In the beginning of the 21st century, European theatre-makers have sought to consider the disastrous events of the 20th century as the unfinished business of the contemporary.
Discussing crises through diverse examples, including the UK's National Theatre, public art installations, Occupy LSX, repatriation ceremonies and performances of the everyday, this book asks how performance captures and resists what is considered (politically, ideologically, culturally or socially) 'inside' or 'outside' Europe.
A cinema without cameras, without actors, without screen frames and without narratives almost seems like an antithetical impossibility of what is usually expected from a cinematic spectacle.
This new study of one of Britain's greatest modern playwrights represents the first major, extended discussion of Edward Bond's work in over twenty years.
Theatre-Making explores modes of authorship in contemporary theatre seeking to transcend the heritage of binaries from the Twentieth century such as text-based vs.
By tracing the effects of unprecedented immigration, the advent of the new woman, and the little-known vaudeville careers of performers like the Elinore Sisters, Buster Keaton, and the Marx Brothers, DesRochers examines the relation between comedic vaudeville acts and progressive reformers as they fought over the new definition of "e;Americanness.
Fictional or real, pirates haunted the imagination of the 18th and 19th century-British public during this great period of maritime commerce, exploration, and naval conflict.
Asking whether a genuinely shared European memory is possible while addressing the dangers of a single, homogenized European memory, Gluhovic examines the contradictions, specificities, continuities and discontinuities in the European shared and unshared pasts as represented in the works of Pinter, Tadeusz Kantor, Heiner Muller and Artur Zmijewski.
Using Martin Esslin's "invention" - the Theatre of the Absurd - to examine Pinter's works, Wong brings the complexities and intricacies of the plays to the forefront, provoking readers and audiences to reconsider and problematize more conventional studies of his plays.
Olympe de Gouges has been called illiterate, immoral, and insane while being mentioned solely for her Declaration of the Rights of Woman and [the female] Citizen.
This volume of essays combines research from neuroscience, conscious studies, methods of training performers, modes of creating a staged narrative, Asian aesthetics, and post-modern theories of performance in an examination of the relationship between consciousness and performance.
This book reveals the genuity of Shaw's totalitarianism by looking at his material - articles, speeches, letters, etc but is especially concerned with analyzing the utopian desire that runs through so many of Shaw's plays; looking at his political and eugenic utopianism as expressed in his drama and comparing this to his political totalitarianism.
This project takes the human body and the bodily senses as joints that articulate new kinds of connections between church and theatre and overturns a longstanding notion about theatrical phenomenology in this period.
Providing a unique collection of perspectives on the persistence of documentary as a vital and dynamic media form within a digital world, New Documentary Ecologies traces this form through new opportunities of creating media, new platforms of distribution and new ways for audiences to engage with the real.
This Literary Life draws extensively from the playwright's correspondences, notebooks, and archival papers to offer an original angle to the discussion of Williams's life and work, and the times and circumstances that helped produce it.
In Shanghai in the early twentieth century, a hybrid theatrical form, wenmingxi, emerged that was based on Western spoken theatre, classical Chinese theatre, and a Japanese hybrid form known as shinpa.
Moving across the boundaries of mainstream and experimental circuits, from the affective pleasures of commercially successful shows such as Calendar Girls and Mamma Mia!
Looking at a century of American theatre, McDaniel investigates how race-based notions of maternal performance become sites of resistance to cultural and political hierarchies.
This fascinating study explores the multifarious erotic themes associated with the magic lantern shows, which proved the dominant visual medium of the West for 350 years, and analyses how the shows influenced the portrayals of sexuality in major works of Gothic fiction.
The Group Theatre , a groundbreaking ensemble collective, started the careers of many top American theatre artists of the twentieth century and founded what became known as Method Acting.
Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Deleuze's philosophy for theatre and performance.
Over 20 years after the war in Yugoslavia, this book looks back at its two most iconic cities and the phenomenon of exile emerging as a consequence of living in them in the 1990s.
As theatres expanded in the eighteenth and nineteenth centuries, the distance between actor and audience became a telling metaphor for the distance emerging between writers and readers.
This project investigates the implications of technology on identity in embodied performance, opening up a forum of debate exploring the interrelationship of and between identities in performance practices and considering how identity is formed, de-formed, blurred and celebrated within diverse approaches to technological performance practice.
This book investigates the expanding parameters for site-specific performance to account for the form's increasing popularity in the twenty-first century.
Consisting of critical analyses, theoretical provocations and practical reflections by leading scholars/practitioners from the fields of performance studies, live art and creative technology, these essays examine the rise of intimate performance works and question the socio-historical contexts provoking those aesthetic and affective developments.
This cutting-edge title explores how narrating the past both conflicts and creates an interesting relationship with drama's 'continuing present' that arcs towards an unpredictable future.
From Tennessee Williams and Carson McCullers to Arthur Kopit and Brian Friel, agent Audrey Wood encouraged and guided the unique talents of playwrights in the Broadway theatre of her day.
