Four Caribbean Women Playwrights aims to expand Caribbean and postcolonial studies beyond fiction and poetry by bringing to the fore innovative women playwrights from the French Caribbean: Ina Cesaire, Maryse Conde, Gerty Dambury, Suzanne Dracius.
This transnational and transcultural study intimately investigates the theatre making practices of Indigenous women playwrights from Australia, Aotearoa, and Turtle Island.
This book considers the representation of madness in contemporary Britishtheatre, examining the rich relationship between performance and mental health,and questioning how theatre can potentially challenge dominant understandingsof mental health.
Theatre Across Oceans: Mediators Of Transatlantic Exchange allows the reader to enter and understand the infrastructural 'backstage area' of global cultural mobility during the years between 1890 and 1925.
London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain's status and position at the beginning of the twentieth century.
Kinaesthesia and Visual Self-reflection in Contemporary Dance features interviews with UK-based professional-level contemporary, ballet, hip hop, and breaking dancers and cross-disciplinary explication of kinaesthesia and visual self-reflection discourses.
The voices that are represented in this collection come from various parts of the world and express the views of practitioners and scholars who have all had first-hand experience working in Zimbabwean theatre from the last days of Rhodesia to Zimbabwe.
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.
This book details the Irish socialistic tracks pursued by Bernard Shaw and Sean O'Casey, mostly after 1916, that were arguably impacted by the executed James Connolly.
'One in four people in Germany today have a so-called migration background, however, the relationship between theatre and migration there has only recently begun to take centre stage.
The purpose of this Handbook is to provide students with an overview of key developments in queer and trans feminist theories and their significance to the field of contemporary performance studies.
This book discusses key works by important writers from Church of Ireland backgrounds (from Farquhar and Swift to Beckett and Bardwell), in order to demonstrate that writers from this Irish subculture have a unique socio-political viewpoint which is imperfectly understood.
The Colonial Public and the Parsi Stage is the first comprehensive study of the Parsi theatre, colonial South and Southeast Asia's most influential cultural phenomenon and the precursor of the Indian cinema industry.
How does the moving, dancing body engage with the materials, textures, atmospheres, and affects of the sites through which we move and in which we live, work and play?
This book offers a unique window to the study of im/politeness by looking at a translation perspective, which offers a different set of data and allows further understanding of the phenomenon.
Jez Butterworth is undoubtedly one of the most popular and commercially successful playwrights to have emerged in Britain in the early twenty-first century.
This book strives to unmask the racial inequity at the root of the emergence of modern physical culture systems in the US Progressive Era (1890s-1920s).
Digital Theatre is a rich and varied art form evolving between performing bodies gathered together in shared space and the ever-expanding flexible reach of the digital technology that shapes our world.
This book addresses theatre's contribution to the way we think about ecology, our relationship to the environment, and what it means to be human in the context of climate change.
This book marks a significant methodological shift in studies of black British women's theatre: it looks beyond published plays to the wealth of material held in archives of various kinds, from national repositories and themed collections to individuals' personal papers.
This book explores how theatre and performance can change the way we think about dementia and some of the environments in which dementia care takes place.
As readers head into the second fifty years of the modern critical study of blackness and black characters in Renaissance drama, it has become a critical commonplace to note black female characters' almost complete absence from Shakespeare's plays.
This book traces an engagement between intercultural dance company Marrugeku and unceded lands of the Yawuru, Bunuba, and Nyikina in the north west of Australia.
Focusing mainly on case studies from Australia and the United States of America, this book considers how people with dementia represent themselves and are represented in 'theatre of the real' productions and care home interventions, assessing the extent to which the 'right kind' of dementia story is being affirmed or challenged.
This book examines the history, ethics, and intentions of staging personal stories and offers theatre makers detailed guidance and a practical model to support safe, ethical practice.
This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core.
This book tackles questions about the reception and production of translated and untranslated Russian theatre in post-WW2 Britain: why in British minds is Russia viewed almost as a run-of-the-mill production of a Chekhov play.
The first comprehensive publication on the subject, this book investigates interactions between racial thinking and the stage in the modern and contemporary world, with 25 essays on case studies that will shed light on areas previously neglected by criticism while providing fresh perspectives on already-investigated contexts.
