"Taking a fresh approach to the study of live theatre broadcasting, this book focuses on National Theatre Live a decade after its launch in 2009. It embeds livecasting in its historical context of 19th-century electrophone technology, assesses its position in contemporary discourse on the meaning of theatre for spectators, in a pre- and post-pandemic moment, and points towards its future. Heidi Liedke navigates between an interdisciplinary range of 20th- and 21st-century theorists from the fields of cultural studies, theatre studies and performance philosophy. Combining lively analyses of recent theatre performances with auto-ethnographic accounts, she turns to 20th-century thinkers such as Walter Benjamin and Bertolt Brecht in order to understand livecasting's position in a continuum of developments taking place on the borders of media, film and performance for the past 100 years. Locating livecasting on the conceptual tripod of spectacle, materiality and engagement, Livecasting in Twenty-First Century British Theatre asks what role audiences and their engagement play in livecasting. These conceptual threads are illustrated by in-depth analyses of recent NT Live shows, such as A Midsummer Night's Dream (2019), Antony and Cleopatra (2018) and Small Island (2019) and complemented by insights from practitioners involved in the making of the livecasts. Finally, livecasting is contextualized within recently emerged forms of Covidian (virtual) theatre during the pandemic in order to offer some thoughts on the future of the genre of theatrical performance"--

This significant contribution to the study of the live and recorded broadcasting of stage plays focuses on National Theatre Live a decade after its launch in 2009. Assessing livecasting through the concepts of spectacle, materiality and engagement, it examines the role played by audiences in livecasting. Illustrated by in-depth analyses of recent NT Live shows, including A Midsummer Night's Dream (2019), Antony and Cleopatra (2018) and Small Island (2019), the book is complemented by insights from practitioners involved in the making of the livecasts. Finally, livecasting is contextualized within recently emerged forms of Covidian (virtual) theatre during the pandemic in order to offer some thoughts on the future of the genre of theatrical performance. Combining lively analyses of recent theatre performances with auto-ethnographic accounts, Heidi Lucja Liedke turns to 20th-century thinkers such as Walter Benjamin and Bertolt Brecht in order to understand livecasting's place in a continuum of developments taking place on the borders of media, film and performance for the past 100 years. As well as embedding livecasting in its historical context of 19th-century electrophone technology, Liedke assesses its position in contemporary discourses on the meaning of theatre for spectators in the pre- and post-pandemic moment, and points towards the form's future.

Examining how technological developments in performance practices affect spectator experience of Shakespeare and early modern drama.

Mouldmaking and Casting is a technical manual of the many techniques of this ancient craft and art form. With step-by-step illustrations, it explains the materials required and the processes involved to create reproductions of a range of pieces. The book covers traditional techniques as well as today's more advanced technical methods.

"What year are you preparing your students for? 1973? 1995? Can you honestly say that your school's curriculum and the program you use are preparing your students for 2015 or 2020? Are you even preparing them for today?" With those provocative questions, author and educator Heidi Hayes Jacobs launches a powerful case for overhauling, updating, and injecting life into the K-12 curriculum. Sharing her expertise as a world-renowned curriculum designer and calling upon the collective wisdom of 10 education thought leaders, Jacobs provides insight and inspiration in the following key areas: * Content and assessment: How to identify what to keep, what to cut, and what to create, and where portfolios and other new kinds of assessment fit into the picture. * Program structures: How to improve our use of time and space and groupings of students and staff. * Technology: How it's transforming teaching, and how to take advantage of students' natural facility with technology. * Media literacy: The essential issues to address, and the best resources for helping students become informed users of multiple forms of media. * Globalization: What steps to take to help students gain a global perspective. * Sustainability: How to instill enduring values and beliefs that will lead to healthier local, national, and global communities. * Habits of mind: The thinking habits that students, teachers, and administrators need to develop and practice to succeed in school, work, and life. The answers to these questions and many more make Curriculum 21 the ideal guide for transforming our schools into what they must become: learning organizations that match the times in which we live.

Professor Litman's work stands out as well-researched, doctrinally solid, and always piercingly well-written.-JANE GINSBURG, Morton L. Janklow Professor of Literary and Artistic Property, Columbia UniversityLitman's work is distinctive in several respects: in her informed historical perspective on copyright law and its legislative policy; her remarkable ability to translate complicated copyright concepts and their implications into plain English; her willingness to study, understand, and take seriously what ordinary people think copyright law means; and her creativity in formulating alternatives to the copyright quagmire. -PAMELA SAMUELSON, Professor of Law and Information Management; Director of the Berkeley Center for Law & Technology, University of California, BerkeleyIn 1998, copyright lobbyists succeeded in persuading Congress to enact laws greatly expanding copyright owners' control over individuals' private uses of their works. The efforts to enforce these new rights have resulted in highly publicized legal battles between established media and new upstarts.In this enlightening and well-argued book, law professor Jessica Litman questions whether copyright laws crafted by lawyers and their lobbyists really make sense for the vast majority of us. Should every interaction between ordinary consumers and copyright-protected works be restricted by law? Is it practical to enforce such laws, or expect consumers to obey them? What are the effects of such laws on the exchange of information in a free society?Litman's critique exposes the 1998 copyright law as an incoherent patchwork. She argues for reforms that reflect common sense and the way people actually behave in their daily digital interactions.This paperback edition includes an afterword that comments on recent developments, such as the end of the Napster story, the rise of peer-to-peer file sharing, the escalation of a full-fledged copyright war, the filing of lawsuits against thousands of individuals, and the June 2005 Supreme Court decision in the Grokster case.Jessica Litman (Ann Arbor, MI) is professor of law at Wayne State University and a widely recognized expert on copyright law.