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      • M. Moleiro Editor, S.A.

        M. Moleiro is the most prestigious company in the world specialized in the reproduction of codices, maps and works of art usually made on parchment between the 8th and 16th centuries in the form of illuminated books.   The techniques employed in reproducing the codices, combined with the wisdom and skilled craftsmanship of our trade, enable us to remain very faithful to the original. Bound in leather tanned using the methods of years past and reproduced on special, hand-made paper; our codices reproduce all the nuances of the paintings, parchment, gold and silver leaf etc. A M. Moleiro codex is, therefore, more than a facsimile book, it is an exact replica, a “First, unique and unrepeatable edition”.   To date we have created exact replicas of bibliographic gems belonging to the Metropolitan Museum of Art (New York), Bibliothèque nationale de France, The British Library, National Library of Russia, Arquivo Nacional da Torre do Tombo, The Morgan Library & Museum...   Our editions are unique and unrepeatable and limited to 987 copies individually numbered and accompanied by a notary’s statement confirming their exclusive nature. Each “First, unique and unrepeatable edition” is protected by a leather case and accompanied by a commentary volume written by experts in medieval history, the history of art, codicology and other pertinent areas enabling the illuminated manuscripts to be fully understood.   YouTube: https://www.youtube.com/user/moleiroeditor Press (select the different languages of the web): https://www.moleiro.com/es/prensa.htm

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      • Flyaway Books

        Flyaway Books embraces diversity, inclusivity, compassion, care for each other, and care for our world. Many of our books explore social justice and other contemporary issues. Some retell familiar religious stories in new ways, while others carry universal themes appealing to those with any, or no, religious background.

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      • Trusted Partner
        The Arts
        May 2009

        Auto/biography and identity

        by Kate Dorney, Maggie B. Gale, Viv Gardner, Maggie B. Gale

        This groundbreaking book shows how female performers - one of the first groups of professional women - used and still use autobiography and performance as both a means of expression and control of their private and public selves, the 'face and the mask'. It looks at how a range of women in the theatre - actors, managers, writers and live artists - have done this on the page and on the stage from the late eighteenth-century to the present day, testing the boundaries between gender, theatre and autobiographical form. This paperback edition facilitates connections - between texts and performances, past and present practitioners, professional and private selves, individuals and communities, all of which have in some way renegotiated identity through autobiography and the creative act. 'Auto/biography and identity' is a landmark in theatre history and performance analysis, in gender and cultural theory, and autobiographical studies. ;

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        The Arts
        May 2020

        Witness onstage

        by Molly Flynn

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        Literature & Literary Studies
        April 2001

        Women, theatre and performance

        New histories, new historiographies

        by Kate Dorney, Maggie B. Gale, Susan Williams

        The first in a new annual series, Women, Theatre and Performance that will consist of themed volumes on diverse aspects of women's engagement with theatre and performance. Ranging across three hundred years the essays in this volume address key questions in women's theatre history and retrieve a number of hitherto 'hidden' histories of women performers. Resituates women's, largely neglected, creative contribution within theatre and cultural history and seeks to challenge orthodox readings of both history and text. Topics include: Susanna Centlivre and the notion of intertheatricality; gender and theatrical space; the repositioning of women performers such as Wagner's Muse, Willhelmina Schröder-Devrient, the Comédie Français' 'Mademoiselle Mars', Mme Arnould-Plessey, and the actresses of the Russian serf theatre. ;

      • Trusted Partner
        The Arts
        May 2011

        Performing Herself

        Autobiography and Fanny Kelly's Dramatic Recollections

        by Gilli Bush-Bailey, Kate Dorney, Maggie B. Gale

        This unique book contains the never before published script of the first ever one-woman show, written by Fanny Kelly. The script was performed in Britain in the 1830s and 40s, based on Kelly's own experiences and offers a picture of the exuberant and often bizarre Georgian entertainment world. The performance text is introduced, edited and explained by Gilli Bush-Bailey, who focuses 21st-century revisionist scholarship on Kelly's story. It is an innovative contribution to the modern debate on biographical and autobiographical writing, whilst also being a valuable text for those who wish to study comedy and women's performance. The materials and methods of the modern stand-up routine are already to be seen in this unusual text. This book will appeal to students and scholars who are involved in performance, theatre history, or biography. It is also an accessible text for the interested general reader. ;

      • Trusted Partner
        The Arts
        April 2002

        The Paris jigsaw

        Internationalism and the city's stages

        by Maria M. Delgado, Maggie B. Gale, Peter Lichtenfels

        Paris has always exerted a magnetic force on artists; it has historically offered safety to those escaping oppressive regimes in Europe and farther afield. In recent years it has welcomed performers, artists and intellectuals from all over the world, offering strategies for the practice of theatre in a new Europe of ever-shifting boundaries. This book, once again available in paperback, examines the creation and development of communities of actors, directors, designers and playwrights in Paris over the past thirty years. It shows how the willingness of the city to welcome international influences has enriched its creative life. Many of the most important trends and new developments in the art of theatre have been the direct result of the creative combination of influences from all over the world. This study demonstrates how the pioneering work of Brook, Boal, Mnouchkine, Lecoq and many others has been able to draw on this vibrant, multi-cultural mix, in turn creating new work that has enriched theatre's potential to enlarge our thinking and our imagination. ;

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        Literature & Literary Studies
        October 2002

        Theatre in crisis?

        Performance manifestoes for a new century

        by Maria M. Delgado, Maria M. Delgado, Caridad Svich, Maggie B. Gale, Peter Lichtenfels

        A wide-ranging look at the state of contemporary theatre practice, economics, and issues related to identity, politics, and technology. Contains a snapshot dissection of where theatre is, where it has been and where it might be going through the voices of established and emerging theatre artists and scholars from the UK, US and elsewhere. Offers an examination of how to make theatre in a time of crisis and why it is a vital form of communication are at the heart of the book's mission. Asks questions such as: where is theatre now taking place?; what is the relationship between play and performance?; how does funding work?; what states does theatre flourish under?; and if there is a current 'crisis of theatre' should it not be seen as a welcome opportunity to develop a vigorous 'theatre of crisis'?. The international list of contributors includes Jim Carmody, Phyllis Nagy, Michael Billington, Max Stafford-Clark, Peter Sellars, Dragan Klaic, Goat Island, Erik Ehn and many others, making up a vast array of practising artists, thinkers, and scholars. ;

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