an extraordinary, wide-ranging, funny, clever account of 40 years in the life of the most successful touring theatre company of all time.

First Published in 1996. Part of a series of ‘Studies in Modern Drama’, Volume 7 This volume Studies in Modern Drama collects essays on contemporary theatre which reveal the changing face of the world, as well as challenges to the boundaries of traditional stage production. Authors examine familiar texts in new settings, discovering what editor Judy Lee Oliva calls “the effect of cultural- specific gestures, stances and the nuance of words,” so that audiences and critics are forced to recognize stereotypes and re-evaluate older critical methods. Topics range from directing gay and working-class theatre in Scotland to producing American and British drama in Holland, Belgium, and Poland. New voices in the theatre are heard, and old ones are put to new tests. What remains is the power of performance to inspire emotional and intellectual response. Writers, directors, costume designers, producers, and critics provide an uncommon range of perspectives to the changing roles of theatre in an increasingly global community.

An annotated world theatre bibliography documenting significant theatre materials published world wide since 1945, plus an index to key names throughout the six volumes of the series.

The breadth of Peru's culture from pre-Columbian times to today is surveyed in this one-stop reference. Modern Peru emerges as an ethnically divided nation progressing toward social integration of its heavily Indian and Hispanic population. Ferreira and Dargent, native Peruvians, illustrate how the diverse geography of the country—the Andes, coast, and jungle—has also had a role in shaping cultural and social expression, from history to art. Further exploring the influence of Spanish colonialism and its modern blending with Indian traditions, this volume covers the legacy of the Incas and Machu Picchu, providing an authoritative overview of how the citizenry and major cultural venues, such as the church, media, and arts, have evolved. A chronology and glossary supplement the text.

Winner - 2022 Richard Wall Memorial Award, Theatre Library Association Beginning in the 1920s, audiences around the globe were seduced not only by Hollywood films but also by lavish movie theaters that were owned and operated by the major American film companies. These theaters aimed to provide a quintessentially “American” experience. Outfitted with American technology and accoutrements, they allowed local audiences to watch American films in an American-owned cinema in a distinctly American way. In a history that stretches from Buenos Aires and Tokyo to Johannesburg and Cairo, Ross Melnick considers these movie houses as cultural embassies. He examines how the exhibition of Hollywood films became a constant flow of political and consumerist messaging, selling American ideas, products, and power, especially during fractious eras. Melnick demonstrates that while Hollywood’s marketing of luxury and consumption often struck a chord with local audiences, it was also frequently tone-deaf to new social, cultural, racial, and political movements. He argues that the story of Hollywood’s global cinemas is not a simple narrative of cultural and industrial indoctrination and colonization. Instead, it is one of negotiation, booms and busts, successes and failures, adoptions and rejections, and a precursor to later conflicts over the spread of American consumer culture. A truly global account, Hollywood’s Embassies shows how the entanglement of worldwide movie theaters with American empire offers a new way of understanding film history and the history of U.S. soft power.