Studies, Theatre HistoryBiblio.com
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7161885-nnew. unknown
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0817355545.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0817355022.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
6981712University of Alabama Press pp. 296 3rd Edition . Papeback. New. University of Alabama Press unknown
61850798University of Alabama Press pp. 320 3rd Edition . Papeback. New. University of Alabama Press unknown
64338955University of Alabama Press pp. 240 4th Edition . Papeback. New. University of Alabama Press unknown
63-0047Washington DC: American Theatre Association 1979 - 82. 4to. ca. 140 pp. each Soft Covers Very Good. Illustrations photographs. Price for all ten issues. Washington, DC: American Theatre Association, 1979 - 82. paperback
1696326648.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0853291071.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1705841953.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
55737Prague: Divadlo na zábradlí 1964. Square octavo 15.3 × 15 cm. Original staple-stitched pictorial self-wrappers; 16 pp. Minimal wear to wrappers with crease to upper right corner of front wrapper; else very good or better. Scarce program booklet for Havel's first full-length play "The Garden party" first staged in 1963 and presented here as the first performance of the 1963-1964 season at the small Prague Theatre on the Balustrade. While controversially received by official critics the play was an enormous success as it was recognized by Czech viewers as a very clever satire on the bureaucratic communist regime with its own absurd features which they lived in. "As all plays were subject to official censorship an outright satire of the neo-Stalinist regime would never have reached the stage; Havel took another route examining the mechanics of language and power in a decontextualized setting injecting it with enough hermeneutical ambiguity to satisfy and provoke" Sirkku Aaltonen "On translation censorship theatre Václav Havel and Vera Blackwell" in: Censoring Translation 2012. The booklet is strikingly illustrated using photographs of the play and examples of Havel's early forays into concrete poetry so-called "calligrams." It also features a tongue-in-cheek rubric titled "Why we are staging this play" which lists excerpts from some of the negative reviews of Havel's work. Overall design by Libor Fára. unknown
BB110294Paper theater or diorama made up out of several sheets representing different scenes. Together they form a three-dimensional view. Windows have been cut into the individual sheets to reveal details of the scene. The prints have been hand colored. Etchings and watercolor. Size of the sheets: 10 x 12 cm.This theatre spectacle consists of 5 sheets numbered on the back from 1 to 5. Probably the last sheet is missing. The set shows a typical military scene with soldiers on a battlefield. One sees the parading soldiers carrying a flague and cannons also resting soldiers. And very peculiar one sees soldiers making a human pyramid.The sheets are in good condition the little figures are all intact. Very attractive decorative paper art object.NL Papieren theatertje met een militaire scene op het slagveld. Men ziet paraderende soldaten met een vlag soldaten in rust kanonnen op wielen en rustende soldaten. Merkwaardig genoeg ziet men ook soldaten die een menselijke piramide maken. Decoratief stukje papierkunst. Op de originele omslag staat ' de jagt'. maar dit is doorgestreept aangezien dit natuurlijk geen jachttafereel is. unknown
BB110295Paper theater or diorama made up out of several sheets representing different scenes. Together they form a three-dimensional view. Windows have been cut into the individual sheets to reveal details of the scene. The prints have been hand colored. Etchings and watercolor. Size of the sheets: 9 x 14 cm.This theatre spectacle consists of 6 sheets numbered on the back from 1 to 6. The set shows a typical summer setting with a village in the back in the sun. In the front people work in the fields. The hay is brought in and other harvest is coming in by horses and carriages. One sees cornfields and farmers.<pre id=""tw-target-text"" class=""tw-data-text tw-text-large tw-ta"" dir=""ltr"" data-placeholder=""Vertaling"" data-ved=""2ahUKEwj7z67a8ayMAxWp-AIHHWxQEH4Q3ewLegQICBAV"" aria-label=""Vertaalde tekst: the hay is brought in""></pre>The sheets are in good condition the little figures are very fragile and one misses a head. Not harming the complete view. Very attractive decorative paper art object.NL Papieren theatertje met een zomer scene op het platteland. Met ziet een dorp met veel zon het hooi dat binnen wordt gehaald op een kar met paarden en andere oogst die naar binnen wordt gehaald. De korenvelden staan er goed bij en diverse boeren staan op het veld. Decoratief stukje papierkunst. Op de originele omslag staat ' de Zomer'. unknown
19604423London: The Arts Theatre Club 1960 1960. 188x125mm. pp. 8. Bound with one staple. In very good condition. An excellent copy of the rare programme for the first night production of The Caretaker on 27th April 1960. Starring Peter Woodthorpe Alan Bates and Donald Pleasance it was an immediate triumph in which according to The Observer review of this first performance established "Mr. Pinter as a master of silence. There are repeated moments of the utmost eloquence in which nothing happened except that Alan Bates moves his pupils or a handbag is silently thrown from one hand to another. I repeat this play is an event". London: The Arts Theatre Club 1960 unknown
1958ZB573418London: International Federation for Theatre Research 1958-1974. volumes 1-14 complete volumes all published; bound ex library well illustrated most paper wrappers bound in. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. London: International Federation for Theatre Research unknown
1831003478London: J. Tabby Printer 1831. Single sided broadside approximately 215mm x 340mm in size. Slightly chipped to edges small spot to centre and one towards foot otherwise quite bright and clean. A benefit for Mr. James Wallack an actor and later manager with a Napoleon related play 'The Little Corporal; or the School of Bonaparte' relating to his time at the military school at Brienne and the celebrated snow ball fight led by Napoleon in the winter of 1783-4 with a 'terrific bombardment with snow balls!' Also appearing were Cooke's Equestrian establishment and his 'celebrated stud of ponies' promising a 'grand attack of Lilliputian cavalry'. The printer was I think J.ohn Tabby whose printing of his own imprint doesn't act as a very good advert for his services see BBTI. First Edition. Unbound. Good. Folio. Broadside. J. Tabby [Printer] Paperback
1858AQ25652London: Printed by J. W. Peel 1858. Single leaf broadside. numerous old horizontal and vertical folds. A trifle creased and browned. An apparently unrecorded playbill advertising performances at the Theatre Royal Drury Lane of William Leman Rede's 1803-1847 two-act farce His First Champagne and Edward L. Blanchard's 1820-1889 comic pantomime Little Jack Horner or Harlequin A. B. C. and the Enchanted Regions of Nursery Rhymes! The bill rather verbosely described the pantomime as 'Allegorical Beautiful Comical Diverting Educational Fanciful Gorgeous Hyperbolical Intellectual Jovial Keen Laughable Merry Novel Original Peculiar Quizzical Romantic Splendid Transcendent Unobjectionable Volatile Waggish Extravagant Youthful and Zigzaggy'. In the pantomime an entreaty to literacy and knowledge Intelligence sends Proverb to help Jack Horner with his studies Jack fends off Ignorance with the Sword of Perseverance and sent to a 'Fairy Aquarium' with a coral palace to see what can be achieved by Imagination. The spectacular visual scenery provided by William Beverley in particular the 'Fairy Aquarium' was universally praised; indeed even the The Times who dismissed Blanchard's efforts stating that 'People do not expect to be edified and instructed at a pantomime' were effusive in their praise: 'As its wonders gradually revealed themselves and the circumambient air no less than terra firma became peopled with floating nymphs and soaring fairies the applause was vociferous and continuous and a summons first for Mr E. T. Smith the manager and next for Mr Beverley the artist presented the climax of excitement'. . Dimensions 500 x 510 mm. Printed by J. W. Peel unknown
1802AQ29612London: P. Boyle 1802. Single card ticket printed on one side only and signed and numbered in manuscript. A ticket granting admission to the gallery of the Theatre Royal Haymarket for a performance of Shakespeare's Merchant of Venice. Apparently unrecorded unsurprisingly given the ephemeral and eminently disposable nature of the item. . Dimensions 90 x 60 mm. [P. Boyle] unknown
1826AQ33563London: s.n. 1826. Single leaf broadside. Slight chipping to edges small loss to lower left-hand edge. An early playbill for the 1826 run of Isaac Pocock's 1782-1835 operatic drama Rob Roy MacGregor first performed in Covent Garden on the 12th March 1818. Based on the Scottish folk hero of the same name and adapted from Sir Walter Scott's 1818 Waverley Novel Rob Roy the title role would be played by acclaimed English stage actor William Charles Macready 1793-1873. Pocock would go on to adapt further Waverley novels for the stage although less successfully including Montrose or the Children of the Mist 1822 and Woodstock 1826. . Dimensions 210 x 328 mm. [s.n.] unknown
1828AQ33562London: s.n. 1828. Single leaf broadside. Some loss to left-hand edge and small tear to upper right-hand corner. A playbill advertising the night's performance of Exchange no Robbery or The Diamond Ring a Comedy by known practical joker Theodore Hook 1788-1841. Most famous for the Berners Street Hoax of 1809 during which he invited countless men and women of note to a single house in Tottenham to win a bet with a friend Hook is considered to be the first recipient of a postcard - likely mailed to himself. The evening's additional entertainment consists of a new Operetta titled 'Love in Wrinkles or the Russian Strategem' and the ninth performance of Charles the XII or The Siege of Stralsund a two-act historical drama by James Robinson Planché 1796-1880 based on the life of said King of Sweden. . Dimensions 199 x 335 mm. [s.n.] unknown
1848AQ21387Leeds: T. W. Green & Co. 1848. Single leaf broadside. Vertical central fold damp-stained to head creased two short tears touching text at head - without loss. A double playbill advertising a staging at the Theatre Royal Leeds of Edward Stirling's 1807-1894 three-act drama Raby Rattler purportedly adapted from a story by poet and journalist Eliza Cook 1812-1889 though we can find no such publication attributed to her; indeed the only candidate title that we have been able to locate is Thomas Hall's fl. 1845-1864 'Effects' and adventures of Raby Rattler 1845. . Dimensions 380 x 320 mm. T. W. Green & Co. unknown
1829AQ22323London: Printed by W. Reynolds 1829. Single leaf broadside edges uncut. A trifle creased and browned. An apparently unrecorded late Georgian playbill advertising an evening's entertainment at the Theatre Royal Covent Garden on 2nd February 1829 including a performance of the juvenile comic pantomime 'Harlequin and Little Red Riding Hood; or the Wizard and the Wolf' starring Joseph Grimaldi 1778-1837 as Granny Rose; but perhaps more remarkably featuring a moving Panorama depicting the progress of Russian forces enroute to the Turkish capital presumably during the then ongoing Russo-Turkish War 1828- 1829. Though apparently unrelated to any of the performances staged on 2nd February this elaborate panorama was produced by the Scottish artist and noted scene painter David Roberts 1796-1864 and clearly a significant enough draw to London audiences to be noted in the billing. . Dimensions 220 x 350 mm. Printed by W. Reynolds unknown
