'I took my tears and turned them into paintings' In the electric calm of a blue-painted room, a dying woman reassembles the images of an extraordinary life.
Performing Shakespeare Unrehearsed: A Practical Guide to Acting and Producing Spontaneous Shakespeare outlines how Shakespeare's plays can be performed effectively without rehearsal, if all the actors understand a set of performance guidelines and put them into practice.
Bringing together the latest research and perspectives in the fields of analytic philosophy and theater studies, this collection of essays provides a reflection of how these two fields have emerged and intersected in the twenty-first century.
Partners of the Imagination is the first in-depth study of the work of John Arden and Margaretta D'Arcy, partners in writing and cultural and political campaigns.
The answers to these questions - and much, much more - are to be found in The Changing Room , which traces the origins and variations of theatrical cross-dressing through the ages and across cultures.
By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean.
This volume explores the relationship between the emphasis on performance in Elizabethan humanist education and the flourishing of literary brilliance around the turn of the sixteenth century.
Designed for students, scholars and general readers with an interest in dance and queer history, A Queer History of the Ballet focuses on how, as makers and as audiences, queer men and women have helped to develop many of the texts, images, and legends of ballet.
Professional Wrestling and the Commercial Stage examines professional wrestling as a century-old, theatrical form that spans from its local places of performance to circulate as a popular, global product.
Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training.
Global in scope and featuring thirty-five chapters from more than fifty dance, music, and theatre scholars and practitioners, The Routledge Companion to Musical Theatre introduces the fundamentals of musical theatre studies and highlights developing global trends in practice and scholarship.
In this trenchant work, Susan Bennett examines the authority of the past in modern cultural experience and the parameters for the reproduction of the plays.
This book, the first devoted to the history and contemporary forms of Irish performance art in the north and south of Ireland, brings together contributions by prominent Irish artists and major academics.
Restless Infections is an innovative collection of critical essays exploring artistic interventions in urban spaces, focusing on place-making and the politics of space in post-colonial South Africa.
One of the original members of Jerzy Grotowski's acting company, Zygmunt Molik's Voice and Body Work explores the unique development of voice and body exercises throughout his career in actor training.
This volume analyses the nature of the mime art of Deburau and of the pantomime performances of the Theatre des Funambules in Paris in the context of Romantic art, literature and socio-political thought.
The Bible and Modern British Drama: 1930 to the Present Day is the first full-length study to explore how playwrights in the modern period have adapted popular biblical stories, such as Abraham and Isaac, Moses and the Exodus from Egypt, and the life and death of Jesus, for the stage.
From Commedia dell'Arte came archetypal characters that are still with us today, such as Harlequin and Pantalone, and the rediscovered craft of writing comic dramas and masked theatre.
This new series of cutting edge critical essays and articles in issues concerning Drama and Performance opens with Volume I, which will focus on issues of Interventionist Drama and related examples of Drama as Community.
For a concise edition of his legendary arts dictionary of information and opinion, the distinguished critic and arts historian Richard Kostelanetz selects entries from the 2018 third edition.
This comprehensive international bibliography is the first to attempt documentation of this diverse field, covering the history of Artist's Performance.
This edited collection of essays and artist reflections presents perspectives from arts and humanities researchers exploring how individuals and collectives engage with, relate to and experience environments.
This book explores how, from the mid-20th century, a new form of theatre emerged in Trinidad and Tobago as its playwrights came to mine the Afro-Creole Trinidadian folk milieu.
Unruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience.
Teaching Acting with Practical Aesthetics uses constructivist pedagogy to teach acting via Practical Aesthetics, a system of actor training created in the mid-1980s by David Mamet.
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.
Theatre Studios explores the history of the studio model in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study.
First Published in 1943, The New Soviet Theatre presents Joseph Macleod's take on the development and rapid changes in the Soviet Theatre since late 1930s.
