This book gives a new view on the legacy of Jerzy Grotowski (1933-1999), one of the central, and yet misunderstood, figures who shaped 20th-century theatre, focusing on his least known last phase of work on ancient songs and the craft of the performer.
Women in Russian Theatre is a fascinating feminist counterpoint to the established area of Russian theatre populated by male artists such as Stanislavsky, Chekov and Meyerhold.
Women in Russian Theatre is a fascinating feminist counterpoint to the established area of Russian theatre populated by male artists such as Stanislavsky, Chekov and Meyerhold.
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.
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 invaluable student handbook is the first detailed guide to explain in detail the relationship between the drama text and the theory and practice of drama in performance.
This invaluable student handbook is the first detailed guide to explain in detail the relationship between the drama text and the theory and practice of drama in performance.
Devising Theatre is a practical handbook that combines a critical analysis of contemporary devised theatre practice with descriptions of selected companies, and suggestions for any group devising theatre from scratch.
Devising Theatre is a practical handbook that combines a critical analysis of contemporary devised theatre practice with descriptions of selected companies, and suggestions for any group devising theatre from scratch.
The World Encyclopedia of Contemporary Theatre:Europe covers theatre since World War II in forty-seven European nations, including the nations which re-emerged following the break-up of the former USSR, Czechoslovakia and Yugoslavia.
The World Encyclopedia of Contemporary Theatre:Europe covers theatre since World War II in forty-seven European nations, including the nations which re-emerged following the break-up of the former USSR, Czechoslovakia and Yugoslavia.
In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare.
In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare.
The Actor, Image and Action is a 'new generation' approach to the craft of acting; the first full-length study of actor training using the insights of cognitive neuroscience.
The Actor, Image and Action is a 'new generation' approach to the craft of acting; the first full-length study of actor training using the insights of cognitive neuroscience.
Kinship and Performance in the Black and Green Atlantic advances an innovative and compelling approach to writing comparative studies of performance in transnational, intercultural relation to one another.
Kinship and Performance in the Black and Green Atlantic advances an innovative and compelling approach to writing comparative studies of performance in transnational, intercultural relation to one another.
Comic Lives examines the dynamic intersection of life narrative and comedy within the theoretical and methodological frameworks of auto/biography studies.
The first collection on this important topic, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored in contemporary theatre.
The first collection on this important topic, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored in contemporary theatre.
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.
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.
A sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, this book redirects the intercultural debate by focusing exclusively on the actor at work.
A sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, this book redirects the intercultural debate by focusing exclusively on the actor at work.
Drawing on rich insights from cultural, post-structural and postcolonial studies, this book demands that we rethink Carnival and the carnivalesque as not just celebratory moments or even as critical subtext, but also as insightful performatives of social life anywhere, given the entangled times and spaces of these performances.
Drawing on rich insights from cultural, post-structural and postcolonial studies, this book demands that we rethink Carnival and the carnivalesque as not just celebratory moments or even as critical subtext, but also as insightful performatives of social life anywhere, given the entangled times and spaces of these performances.
Beth Henley was awarded the Pulitzer Prize in Drama and the New York Drama Critics Circle Award for Best American Play for her first full-length play, Crimes of the Heart, yet there has been no book-length consideration of her body of work until now.
Beth Henley was awarded the Pulitzer Prize in Drama and the New York Drama Critics Circle Award for Best American Play for her first full-length play, Crimes of the Heart, yet there has been no book-length consideration of her body of work until now.
