; The Noose, a stark poetic drama about a lucid alcoholic who knows he will not be able to kick the habit; and How to Be Loved, in which an actress remembers her wartime past.Has made disparate but formally striking movies infused with European strains of existentialism and the avant-garde. With many of his films being restored and rereleased, new generations of film lovers are discovering his artistic genius. Intimations: The Cinema of Wojciech Has is the definitive guide in English to his work.

Nowhere to Arrive takes as its subjects the whiplash of travel, the shuttling between disparate places and climes, and an unremitting sense of dislocation. These poems court the tension between the familiar and the foreign, between the self as distinct and the self as illusory. They look plainly at the startling strangeness of varied landscapes and mindscapes, and interrogate a state of unrootedness - one thrown into relief by the speaker's years abroad in Southeast Asia.At the chapbook's center are two long poems, titled "Phnom Penh Diptych: Wet Season" and "Phnom Penh Diptych: Dry Season," that examine the escapist narratives that draw tourists and expatriates to Cambodia, and the speaker's own privileged positioning.On a formal level, the poems in Nowhere to Arrive make room for the unsaid and that which cannot be articulated. Here, we have a vocabulary of silence alongside stark imagistic juxtapositions, poems that celebrate compression and the force of paratactic constructions. Attentiveness and concentration emerge as virtues, as the speaker surveys the vast territory of the present with a wakeful gaze.

Latinx Theater in the Times of Neoliberalism traces how Latinx theater in the United States has engaged with the policies, procedures, and outcomes of neoliberal economics in the Americas from the 1970s to the present.Patricia Ybarra examines IMF interventions, NAFTA, shifts in immigration policy, the escalation of border industrialization initiatives, and austerity programs. She demonstrates how these policies have created the conditions for many of the most tumultuous events in the Americas in the last forty years, including dictatorships in the Southern Cone; the 1994 Cuban Rafter Crisis; femicides in Juárez, Mexico; the Zapatista uprising in Chiapas, Mexico; and the rise of narcotrafficking as a violent and vigorous global business throughout the Americas.Latinx artists have responded to these crises by writing and developing innovative theatrical modes of representation about neoliberalism. Ybarra analyzes the work of playwrights María Irene Fornés, Cherríe Moraga, Michael John Garcés, Caridad Svich, Quiara Alegría Hudes, Victor Cazares, Jorge Ignacio Cortiñas, Tanya Saracho, and Octavio Solis. In addressing histories of oppression in their home countries, these playwrights have newly imagined affective political and economic ties in the Americas. They also have rethought the hallmark movements of Latino politics in the United States—cultural nationalism, third world solidarity, multiculturalism—and their many discontents.

Collected Stories is an authoritative new translation of the complete fiction of Bruno Schulz, whose work has influenced writers as various as Salman Rushdie, Cynthia Ozick, Jonathan Safran Foer, Philip Roth, Danilo Kiš, and Roberto Bolaño.Schulz’s prose is renowned for its originality. Set largely in a fictional counterpart of his hometown of Drohobycz, his stories merge the real and the surreal. The most ordinary objects—the wind, an article of clothing, a plate of fish—can suddenly appear unfathomably mysterious and capable of illuminating profound truths. As “Father,” one of his most intriguing characters, declaims: “Matter has been granted infinite fecundity, an inexhaustible vital force, and at the same time, a seductive power of temptation that entices us to create forms.”This comprehensive volume includes all of The Cinnamon Shops, restoring the original Polish title to Schulz’s most famous collection (sometimes titled The Street of Crocodiles in English), and Sanatorium under the Hourglass. Also included are four previously uncollected short stories that pay tribute to Schulz’s enduring genius. Madeline G. Levine’s masterful new translation shows contemporary readers how Schulz, often compared to Proust and Kafka, reveals the workings of memory and consciousness.

Hidden Tapestry reveals the unforgettable story of Flemish American artist Jan Yoors—childhood vagabond, wartime resistance fighter, and polyamorous urban bohemian. At the peak of his fame in the 1970s, Yoors’s photographs and vast tapestries inspired a dedicated following in his adopted Manhattan. Though his intimate friends guessed the rough outline of his colorful life, Hidden Tapestry is first to detail his astonishing secrets.At twelve, Jan’s life took an extraordinary and unexpected turn when he wandered into a Roma encampment on the outskirts of his native Antwerp just as the place was being raided. Rather than return home, Jan fled with the Roma and continued to live on-and-off with them and with his own family for several years. As an adult in German-occupied France, Yoors joined the Resistance. Defying repeated arrests and torture by the Gestapo, he worked first as a saboteur and later escorted Allied soldiers trapped behind German lines across the Pyrenees to freedom.After the war, he married childhood friend Annabert van Wettum and embarked on his career as an artist. When a friend of Annabert’s, Marianne Citroen, modeled for Yoors, Hidden Tapestry reveals how the two began an affair, which led the three to form a polyamorous unit that would last for the rest of their lives. Moving to New York, the trio became part of the bohemian life of Greenwich Village in the 1950s, Marianne being presented as Annabert’s sister.Told in arresting detail by Debra Dean, best-selling author of The Madonnas of Leningrad, Yoors’s story is a luminous and inspiring account of resilience, resourcefulness, and love.

Hallaj is the first authoritative translation of the Arabic poetry of Husayn ibn Mansur al-Hallaj, an early Sufi mystic. Despite his execution in Baghdad in 922 and the subsequent suppression of his work, Hallaj left an enduring literary and spiritual legacy that continues to inspire readers around the world. In Hallaj, Carl W. Ernst offers a definitive collection of 117 of Hallaj’s poems expertly translated for contemporary readers interested in Middle Eastern and Sufi poetry and spirituality.Ernst’s fresh and direct translations reveal Hallaj’s wide range of themes and genres, from courtly love poems to metaphysical reflections on union with God. In a fascinating introduction, Ernst traces Hallaj’s dramatic story within classical Islamic civilization and early Arabic Sufi poetry. Setting himself apart by revealing Sufi secrets to the world, Hallaj was both celebrated and condemned for declaring: “I am the Truth.”Expressing lyrics and ideas still heard in popular songs, the works of Hallaj remain vital and fresh even a thousand years after their composition. They reveal him as a master of spiritual poetry centuries before Rumi, who regarded Hallaj as a model. This unique collection makes it possible to appreciate the poems on their own, as part of the tragic legend of Hallaj, and as a formidable legacy of Middle Eastern culture.

The extraordinarily productive life of curator, artist, and activist Margaret Burroughs was largely rooted in her work to establish and sustain two significant institutions in Chicago: the South Side Community Art Center (SSCAC), founded in 1940, and the DuSable Museum of African American History, founded in her living room in 1961.As Mary Ann Cain's South Side Venus: The Legacy of Margaret Burroughs reveals, the primary motivations for these efforts were love and hope. Burroughs was spurred by her love for Chicago's African American community—largely ill served by mainstream arts organizations—and by her hope that these new, black-run cultural centers would welcome many generations of aspiring artists and art lovers.This first, long–awaited biography of Burroughs draws on interviews with peers, colleagues, friends, and family, and extensive archival research at the DuSable Museum, the Art Institute of Chicago, and the Chicago Public Library. Cain traces Burroughs's multifaceted career, details her work and residency on Chicago's South Side, and highlights her relationships with other artists and culture makers. Here, we see Burroughs as teacher and mentor as well as institution builder.Anchored by the author's talks with Burroughs as they stroll through her beloved Bronzeville, and featuring portraits of Burroughs with family and friends, South Side Venus will enlighten anyone interested in Chicago, African American history, social justice, and the arts.

For the first time, a Spolin guide for the individual actor to side-coach themselvesViola Spolin's Theater Games for the Lone Actor offers theater games and side coaching for the solo player. This handbook presents more than forty exercises that allow actors to side coach themselves at home, in rehearsal, or in performance. Building on her seminal Improvisation for the Theater, Spolin challenges the actor to develop an ability to enter present time, "a moment of full consciousness, awareness, continuous time, a timeless moment…with all of your responses awake and alert, ready to guide you… allowing you, the real you, your natural self, to emerge." Spolin's improvisational techniques changed the nature and practice of modern theater. Her work has inspired actors, directors, teachers, and writers in theater, television, and film. Her techniques have also influenced the fields of education, mental health, social work, and psychology.

In A Death in Harlem, famed scholar Karla Holloway weaves a mystery in the bon vivant world of the Harlem Renaissance. Taking as her point of departure the tantalizingly ambiguous “death by misadventure” at the climax of Nella Larsen’s 1929 best-selling novel Passing, Holloway takes readers back to the sunlit boulevards and shaded sidestreets of Jazz Age New York. A murder there will test the mettle, resourcefulness, and intuition of Harlem’s first “colored” policeman, Weldon Haynie Thomas.Clear glass towers rising in Manhattan belie a city where people are often not what they seem. For some here, identity is a performance of passing—passing for another race, for another class, for someone safe to trust. Thomas’s investigation illuminates the societies and secret societies, the intricate code of manners, the world of letters, and the broad social currents of 1920s Harlem. A Death in Harlem is an exquisitely crafted, briskly paced, and impeccably stylish journey back to a time still remembered as a peak of American glamour. It introduces Holloway as a fresh voice in storytelling, and Weldon Haynie Thomas as an endearing and unforgettable detective.

The Blackademic Life critically examines academic fictions produced by black writers. In it, Lavelle Porter evaluates the depiction of academic and campus life in literature as a space for black writers to produce counternarratives that celebrate the potentials of black intelligence and argue for the importance of black higher education, particularly in the humanistic tradition.Beginning with an examination of W. E. B. Du Bois’s creative writing as the source of the first black academic novels, Porter looks at the fictional representations of black intellectual life and the expectations that are placed on faculty and students to be racial representatives and spokespersons, whether or not they ever intended to be. The final chapter examines blackademics on stage and screen, including in the 2014 academic film Dear White People and the groundbreaking television series A Different World.

Phenomenology, the philosophical method that seeks to uncover the taken-for-granted presuppositions, habits, and norms that structure everyday experience, is increasingly framed by ethical and political concerns. Critical phenomenology foregrounds experiences of marginalization, oppression, and power in order to identify and transform common experiences of injustice that render “the familiar” a site of oppression for many. In 50 Concepts for a Critical Phenomenology, leading scholars present fresh readings of classic phenomenological topics and introduce newer concepts developed by feminist theorists, critical race theorists, disability theorists, and queer and trans theorists that capture aspects of lived experience that have traditionally been neglected. By centering historically marginalized perspectives, the chapters in this book breathe new life into the phenomenological tradition and reveal its ethical, social, and political promise.The volume will be an invaluable resource for teaching and research in continental philosophy; feminist, gender, and sexuality studies; critical race theory; disability studies; cultural studies; and critical theory more generally.

Biological Modernism identifies an intellectual current in the Weimar Republic that drew on biology, organicism, vitalism, and other discourses associated with living nature in order to redefine the human being for a modern, technological age. Contrary to the assumption common to scholarship on the period that any turn toward the organic indicated a reactionary flight from modernity or a longing for wholeness, Carl Gelderloos shows that biology and other discourses of living nature offered a nuanced way of theorizing modernity rather than fleeing from it. Organic life, instead of representing a stabilizing sense of wholeness, by the 1920s had become a scientific, philosophical, and disciplinary problem. In their work, figures such as Alfred Döblin, Ernst Jünger, Helmuth Plessner, and August Sander interrogated the relationships between technology, nature, and the human, and thus also radically reconsidered the relationship between the disciplines as well as the epistemological and political consequences for defining the human being. Biological Modernism will be of interest to scholars of German literature and culture, literary modernism, photography, philosophical anthropology, twentieth-century intellectual history, the politics of culture, and the history of science.

Furious Flower: Seeding the Future of African American Poetry is an anthology of poems by more than a hundred award-winning poets, including Jericho Brown, Tracy K. Smith, and Justin Philip Reed, combined with themed essays on poetics from celebrated scholars such as Kwame Dawes, Evie Shockley, and Meta DuEwa Jones.The Furious Flower Poetry Center is the nation’s first academic center for Black poetry. In this eponymous collection, editors Joanne V. Gabbin and Lauren K. Alleyne bring together many of the paramount voices in Black poetry and poetics active today, composing an electrifying mosaic of voices, generations, and aesthetics that reveals the Black narrative in the work of twentieth- and twenty-first-century writers. Intellectually enlightening and powerfully enlivening, Furious Flower explores and celebrates the idea of the Black poetic voice, to ask, "What's next for Black poetic expression?