front cover of Making Faces, Playing God
Making Faces, Playing God
Identity and the Art of Transformational Makeup
By Thomas Morawetz
University of Texas Press, 2001

Wearing a mask—putting on another face—embodies a fundamental human fantasy of inhabiting other bodies and experiencing other lives. In this extensively illustrated book, Thomas Morawetz explores how the creation of transformational makeup for theatre, movies, and television fulfills this fantasy of self-transformation and satisfies the human desire to become "the other."

Morawetz begins by discussing the cultural role of fantasies of transformation and what these fantasies reveal about questions of personal identity. He next turns to professional makeup artists and describes their background, training, careers, and especially the techniques they use to create their art. Then, with numerous before-during-and-after photos of transformational makeups from popular and little-known shows and movies, ads, and artist's demos and portfolios, he reveals the art and imagination that go into six kinds of mask-making—representing demons, depicting aliens, inventing disguises, transforming actors into different (older, heavier, disfigured) versions of themselves, and creating historical or mythological characters.

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front cover of Playing God?
Playing God?
Human Genetic Engineering and the Rationalization of Public Bioethical Debate
John H. Evans
University of Chicago Press, 2001
Technology evolves at a dazzling speed, and nowhere more so than in the field of genetic engineering, where the possibility of directly changing the genes of one's children is quickly becoming a reality. The public is rightly concerned, but interestingly, they have not had much to say about the implications of recent advancements in human genetics.

Playing God? asks why and explores the social forces that have led to the thinning out of public debate over human genetic engineering. John H. Evans contends that the problem lies in the structure of the debate itself. Disputes over human genetic engineering concern the means for achieving assumed ends, rather than being a healthy discussion about the ends themselves. According to Evans, this change in focus occurred as the jurisdiction over the debate shifted from scientists to bioethicists, a change which itself was caused by the rise of the bureaucratic state as the authority in such matters. The implications of this timely study are twofold. Evans not only explores how decisions about the ethics of human genetic engineering are made, but also shows how the structure of the debate has led to the technological choices we now face.
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front cover of Playing God in the Meadow
Playing God in the Meadow
How I Learned to Admire My Weeds
Martha Leb Molnar
University of Massachusetts Press, 2022

After decades of fantasizing and saving, of working multiple jobs and embracing frugality in the midst of Manhattan, Martha Leb Molnar and her husband had found their parcel of land. Determined to turn an overgrown and unproductive Vermont apple orchard into a thriving and beautiful landscape, they decided to restore this patch of land to a pristine meadow and build a safe haven for their family and nearby wildlife.

Once they cleared the gnarled and dying trees away, Molnar was forced to wage war on the invasive species that had sprung up around the property. Propelled by the heated debates surrounding non-native species and her own complicated family history and migration, she was driven to research the Vermont landscape, turning to scientific literature, experts in botany and environmental science, and locals who have long tended the land in search of answers. At turns funny, thoughtful, and conversational, Playing God in the Meadow follows this big city transplant as she learns to make peace with rural life and an evolving landscape that she cannot entirely control.

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front cover of Playing God
Playing God
The Bible on the Broadway Stage
Henry Bial
University of Michigan Press, 2015
Whether we regard it as the collected inscriptions of an earlier oral tradition or as the divinely authored source text of liturgical ritual, the Bible can be understood as a sacred performance text, a framework for an instructional theater that performs the shared moral and ethical values of a community. It’s not surprising, then, that playwrights have turned to the Bible as a source for theatrical adaptation. Biblical texts have inspired more than 100 Broadway plays and musicals, ranging from early spectacles like Ben-Hur (1899) to more familiar works such as Godspell and Jesus Christ Superstar. What happens when a culture’s most sacred text enters its most commercial performance venue?

Playing God focuses on eleven financially and/or critically successful productions, as well as a few notable Broadway flops that highlight the difficulties in adapting the Old and New Testaments for the stage. The book is informed by both performance studies and theater history, combining analysis of play-scripts with archival research into the actual circumstances of production and reception. Biblical plays, Henry Bial argues, balance religious and commercial considerations through a complex blend of spectacle, authenticity, sincerity, and irony. Though there is no magic formula for a successful adaptation, these four analytical lenses help explain why some biblical plays thrive while others have not.

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