Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance.
Putting food and theatre into direct conversation, this volume focuses on how food and theatre have operated for centuries as partners in the performative, symbolic, and literary making of meaning.
Wark brings together a wide range of artists, including Lisa Steele, Martha Rosler, Lynda Benglis, Gillian Collyer, Margaret Dragu, and Sylvie Tourangeau, and provides detailed readings and viewings of individual pieces, many of which have not been studied in detail before.
A companion to John Rudlin's best-selling Commedia dell'Arte: A Handbook for Actors, this book covers both the history and professional practice of commedia dell'arte companies from 1568 to the present day.
Dance Research Methodologies: Ethics, Orientations, and Practices captures the breadth of methodological approaches to research in dance in the fine arts, the humanities, the social sciences, and the natural sciences by bringing together researchers from around the world writing about a variety of dance forms and practices.
Archaeologies of Presence is a brilliant exploration of how the performance of presence can be understood through the relationships between performance theory and archaeological thinking.
This book examines folk theatres of North India as a unique performative structure, a counter stream to the postulations of Sanskrit and Western realistic theatre.
Lee provides a comprehensive insight into important topics within modern Korean theatre and conducts an in-depth evaluation of the major discourses that shaped Korean theatre during the 20th century.
Drama and the Politics of Generational Conflict in Shakespeare's England examines the intersection between art and culture and explains how ideas about age circulated in early modern England.
Choreomusicology: Dialogues in Music and Dance is a distinguished collection of chapters by leading scholars presenting research that redefines and rethinks the question of what dance and music are, together and apart, and which promotes new ideas and voices in the discipline.
Performing Power explores 18th-century fabrication of the royal image by focusing on the example of King Gustav III (1746-1792) - one of Sweden's most acclaimed and controversial monarchs - who conspicuously chose theater as the primary media for his image-making and role construction.
Part of the series Key Concepts in Indigenous Studies, this book focuses on the concepts that recur in any discussion of nature, culture and society among the indigenous.
Etienne Decroux and His Theatre Laboratory is based on the long-awaited translation of Marco De Marinis' monumental work on mime in the twentieth century: Mimo e teatro nel Novecento (1993).
Theatre in Dublin,1745-1820: 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.
Stages of Engagement is a compelling and wonderfully varied account of the relationship between theatre in the United States and the social, cultural, and political forces that shaped it during one of the most formative periods in the nation's history.
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.
Doing Performative Social Science: Creativity in Doing Research and Reaching Communities focuses, as the title suggests, on the actual act of doing research and creating research outputs through a number of creative and arts-led approaches.
Includes the plays A Bitter Herb, Absolution, Identity, The Far Side, Mary Seacole, and Urban Afro-SaxonsThis second and sister volume to Hidden Gems showcases a further range of plays by Black British writers whose work reaches beyond themes too-often perceived by mainstream theatre commissioning as defining Black people's experiences.
This book offers an exhaustive approach to all forms of staged violence and an in-depth analysis of their emergence and repercussions (dramaturgically and physically).
Octave Mirbeau was one of the most prolific literary figures of France s storied Belle Epoque, and his innovative theatrical works are only recently being rediscovered and appreciated by modern audiences.
Teaching Critical Performance Theory offers teaching strategies for professors and artist-scholars across performance, design and technology, and theatre studies disciplines.
Written soon before and in the middle of the Covid-19 pandemic, when theatre ground to a halt and spectatorship was suspended, this book takes stock of spectatorship as theatre's living archive and affirms its value in the midst of the present crisis.
First Published in 2000, Recording Women documents the work of three leading feminist theatre companies, Sphinx Theatre Company, Scarlett Theatre and Foresight Theatre, through a combination of interviews with theatre practitioners and detailed descriptions of productions in performance.
Performing Truth answers the most pressing questions facing any theatre-makers who are wrestling with how to present historical, political or socioeconomic information in an engaging, entertaining, and galvanizing way.
This book considers and discusses aspects of the management of the D'Oyly Carte Opera Company in the twentieth century since the death of its founder Richard D'Oyly Carte, and concentrates on key events that contributed to its demise in 1982.
This collection of essays from many of the world's preeminent drama education practitioners captures the challenges and struggles of teaching with honesty, humour, openness and integrity.
This volume is a collection of five Sinhala plays, translated into English, which were written and performed during the most violent phase of modern Sri Lankan history.
