This book explores the notion that the emergent language of contemporary theatre, and more generally of modern culture, has links to much earlier forms of storytelling and an ancient worldview.
Drawing from the wealth of academic literature about the Eurovision Song Contest (ESC) written over the last two decades, this book consolidates and recognizes the ESC's relevance in academia by analysing its contribution to different fields of study.
Performance Art in the Second Public Sphere is the first interdisciplinary analysis of performance art in East, Central and Southeast Europe under socialist rule.
This engaging and accessible book examines the world of seven contemporary, popular American women writers and their individual use of wit as a subtle and effective strategy to engage, or "e;control"e;, the reader.
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.
Tadeusz Kantor - a theoretician, director, innovator and painter famed for his very visual theatre style - was a key figure in European avant-garde theatre.
Mysticism in the Theater introduces theater makers to the power and possibility of using historical mystical ideas to influence all aspects of a production.
Previously published as a special issue of The Bulletin of Spanish Studies, The Eighteenth-Century Theatre in Spain is the second in a series of research bibliographies on the Theatre in Spain.
Identity and Diversity in New Music: The New Complexities aims to enrich the discussion of how musicians and educators can best engage with audiences, by addressing issues of diversity and identity that have played a vital role in the reception of new music, but have been little-considered to date.
The fifteen essays of Performing History glimpse the diverse ways music historians "e;do"e; history, and the diverse ways in which music histories matter.
This volume examines the location of memories and histories of popular music and its multiple pasts, exploring the different 'places' in which popular music can be situated, including the local physical site, the museum storeroom and exhibition space, and the digitized archive and display space made possible by the internet.
Performing Climates features 13 interconnected essays exploring theatre and performance's relationship with more-than-human elements at a time of climate emergency.
This book focuses on how in/security works in and through Jamaican dancehall, and on the insights that Jamaican dancehall offers for the global study of in/security.
Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art.
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.
This book explores the notion that the emergent language of contemporary theatre, and more generally of modern culture, has links to much earlier forms of storytelling and an ancient worldview.
Preaching the Blues: Black Feminist Performance in Lynching Plays examines several lynching plays to foreground black women's performances as non-normative subjects who challenge white supremacist ideology.
The Invisible City explores urban spaces from the perspective of a traveller, writer, and creator of theatre to illuminate how cities offer travellers and residents theatrical visions while also remaining mostly invisible, beyond the limits of attention.
Shakespeare as Jukebox Musical is the first book-length study of a growing performance phenomenon: musical adaptations of Shakespeare's plays in which characters sing existing popular songs as one of their modes of communication.
The Human Touch is a book focused on the creative processes at work in British contemporary improvisational theatre and how these processes draw on the humanity of the participants: their cognitive abilities, their lives, and their relationships to each other.
Callan Davies presents "e;strangeness"e; as a fresh critical paradigm for understanding the construction and performance of Jacobean drama-one that would have been deeply familiar to its playwrights and early audiences.
Beginning with Richard Drew's controversial photograph of a man falling from the North Tower of the World Trade Center on September 11, Learning How to Fall investigates the changing relationship between world events and their subsequent documentation, asking: Does the mediatization of the event overwhelm the fact of the event itself?
African Theatres & Performances looks at four specific performance forms in Africa and uses this to question the tendency to employ western frames of reference to analyze and appreciate theatrical performance.
During the 1820s and 30s nautical melodramas "e;reigned supreme"e; on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres.
This book is a biography in the form of an oral history about a woman whose founding of Arena Stage in Washington, DC in 1950 shifted live professional theater away from Broadway and inspired the creation of non-profit theaters around the country.
Improvisation the Michael Chekhov Way: Active Exploration of Acting Techniques provides readers with dozens of improvisational exercises based on the acting techniques of Michael Chekhov.
Economists have moved in recent years beyond analyzing the manner in which the macroeconomies of different countries function and prescribing appropriate policies for dealing with domestic and external imbalances.
Making connections between drama and drawing, Drawing as Performance introduces visual artists and designers to rehearsal techniques, theory, and games as ways of developing image-making and visual communication skills.
In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal 'complex space' or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker.
The Venetian Origins of the Commedia dell'Arte is a striking new enquiry into the late-Renaissance stirrings of professional secular comedy in Venice, and their connection to the development of what came to be known as the Commedia dell'Arte.
Women in Performance: Repurposing Failure charts the renewed popularity of intersectional feminism, gender, race and identity politics in contemporary Western experimental theatre, comedy and performance through the featured artists' ability to strategically repurpose failure.
