Published to weave together the untold stories of The New School's legacy Illustrated with over 400 images from the School's archive A Drama in Time is an illustrative and beautifully designed mosaic narrative that weaves together the many histories of one of America's most progressive universities. Founded by political dissidents in 1919, the School has become a byword for academic freedom and progressive thought. Now encompassing five schools, including Parsons School of Design, The New School is a center for notable designers, writers, musicians, artists and political activists. The book design is reflective of the change-making, status-quo pushing attitude of the school: dynamic and unexpected while remaining elegant. Contents: A character study of a university and a fresh take on the classic hero's journey, the book is a non-linear collection of stories designed to live on their own, and as a whole to give the reader an understanding of The New School's legacy and vision. Each story contains a mix of a title, body copy, photos with captions, pull-out quotes by recognizable members of our community, historical and modern courses, and related events/happenings/publications that cross time periods and schools. The Festival of New: 1-6 October 2019. The book will be launched during a campus-wide Festival open to the public celebrating the school's Centennial with talks, performances, exhbitions, parties and more.

This account of the drama in time that is Tucson begins not with the founding of the Presidio San Agustín on August 20, 1775, but with the emergence of Sentinel Peak in geologic deep time. It ends -- "To be continued"-- in 2014. It spans the periods of precontact with Europeans, Spanish colonization, Mexican nationhood, the territorial West, early and Depression era statehood, and the development of metropolitan Tucson after World War II. It offers not one definitive historical account but a collection of stories in which threads appear that may disappear beneath the surface for a while and reappear later, like some desert streams. It leaves spaces for, and invites the stories of, its readers. About the Author John Warnock was born in Tucson and graduated from Tucson High when it was one of the largest high schools in the nation. He attended Amherst College in Massachusetts, Oxford University in England, and the New York University School of Law. After teaching at the University of Wyoming in Laramie, he returned to Tucson in 1990 to join the English Department at the University of Arizona. He is now Professor Emeritus at UA and resides in Tucson.

How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)

Interconnections between voyage narratives and travel plays in Shakespeare's era.

This book explores how classical and Shakespearean tragedy has shaped the temporality of crisis on the stage and in time-travel films and videogames. In turn, it uncovers how performance and new media can challenge common assumptions about tragic causality and fate. Traditional tragedies may present us with a present when a calamity is staged, a decisive moment in which everything changes. However, modern performance, adaptation and new media can question the premises of that kind of present crisis and its fatality. By offering replays or alternative endings, experimental theatre, adaptation, time travel films and videogames reinvent the tragic experience of irreversible present time. This book offers the reader a fresh understanding of tragic character and agency through these new media’s exposure of the genre’s deep structure.

From Raina Telgemeier, the #1 New York Times bestselling, multiple Eisner Award-winning author of Smile and Sisters! Callie loves theater. And while she would totally try out for her middle school's production of Moon over Mississippi, she can't really sing. Instead she's the set designer for the drama department's stage crew, and this year she's determined to create a set worthy of Broadway on a middle-school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen. And when two cute brothers enter the picture, things get even crazier!

The purpose of this absorbing collection is to illuminate the world of the theatre by setting it squarely in its historical context. To that end, Professor Evans draws on the whole spectrum of Elizabethan-Jacobean writing, from official documents to diaries and letters. Part I, The Theatre and the World, deals, through contemporary writings, with the drama itself, the audiences and their responses, theatrical companies, acting and actors, and buildings and technical matters. Part II, The Worlds and the Theatre, illustrates how the problems of everyday life, complicated as they were by moral, religious, social, political, and economic issues, provided an ever-fruitful source of materials to the dramatists who practiced their craft during this extraordinarily creative period.