Kooperativer Bibliotheksverbund

UID:

Format: 1 Online-Ressource (xii, 255 Seiten) , Illustrationen

ISBN: 9780472903603

Series Statement: Theater: theory/text/performance

Additional Edition: Erscheint auch als Druck-Ausgabe, Hardcover ISBN 978-0-472-07578-2

Additional Edition: Erscheint auch als Druck-Ausgabe, Paperback ISBN 978-0-472-05578-4

Language: English

DOI: 10.3998/mpub.12340544

URL: Volltext  (kostenfrei)

URL: Volltext  (kostenfrei)

URL: Volltext  (kostenfrei)

URL: kostenfrei

URL: Inhaltsverzeichnis

UID:

Format: 1 online resource (288 p.)

ISBN: 9780520384019 , 9783110754001

Content: The rise of the Auntie Sewing Squad, a massive mutual-aid network of volunteers who provide free masks in the wake of US government failures during the COVID-19 pandemic. In March 2020, when the US government failed to provide personal protective gear during the COVID-19 pandemic, the Auntie Sewing Squad emerged. Founded by performance artist Kristina Wong, the mutual-aid group sewed face masks with a bold social justice mission: to protect the most vulnerable and most neglected. Written and edited by Aunties themselves, The Auntie Sewing Squad Guide to Mask Making, Radical Care, and Racial Justice tells a powerful story. As the pandemic unfolded, hate crimes against Asian Americans spiked. In this climate of fear and despair, a team of mostly Asian American women using the familial label ";Auntie"; formed online, gathered momentum, and sewed masks at home by the thousands. The Aunties nimbly funneled masks to asylum seekers, Indigenous communities, incarcerated people, farmworkers, and others disproportionately impacted by COVID-19. When anti-lockdown agitators descended on state capitals-and, eventually, the US Capitol-the Aunties dug in. And as the nation erupted in rebellion over police violence against Black people, the Aunties supported and supplied Black Lives Matter protesters and organizations serving Black communities. Providing hundreds of thousands of homemade masks met an urgent public health need and expressed solidarity, care, and political action in a moment of social upheaval. The Auntie Sewing Squad is a quirky, fast-moving, and adaptive mutual-aid group that showed up to meet a critical need. Led primarily by women of color, the group includes some who learned to sew from mothers and grandmothers working for sweatshops or as a survival skill passed down by refugee relatives. The Auntie Sewing Squad speaks back to the history of exploited immigrant labor as it enacts an intersectional commitment to public health for all. This collection of essays and ephemera is a community document of the labor and care of the Auntie Sewing Squad.

Note: Frontmatter -- , Contents -- , Acknowledgments -- , Preface -- , Taxonomy of Auntie Roles -- , Introduction -- , We Go Down Sewing -- , Auntie Sewing Squad Map -- , Auntie Sewing Squad Core Values: Transparency + Passion + Humor + Kindness -- , Auntie Sewing Squad Bingo -- , Ode to the Spreadsheet of Glory -- , A Mary Poppins Box of Supplies -- , Finding Fabric -- , Recipe for Vegan Kimchee -- , Moment of Joy -- , Labor -- , Sewing as Care Work -- , Taxonomy of Auntie Care -- , The Evolution of Auntie Care -- , Auntie Sewing Squad Care-Van -- , How to Sew Masks for Fun and No Profit in the Apocalypse -- , Mask Ties and Earloops and Nose Pieces -- , Bread, Roses, and Face Masks -- , Home Sweatshop -- , Recipe for Ube Halaya -- , Solidarity -- , Sewing with Intent -- , Behind the Wheel of a Large Automobile Full of PPE -- , Badly Licked Bear Relief Van -- , Dreaming of My Ancestors: -- , Abuela's Facultad -- , Solidarity Praxis -- , Monk Fabric -- , It's in Your Blood: -- , Three Generations -- , Recipe for Tsukemono Pasta Salad -- , A Day in OUR Virtual Life -- , Introduction -- , Survival -- , Sewing as Refuge -- , Mending Time: -- , Mask Butterfly and Stencil Rose -- , Rebirth -- , Sewing through a Pan(dem)ic -- , How to Measure, Selfie -- , Recipe for Nourishing Salve -- , Mutual Aid -- , Sewing the Pieces Back Together -- , ASS Quilt -- , Science Is the Light on the Sewing Machine -- , My Dad Sewing -- , Querida Abuelita Rafaelita -- , Sewing Machine -- , Treasuring Mom -- , Recipe for Earl's Girl Pound Cake -- , Posterity -- , Teaching Sewing, Teaching Care -- , The Auntie Sewing Squad Kids Sewing Camp -- , To the Rescue -- , Technical Assistance Auntie -- , Connecting My Family's One-Hundred-Year Herstory -- , Sewing with Mom -- , Sewing for the Next Generation -- , A Day in the Life of Westside Hub -- , Recipe for Chocolate Shortbread Hearts -- , We (can) do it -- , Coda -- , Timeline -- , Auntie Sewing Squad Mask Sewing Patterns -- , Contributors -- , Index , Mode of access: Internet via World Wide Web. , In English.

In: EBOOK PACKAGE COMPLETE 2021 English, De Gruyter, 9783110754001

In: EBOOK PACKAGE COMPLETE 2021, De Gruyter, 9783110753776

In: EBOOK PACKAGE Literary, Cultural, Area Studies 2021 English, De Gruyter, 9783110754124

In: EBOOK PACKAGE Literary, Cultural, Area Studies 2021, De Gruyter, 9783110753899

In: University of California Press Complete eBook-Package 2021, De Gruyter, 9783110739152

Language: English

DOI: 10.1525/9780520384019

URL: Co-access DOI click Walter de Gruyter

URL: https://www.degruyter.com/isbn/9780520384019

URL: Cover

URL: lizenzpflichtig

URL: lizenzpflichtig

URL: Cover

UID:

Format: 1 Online-Ressource (270 p.)

ISBN: 9780472075782 , 9780472055784

Series Statement: Theater: Theory/Text/Performance

Content: The early drama of Eugene O’Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O’Neill’s dramatic writing—changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism--theater artists of color have used O’Neill’s texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie N. Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O’Neill’s plays such as The Emperor Jones and All God’s Chillun Got Wings make ideal case studies because of the way these works stimulated traffic between Broadway and Harlem—and between white and Black America. These investigations of O’Neill and Broadway productions are enriched by the vibrant transnational exchange found in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic

Content: The early drama of Eugene O'Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O'Neill's dramatic text-changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism-theater artists of color have used O'Neill's dramatic texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O'Neill's plays such as The Emperor Jones and All God's Chillun Got Wings make ideal case studies because his work stimulated extraordinary, and underappreciated, traffic between Broadway and Harlem-between white and Black America. While it focuses on investigating Broadway productions of O'Neill, the book also attends to the vibrant transnational exchange in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic

Note: English

Language: Undetermined

URL: kostenfrei

URL: Inhaltsverzeichnis

UID:

Format: 1 DVD-Video (circa 87 Minuten)

Edition: Alec Guinness Collection

Content: Professor Marcus und seine kriminellen Freunde mieten sich bei Mrs. Wilberforce ein und geben sich als Streichquintett aus. Doch die Melodien kommen nur vom Grammofon, tatsächlich planen die Männer einen Geldtransportüberfall.

Note: Extras: Fotogalerie, Trailer. Großbritannien, 1955

Language: German

UID:

Format: [DVD] (89 Min.) , dolby digital mono

Uniform Title: The Ladykillers

Content: Fünf als Streicherquintett getarnte Gangster streiten sich, wer von ihnen ihre Vermieterin, eine alte vertrauensselige Dame, umbringen muss. Kriminallustspiel der besten britischen Art, mit makabrem Witz, geist- und einfallsreich inszeniert und brillant gespielt: ein Meilenstein des britischen Unterhaltungsfilms. - Sehenswert ab 16. [Film-Dienst]

Note: engl.

Language: Undetermined

Keywords: DVD-Video

UID:

Format: XII, 265 S. : , Ill.

ISBN: 978-0521-85505-1 , 978-0-521-10513-2

Series Statement: Cambridge studies in American theatre and drama 24

Note: Includes bibliographical references (p. 234-256) and index

Language: English

Keywords: Englisch ; Drama ; Prostituierte

URL: Publisher description

URL: Table of contents only

URL: Contributor biographical information

URL: http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018814886&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA

UID:

Format: 2 Blu-ray-Discs (91 Min.) , farbig

Uniform Title: The ladykillers

Content: Fünf als Streicherquintett getarnte Gangster streiten sich, wer von ihnen ihre Vermieterin, eine alte vertrauensselige Dame, umbringen muss. Kriminallustspiel der besten britischen Art, mit makabrem Witz, geist- und einfallsreich inszeniert und brillant gespielt: ein Meilenstein des britischen Unterhaltungsfilms. - Sehenswert ab 16. [Film-Dienst]

Note: enthält außerdem: , Audio-Interview mit Filmproduktionsleiter David Peers [Audio Interview with David Peers] (o.J.) , Audio-Interview mit Produzent Tom Pevsner [Audio Interview with Tom Pevsner] (o.J.) , Forever Ealing (2002) , dt. ; engl. / UT: dt. ; engl. für Hörgesch.

Language: German

Keywords: Blu-Ray-Disc

UID:

ISBN: 0-472-90360-8

Content: Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early twentieth century, author Katie Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater.

Content: The early drama of Eugene O'Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O'Neill's dramatic text-changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism-theater artists of color have used O'Neill's dramatic texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O'Neill's plays such as The Emperor Jones and All God's Chillun Got Wings make ideal case studies because his work stimulated extraordinary, and underappreciated, traffic between Broadway and Harlem-between white and Black America. While it focuses on investigating Broadway productions of O'Neill, the book also attends to the vibrant transnational exchange in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic.

Note: Chapter 1: The Emperor's Remains -- Chapter 2: An Algerian in Paris -- Chapter 3: Broadway's First Interracial Kiss -- Chapter 4: Racing Operatic Emperors -- Chapter 5: Racing the Cut: Black to Ireland -- Conclusion: What Remains?

Additional Edition: ISBN 9780472075782

Language: English

UID:

ISBN: 0-472-90360-8

Content: Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early twentieth century, author Katie Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater.

Content: The early drama of Eugene O'Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O'Neill's dramatic text-changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism-theater artists of color have used O'Neill's dramatic texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O'Neill's plays such as The Emperor Jones and All God's Chillun Got Wings make ideal case studies because his work stimulated extraordinary, and underappreciated, traffic between Broadway and Harlem-between white and Black America. While it focuses on investigating Broadway productions of O'Neill, the book also attends to the vibrant transnational exchange in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic.

Note: Chapter 1: The Emperor's Remains -- Chapter 2: An Algerian in Paris -- Chapter 3: Broadway's First Interracial Kiss -- Chapter 4: Racing Operatic Emperors -- Chapter 5: Racing the Cut: Black to Ireland -- Conclusion: What Remains?

Additional Edition: ISBN 9780472075782

Language: English

UID:

ISBN: 0-472-90360-8

Content: Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early twentieth century, author Katie Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater.

Content: The early drama of Eugene O'Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O'Neill's dramatic text-changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism-theater artists of color have used O'Neill's dramatic texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O'Neill's plays such as The Emperor Jones and All God's Chillun Got Wings make ideal case studies because his work stimulated extraordinary, and underappreciated, traffic between Broadway and Harlem-between white and Black America. While it focuses on investigating Broadway productions of O'Neill, the book also attends to the vibrant transnational exchange in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic.

Note: Chapter 1: The Emperor's Remains -- Chapter 2: An Algerian in Paris -- Chapter 3: Broadway's First Interracial Kiss -- Chapter 4: Racing Operatic Emperors -- Chapter 5: Racing the Cut: Black to Ireland -- Conclusion: What Remains?

Additional Edition: ISBN 9780472075782

Language: English