Exploring one of the most dynamic and contested regions of the world, this series includes works on political, economic, cultural, and social changes in modern and contemporary Asia and the Pacific.
Drawing out the particularities of working in twos, with a focus on collaborative performance making, this book considers the duet as a particular configuration in which to think, the duo a microcosm of humankind, and presents everyday entanglement of form and practice seen through the lens of the smallest multiple unit.
The Routledge Pantomime Reader is the first anthology to document this entertainment genre-one of the most distinctive and ubiquitous in nineteenth-century Britain.
Modern plays are strikingly diverse and, as a result, any attempt to locate an underlying unity between them encounters difficulties: to focus on what they have in common is often to overlook what is of primary importance in particular plays; to focus on their differences is to note the novelty of the plays without increasing their accessibility.
In this updated second edition, Jason Farman offers a groundbreaking look at how location-aware mobile technologies are radically shifting our sense of identity, community, and place-making practices.
This volume, the second of two, contains the proceedings of the Shepard conference organized in Brussels, 28-30 May 1993, by the Belgian-Luxembourg American Studies Association and the Free University of Brussels.
Enacting History is a practical guide for educators that provides methodologies and resources for teaching the Holocaust through a variety of theatrical means, including scripted texts, verbatim testimony, devised theater techniques and process-oriented creative exercises.
From the "e;angry young man"e; who wrote Who's Afraid ofVirginia Woolf in 1962, determined to expose the emptiness of American experience to Tiny Alice which reveals his indebtedness to Samuel Beckett and Eugene Ionesco's Theatre of the Absurd, Edward Albee's varied work makes it difficult to label him precisely.
Movements of Interweaving is a rich collection of essays exploring the concept of interweaving performance cultures in the realms of movement, dance, and corporeality.
Girls, Performance, and Activism offers artists, activists, educators, and scholars a comprehensive analysis, celebration, and critique of the ways in which teenage girls create and perform activist theater.
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.
Girls, Performance, and Activism offers artists, activists, educators, and scholars a comprehensive analysis, celebration, and critique of the ways in which teenage girls create and perform activist theater.
Shakespeare, Theory and Performance is a groundbreaking collection of seminal essays which apply the abstract theory of Shakespearean criticism to the practicalities of performance.
This is an authorized translation of Nemirovich-Danchenko (Moscow, 1979) by Inna Solovyova, historian, author, and senior researcher of the Moscow Art Theatre Archives.
Research-based theatre aims to present research in a way that is compelling and captivating, connecting with viewers on imaginative and intellectual levels at the same time.
The Costumes of Burlesque: 1866-2018 is the first volume to inclusively document burlesque costume from its birth in the 1860's through the global burlesque movement in 2018.
Not in Front of the Audience is a pioneering and important study of a neglected terrain, examining the way in which the theatres of London and New York have reflected contemporary social and cultural attitudes to 'gay men' and homosexuality.
This book examines how circus and circus imaginary have shaped the historical avant-gardes at the beginning of the 20th century and the cultures they help constitute, to what extent this is a mutual shaping, and why this is still relevant today.
This book brings together various theoretical approaches to Horror that have received consistent academic attention since the 1990s - abjection, disgust, cognition, phenomenology, pain studies - to make a significant contribution to the study of fictional moving images of mutilation and the ways in which human bodies are affected by those on the screen on three levels: representationally, emotionally and somatically.
Performance Studies: The Basics offers an overview of the multiple, often overlapping definitions of performance, from performance art, performance as everyday life, and rituals, to the performative dimensions of identity, such as gender, race and sexuality.
Including contributions from an international list of renowned authors, this text seeks to address the controversial issue of difference in feminist philosophy, using approaches from both analytic and continental thinking.
Performance and Cultural Politics is a groundbreaking collection of essays which explore the historical and cultural territories of performance, written by the foremost scholars in the field.
Immersive Storytelling and Spectatorship in Theatre, Museums, and Video Games is the first volume to explore immersion as it is experienced in all three of these storytelling forms: the theatre, museums and historic sites, and video games.
Sonic Engagement examines the relationship between community engaged participatory arts and the cultural turn towards audio, sound, and listening that has been referred to as the 'sonic turn'.
One of the most consistently controversial and misunderstood artists of recent years, this is Yoko Ono in her own words, discussing performance, art, and her life with John Lennon.
This book demonstrates how artists have radically revisited the genre of the self-portrait by using a range of technologies and media that mark different phases in what can be described as a history of self- or selves-production.
Two performance texts by Hannah Jane Walker and Chris ThorpeThe Oh Fuck MomentFucking up is the truest, funniest, most terrifying moment you can experience.
Theatre and Dictatorship in the Luso-Hispanic World explores the discourses that have linked theatrical performance and prevailing dictatorial regimes across Spain, Portugal and their former colonies.
