In this book, Wendy Arons examines how women writers used theater and performance to investigate the problem of female subjectivity and to intervene in the dominant discourse about ideal femininity.
This ground-breaking volume is the first of its kind to examine the extraordinary prevalence and appeal of the Gothic in contemporary British theatre and performance.
Although television critics have often differed with the public with respect to the artistic and cultural merits of television programming, over the last half-century television has indubitably influenced popular culture and vice versa.
Departing from a refreshing look at the ideas of Antonin Artaud, this book provides a thorough analysis of how both Sarah Kane and Samuel Beckett are indebted to his legacy.
Renaissance Earwitnesses examines how maintaining masculinity on the early modern stage is intimately tied to 'earwitnessing,' or a sense of 'judicious listening' in his reading of plays by Marlowe, Shakespeare, Cary, and Jonson.
Westerns have featured prominently in films almost since motion pictures were first produced at the end of the nineteenth century and when televisions invaded American homes in the late 1940s and early 50s, Western programs filled the small screen landscape.
Departing from a refreshing look at the ideas of Antonin Artaud, this book provides a thorough analysis of how both Sarah Kane and Samuel Beckett are indebted to his legacy.
By concentrating on Sam Shepard's visual aesthetics, Emma Creedon argues that a consideration of Shepard's plays in the context of visual and theoretical Surrealism illuminates our understanding of his experimental approach to drama.
Theatre in Dublin,17451820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820.
Using the tools of performance studies, gender theory, and cultural history, Brenda Foley explores the striking similarities between beauty pageantry and striptease.
This study takes a look at a controversial question: what do the acts and shows of grief performed in early modern drama tell us about the religious culture of the world in which they were historically staged?
This book presents new insights into the production and reception of Irish drama, its internationalisation and political influences, within a pivotal period of Irish cultural and social change.
Most of the books that have been written about territorial Arizona and the southwest focus on the Indian Wars, outlaws, violent crimes, gambling, saloons, and bawdy houses.
Theatre in Dublin,17451820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820.
This book is notable for bringing together humanist schooling and familial instruction under the banner of emotions and for studying seminal works of early modern literature within this new analytical context.
Jonson, Marston, Chapman, Middleton, Heywood, Webster and Fletcher are playwrights of the Jacobean stage whose outstanding literary achievements have to some extent been obscured or misunderstood in Shakespeare's shadow.
Performance, Transport and Mobility is an investigation into how performance moves, how it engages with ideas about movement, and how it potentially shapes our experiences of movement.
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.
Westerns have featured prominently in films almost since motion pictures were first produced at the end of the nineteenth century and when televisions invaded American homes in the late 1940s and early 50s, Western programs filled the small screen landscape.
This book revisits In-Yer-Face theatre, an explosive, energetic theatrical movement from the 1990s that introduced the world to playwrights Sarah Kane, Martin McDonagh, Mark Ravenhill, Jez Butterworth, and many others.
Though science fiction certainly existed prior to the surge of television in the 1950s, the genre quickly established roots in the new medium and flourished in subsequent decades.
Few individuals have positioned their work more controversially or consequently than Richard Schechner within the pivotal debates that define Performance Studies.
Performance Affects explores performance projects in disaster and war zones to argue that joy, beauty and celebration should be the inspiration for the politics of community-based or participatory performance practice, seeking to realign the field of Applied Theatre away from effects towards an affective role, connected to sensations of pleasure.
From oral culture, through the advent of literacy, to the introduction of printing, to the development of electronic media, communication structures have radically altered culture in profound ways.
Theatre in Dublin,17451820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820.
Through seven key case studies from Khan's oeuvre, this book demonstrates how Akram Khan's 'new interculturalism' is a challenge to the 1980s western 'intercultural theatre' project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other.
This collection investigates dramatic and performative renderings of 'America' as an exilic place particularly focusing on issues of language, space and identity.
This book brings together nearly 40 academics and theatre practitioners to chronicle and celebrate the courage, determination and achievements of women on stage across the ages and around the globe.
Hegemony and Fantasy in Irish Drama, 1899-1949 offers a theoretically innovative reconsideration of drama produced in the Irish Renaissance, as well as an engagement with non-canonical drama in the under-researched period 1926-1949.
This book examines the dramatic work of Dickens, Browning, Collins, and Tennyson, their interaction with the theatrical world, and their attempts to develop their reputations as playwrights.
Theatre as Voyeurism (re)defines voyeurism as an 'exchange' between performers and audience members, privileging pleasure (erotic and aesthetic) as a crucial factor in contemporary theatre.
An eclectic and insightful collection of essays predicated on the hypothesis that popular cultural documents provide unique insights into the concerns, anxieties and desires of their times.
Gender and the contemporary audio-visual landscape of MexicoThis book focusses on gender and the audio-visual landscape of Mexico since 2010, examining popular culture as expressed in the still distinct but rapidly converging media forms of cinema, television, and streaming platforms.
