Cynical about what you read and hear? Tired of the lies and misinformation? Who should you trust? Forty years ago, as Ted Griffith entered the business of communications, marketing, and public affairs—all aiming to persuade people to either change their minds or take certain actions—he asked himself, Why are so many people seduced by lies and propaganda? He’s spent the forty years since trying to find the answers. Theater of Lies provides an in-depth examination of the lies, misinformation, and propaganda in our lives. For centuries, we’ve been persuaded to trust the lies told by our governments, businesses, and religions to manage how we think and act, to their benefit, not ours. Filled with real-life examples, Theater of Lies demonstrates the impact lies and misinformation have had through the centuries and today on topics including racism, gender debates, entrenched political divides, and the status of women. In addition, it examines how and why we repeat these lies and the impact this has on our decision-making, not just as voters and consumers, but also as employees, employers, and parents. Want change? You need to care, be curious, and most of all, have the courage to act. Otherwise, lies and misinformation will continue to divide us, exacerbating existing differences and making us distrust institutions, the political process, governments, and the media.

While the Cold War governments of Eastern Europe operated within the confines of the Soviet worldview, their peoples confronted the narratives of both East and West. From the Soviet Union and its satellites, they heard of a West dominated by imperialist warmongers and of the glorious future only Communism could bring. A competing discourse emanated from the West, claiming that Eastern Europe was a totalitarian land of captive slaves, powerless in the face of Soviet aggression. In Curtain of Lies, Melissa Feinberg conducts a timely examination into the nature of truth, using the political culture of Eastern Europe during the Cold War as her foundation. Focusing on the period between 1948 and 1956, she looks at how the "truth" of Eastern Europe was delineated by actors on both sides of the Iron Curtain. Feinberg offers a fresh interpretation of the Cold War as a shared political environment, exploring the ways in which ordinary East Europeans interacted with these competing understandings of their homeland. She approaches this by looking at the relationship between the American-sponsored radio stations broadcast across the Iron Curtain and the East European émigrés they interviewed as sources on life under Communism. Feinberg's careful analysis reveals that these parties developed mutually reinforced assumptions about the meaning of Communism, helping to create the evidentiary foundation for totalitarian interpretations of Communist rule in Eastern Europe. In bridging the geopolitical and the individual, Curtain of Lies provides a perspective that is both innovative in its methodology and indispensable to its field.

The concept of democratic freedom refers to more than the kind of freedom embodied by political institutions and procedures. Democratic freedom can only be properly understood if it is grasped as the expression of a culture of freedom that encompasses an entire form of life. Juliane Rebentisch’s systematic and historical approach demonstrates that we can learn a great deal about the democratic culture of freedom from its philosophical critics. From Plato to Carl Schmitt, the critique of democratic culture has always been articulated as a critique of its ãaestheticization“. Rebentisch defends various phenomena of aestheticization Ð from the irony typical of democratic citizens to the theatricality of the political Ð as constitutive elements of democratic culture and the notion of freedom at the heart of its ethical and political self-conception. This work will be of particular interest to students of Political Theory, Philosophy and Aesthetics.

If theatre were a religion, explains David Mamet in his opening chapter, 'many of the observations and suggestions in this book might be heretical'. As always, Mamet delivers on his promise: in Theatre, the acclaimed author of Glengarry Glen Ross and Speed the Plow, calls for nothing less than the death of the director and the end of acting theory. For Mamet, actors are either good or they are non-actors, and good actors generally work best without the interference of a director, however well-intentioned. Issue plays, political correctness, method actors, impossible directions, Stanislavksy, and elitists all fall under Mamet's critical gaze. To students, teacher, and directors, who crave a blast of fresh air in a world that can be insular and fearful of change, Theatre throws down a gauntlet that challenges everyone to do better, including Mamet himself. From iconic and idiosyncratic director and playwright David Mamet, a mischievous manifesto designed to defrock the high priests and challenge the holy bibles of the theatre world.

The first book-length study in English of contemporary French playwright Michel Vinaver

As the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study of musicality in the theatre, David Roesner offers a revised view of the nature of the relationship. The new perspective results from two shifts in focus: on the one hand, Roesner concentrates in particular on theatre-making - that is the creation processes of theatre - and on the other, he traces a notion of ‘musicality’ in the historical and contemporary discourses as driver of theatrical innovation and aesthetic dispositif, focusing on musical qualities, metaphors and principles derived from a wide range of genres. Roesner looks in particular at the ways in which those who attempted to experiment with, advance or even revolutionize theatre often sought to use and integrate a sense of musicality in training and directing processes and in performances. His study reveals both the continuous changes in the understanding of music as model, method and metaphor for the theatre and how different notions of music had a vital impact on theatrical innovation in the past 150 years. Musicality thus becomes a complementary concept to theatricality, helping to highlight what is germane to an art form as well as to explain its traction in other art forms and areas of life. The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed practitioners such as Joe Chaikin, Thomas Bernhard, Elfriede Jelinek, Michael Thalheimer and Karin Beier.

An art history professor and author or editor of 30 books on art and culture maps the life of Japanese-American sculptor and designer Isamu Noguchi (1904-1988) and his spiritual journey, both in the events of his life and in the milestones of his art--the sculptures, gardens, public spaces, and stage decors that gained force and significance from Noguchi's double heritage. Photographs.

A fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.

The Perfection of Freedom seeks to respond to the impoverished conventional notion of freedom through a recovery of an understanding rich with possibilities yet all but forgotten in contemporary thought. This understanding, developed in different but complementary ways in the German thinkers Schiller, Schelling, and Hegel, connects freedom, not exclusively with power and possibility, but rather most fundamentally with completion, wholeness, and actuality. What is unique here is specifically the interpretation of freedom in terms of form, whether it be aesthetic form (Schiller), organic form (Schelling), or social form (Hegel). Although this book presents serious criticisms of the three philosophers, it shows that they open up new avenues for reflection on the notion of freedom; avenues that promise to overcome many of the dichotomies that continue to haunt contemporary thought--for example, between freedom and order, freedom and nature, and self and other. The Perfection of Freedom offers not only a significantly new interpretation of Schiller, Schelling, and Hegel, it also proposes a modernity more organically rooted in the ancient and classical Christian worlds.