Muziek - Film en Theaterboeken

Documentatie in woord en beeld over de Britse popgroep The Rolling Stones.

Can a song change a nation? In 1964, Marvin Gaye, record producer William 'Mickey' Stevenson, and Motown songwriter Ivy Jo Hunter wrote 'Dancing in the Street.' Recorded at Motown's Hitsville USA Studio by Martha and the Vandellas, it was supposed to be an upbeat dance recording - a precursor to disco, a song about the joyousness of dance, the song of a summer. But events overtook it, and the song became one of the anthems of American pop culture.

The Beatles landed in the United States in early 1964. By that summer, the '60s were in full swing. 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the Vietnam War, the Civil Rights Act, and the lead-up to a dramatic election that completely changed American politics. As the country grew more radicalized in those few months, 'Dancing in the Street' gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all altered as the country changed.

From the writer legendary for finding the big story in unlikely places, Mark kurlansky's Ready for a Brand New Beat recounts that extraordinary time and showcases the role that a simple song about dancing played in our nation's history.

Praise for Mark Kurlansky

'Every once in a while a writer of particular skill takes a fresh, seemingly improbable idea and turns out a book of pure delight.' David McCullough

'Fascinating stuff . . . Kurlansky has a keen eye for odd facts and natural detail.' The Wall Street Journal

'Kurlansky continues to prove himself remarkably adept at taking a most unlikely candidate and telling its tale with epic grandeur.' Los Angeles Times

Persoonlijke beschrijving van de zoektocht naar de essentie van de klassieke muziek. In Een merkwaardig leven lang klassiek beschrijft de wereldberoemde klassiek pianist Jeremy Denk zijn zoektocht naar de essentie van de klassieke muziek. Waar velen bij klassieke muziek meteen denken aan imponerende concertzalen en grandioze opvoeringen, voert Denk ons mee naar de alledaagse realiteit achter alle pracht en praal. Hij duikt dieper in de klassieke stukken die hem hebben gevormd – van Mozart tot Brahms – en belicht de kern van de muziek aan de hand van drie pijlers: melodie, harmonie en ritme.

Bespreking van 200 Nederlandse films uit de periode 1898-2003, met daarnaast veel aandacht voor de geschiedenis van de Nederlandse film.

Als programmamaker mocht Sonja Barend van de VARA alles maken wat ze wilde. Het gaf haar de mogelijkheid zich te bemoeien met wat er om haar heen gebeurde. Nu de wereld om haar heen tot stilstand is gekomen komt het terug, de wil zich uit te spreken, haar gedachten over de wereld om haar heen te formuleren. "Kwesties en problemen lijken regelmatig op een variant van die van jaren geleden," schrijft ze in 'De appel in het paradijs'. "Ze zijn niet nieuw maar anders. Vaak ben ik verbaasd dat ze niet sneller worden opgelost door mensen met ervaring, die net als wij, vrijwel alles al eerder hebben meegemaakt en kunnen putten uit de kennis die ze toen hebben opgedaan." 0Of het nu gaat over racisme, politiek, opvoeding, of het milieu, geen onderwerp ontkomt aan de pen van Sonja Barend. Haar stem is helder en even krachtig als in 'Je ziet mij nooit meer terug.' Het is weldadig om opnieuw geconfronteerd te worden met haar eigenzinnigheid en kracht.

Bill Bryson's biography of William Shakespeare unravels the superstitions, academic discoveries and myths surrounding the life of one of our greatest poets and playwrights.

One evening, journalist Eric Siblin attended a recital of Johann Sebastian Bach's Cello Suites and began an epic quest that would unravel three centuries of intrigue, politics, and passion. Winner of the Mavis Gallant Prize for Nonfiction and the McAuslan First Book Prize, The Cello Suites weaves together three dramatic narratives: the disappearance of Bach's manuscript in the eighteenth century; Pablo Casals's discovery and popularization of the music in Spain in the late-nineteenth century; and Siblin's infatuation with the suites in the present day. The search led Siblin to Barcelona, where Casals, just thirteen and in possession of his first cello, roamed the backstreets with his father in search of sheet music and found Bach's lost suites tucked in a dark corner of a store. Casals played them every day for twelve years before finally performing them in public. Siblin pursues the mysteries that continue to haunt this music more than 250 years after its composer's death: Why did Bach compose the suites for the cello, then considered a lowly instrument? What happened to the original manuscript? A seamless blend of biography and music history, The Cello Suites is a true-life journey of discovery, fueled by the power of these musical masterpieces.

The oldest written tradition of European music, the art we know as Gregorian chant, is seen from an entirely new perspective in Katherine Bergeron's engaging and literate study. Bergeron traces the history of the Gregorian revival from its Romantic origins in a community of French monks at Solesmes, whose founder hoped to rebuild the moral foundation of French culture on the ruins of the Benedictine order. She draws out the parallels between this longing for a lost liturgy and the postrevolutionary quest for lost monuments that fueled the French Gothic revival, a quest that produced the modern concept of "restoration."
Bergeron follows the technological development of the Gregorian restoration over a seventy-year period as it passed from the private performances of a monastic choir into the public commodities of printed books, photographs, and Gramophone records. She discusses such issues as architectural restoration, the modern history of typography, the uncanny power of the photographic image, and the authority of recorded sound. She also shows the extent to which different media shaped the modern image of the ancient repertory, an image that gave rise to conflicting notions not only of musical performance but of the very idea of music history.

Verkenningen over muziek en van de muzikale belevingswereld van de auteur.

Explores the historical and cultural evolution of the theoretical language of the stage

Filmgeschiedenis, met register achterin

Scenario van en documentatie over de gelijknamige film, waarin een vrouw in Nieuw Zeeland zich alleen in pianospel kan uiten. (Gouden Palm, Cannes 1993)

Schetsen over (opera)zangers; met cd.

Autobiografie van de gitarist/medeoprichter van de Rolling Stones.

In detailing the relationship of three women filmmakers' lives and films to the changing institutions of the post-World War II era, Lauren Rabinovitz has created the first feminist social history of the North American avant-garde cinema.

At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics.

Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women's labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde's importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.

theaterspektakel over arn eb rijk

This collection of essays, written by a team of leading scholars in the field, undertakes not simply to recover the names and careers of women playwrights but to call into question the whole idea of what a playwright is, and what she does, and why it matters. Gender inquiry is the start: destabilising the category of playwrights loosens the borders of theatre history making it possible to reconceptualize theatre and drama not as a product of culture but as social processes dynamically interacting with culture.

The Norton Critical Edition is again based on the First Folio (1623), the only authoritative text of the play. The volume includes a revised introduction and new annotations and textual notes.



The Second Edition also includes the innovative feature "The Actors' Gallery," which presents famous actors and actresses--among them David Garrick, Sarah Siddons, Ian McKellen, Hira Mikijirô, Patrick Stewart, and Kate Fleetwood--reflecting on their roles in major productions of Macbeth for stage and screen.



"Sources and Contexts" provides readers with an understanding of Macbeth's origins in earlier texts, specifically the works of the Roman playwright Seneca, the Tudor historian Raphael Holinshed, and the medieval drama The Slaughter of the Innocents and the Death of Herod. Contexts for the play include contemporary debates on predestination versus free will (Martin Luther versus Erasmus), witchcraft as fiction or fact (Reginald Scott versus King James I), the ethics of regicide (an Elizabethan homily versus Jan de Mariana, S.J.), and the ethics of equivocation (Henry Garnet, S.J., versus--new to the Second Edition--Sir Edward Coke).



Eight carefully chosen essays represent four hundred years of critical and theatrical interpretation. Contributors include Simon Forman, Samuel Johnson, Samuel Taylor Coleridge, Thomas De Quincey, Harry Levin, Stephen Orgel, Peter Holland, and, presenting the latest arguments on the authorship controversy, Gary Taylor. Finally, an engaging new selection of Macbeth's "Afterlives" includes excerpts from Giuseppi Verdi's Macbeth and related letters, Eugène Ionesco's Macbett (1972), Bill Cain's Equivocation (2009), and more.



This edition also provides a list of online and print resources.

Now in paperback, after five hardcover printings, Tommy James’s wild and entertaining true story of his career—part rock & roll fairytale, part valentine to a bygone era, and part mob epic—that “reads like a music-industry version of Goodfellas” (The Denver Post).

Everyone knows the hits: “Hanky Panky,” “Mony Mony,” “I Think We’re Alone Now,” “Crimson and Clover,” “Crystal Blue Persuasion.” All of these songs, which epitomize great pop music of the late 1960s, are now widely used in television and film and have been covered by a diverse group of artists from Billy Idol to Tiffany to R.E.M. Just as compelling as the music itself is the life Tommy James lived while making it.

James tells the incredible story, revealing his complex and sometimes terrifying relationship with Roulette Records and Morris Levy, the legendary Godfather of the music business. Me, the Mob, and the Music is a fascinating portrait of this swaggering, wildly creative era of rock ’n’ roll, when the hits kept coming and payola and the strong-arm tactics of the Mob were the norm, and what it was like, for better or worse, to be in the middle of it.

Now a Broadway play starring Mark Ruffalo, Tony Shalhoub, Danny DeVito, and Jessica Hecht, Miller’s riveting story about family, sacrifice, and the struggle to make peace with the past.

Years after an angry breakup, Victor and Walter Franz are reunited by the death of their father. As they sort through his possessions in an old brownstone attic, the memories evoked by his belongings stir up old hostilities. The Price was nominated for two Tony Awards, including best play.