This book examines the two-way impacts between Brecht and Chinese culture and drama/theatre, focusing on Chinese theatrical productions since the end of the Cultural Revolution all the way to the first decades of the twenty-first century.
In the first book-length study of the work and legacy of West End actor-manager George Alexander since the 1930s, George Alexander and the Work of the Actor Manager examines the key part this figure played in presenting new drama by authors including Oscar Wilde and Henry James.
This book explores, through a multidisciplinary approach, the immense influence exerted by Bernard Shaw on the Spanish-speaking world on both sides of the Atlantic.
The shift in temporal modalities of Romantic Theatre was the consequence of internal as well as external developments: internally, the playwright was liberated from the old imperative of "e;Unity of Time"e; and the expectation that the events of the play must not exceed the hours of a single day; externally, the new social and cultural conformance to the time-keeping schedules of labour and business that had become more urgent with the industrial revolution.
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.
This book charts the journey, in terms of both stasis and change, that masculinities and manhood have made in Irish drama, and by extension in the broader culture and society, from the 1960s to the present.
Shakespeare and Digital Performance in Practice explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry.
This book traces blackface types from ancient masks of grinning Africans and phallus-bearing Roman fools through to comedic medieval devils, the pan-European black-masked Titivillus and Harlequin, and racial impersonation via stereotypical 'black speech' explored in the Renaissance by Lope de Vega and Shakespeare.
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.
This book traces the transformation of traditional Chinese theatre's (xiqu) aesthetics during its encounters with Western drama and theatrical forms in both mainland China and Taiwan since 1978.
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 reflects the changes in technology and educational trends (cross-disciplinary learning, entrepreneurship, first-year learning programs, critical writing requirements, course assessment, among others) that have pushed theatre educators to innovate, question, and experiment with new teaching strategies.
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 addresses the notion posed by Thomas Kilroy in his definition of a playwright's creative process: 'We write plays, I feel, in order to populate the stage'.
This book examines theatre and performance produced since the 1998 Belfast/Good Friday Agreement in the context of growing discontent with the failure of the peace in Northern Ireland to deliver genuinely transformative forms of social justice.
This volume analyzes early modern cultural representations of children and childhood through the literature and drama of Shakespeare and his contemporaries.
This book examines the trope of echo in early modern literature and drama, exploring the musical, sonic, and verbal effects generated by forms of repetition on stage and in print.
Beckett's plays have attracted a striking range of disability performances - that is, performances that cast disabled actors, regardless of whether their roles are explicitly described as 'disabled' in the text.
This book theorizes the baroque as neither a time period nor an artistic style but as a collection of bodily practices developed from clashes between governmental discipline and artistic excess, moving between the dramaturgy of Jesuit spiritual exercises, the political theatre-making of Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic at a time of great tumult.
This book explores 'civic engagement' as a politically active encounter between institutions, individuals and art practices that addresses the public sphere on a civic level across physical and virtual spaces.
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.
This book argues that the digital revolution has fundamentally altered the way musicals are produced, followed, admired, marketed, reviewed, researched, taught, and even cast.
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 is the first comprehensive study of the reception of Tennessee Williams in China, from rejection and/or misgivings to cautious curiosity and to full-throated acceptance, in the context of profound changes in China's socioeconomic and cultural life and mores since the end of the Cultural Revolution.
This book examines how the Cold War had a far-reaching impact on theatre by presenting a range of current scholarship on the topic from scholars from a dozen countries.
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 brings together the fields of theatre, gender studies, and psychology/sociology in order to explore the relationships between what happens when women engage in violence, how the events and their reception intercept with cultural understandings of gender, how plays thoughtfully depict this topic, and how their productions impact audiences.
