Performance art

Dramaturgy of Form examines verse in twenty-first-century theatre practice across different languages, cultures, and media.

Richard Foreman has been writing, directing and designing avant-garde theatre in New York since he first founded his Ontological-Hysteric company there in 1968.

"e;Shards"e; as Autoethnographic Performance explores the development, creation, and presentation of performed autoethnography.

Aesthetic theory in the West has, until now, been dominated by ideas of effect, autonomy, and reception.

Liveness: Performance in a Mediatized Culture addresses what may be the single most important question facing all kinds of performance today.

Stuart Brisley is a pioneering multi-media and performance artist who developed performance art as a form of social action in the 1960s and 1970s.

Radical Intimacy in Contemporary Art focuses on practices that operate at the edges of sexuality and its socially sanctioned expressions.

Kingship, Madness, and Masculinity examines representations of mad kings in early modern English theatrical texts and performance practices.

Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK - its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique.

Devising Critically Engaged Theatre with Youth: The Performing Justice Project offers accessible frameworks for devising original theatre, developing critical understandings of racial and gender justice, and supporting youth to imagine, create, and perform possibilities for a more just and equitable society.

Theatres of Conscience offers an invaluable and essential insight into four touring British theatre companies whose work and contributions to post-war British theatre have largely gone unnoticed.

First published in 1971.

'The past is a very dangerous place' Two people, united by blood and separated by time, weave the tapestry of their lives.

First published in 1985, this book examines how workers theatre movements intended their performances to be activist - perceiving art as a weapon of struggle and enlightenment - and an emancipatory act.

Choreographer Jacky Lansley has been practicing and performing for more than four decades.

Music and Ethical Responsibility argues that musical experience involves encounters with others, and ethical responsibilities arise from those encounters.

Presents detailed analysis of a wide range of plays by British women dramatists from the last two decades.

The notion of the sacred has long informed the work of British dramatists like Harold Pinter and Tom Stoppard.

In the two decades since the first edition of Contemporary Plays by Women of Color was published, its significance to the theatrical landscape in the United States has grown exponentially.

This fully updated and revised fourth edition of Theory/Theatre is a unique and highly engaging introduction to cultural theory as it relates to theatre and performance.

First Published in 1997.

Fiction's Truth explores professional actors' lived experiences of representing human suffering, distress, and violence.

When Helen Gurley Brown's Sex and the Single Girl hit bookstores in 1962, the sexual revolution was launched and there was no turning back.

Since his emergence from the Flemish avant-garde movement of the 1980s, Ivo van Hove's directorial career has crossed international boundaries, challenging established notions of theatre-making.

This book posits an interconnection between the ways in which contemporary television serials cue cognitive operations, solicit emotional responses, and elicit aesthetic appreciation.

Performance Art: Education and Practice is an introduction to performance art through activities and practice prompts that are framed by seminal moments in the history of the medium as well as the current theoretical discussions surrounding performance.

Plays of Our Own is the first anthology of its kind containing an eclectic range of plays by Deaf and hard-of-hearing writers.

Something exciting is happening with the contemporary history play.

The first collection on this important topic, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored in contemporary theatre.

This volume focuses on the highly debated topic of theatrical translation, one brought on by a renewed interest in the idea of performance and translation as a cooperative effort on the part of the translator, the director, and the actors.

The Theatre of Nuclear Science theoretically explores theatrical representations of nuclear science to reconsider a science that can have consequences beyond imagination.

This book studies the intersection of performance and nationalism in South Asia.

Religious practitioners and theatregoers have much in common.

In this critical volume, leading scholars in the field examine the performance of Shakespeare in Asia.

In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare.

Vocal Traditions: Training in the Performing Arts explores the 18 most influential voice training techniques and methodologies of the past 100 years.

Fifty Key Irish Plays charts the progression of modern Irish drama from Dion Boucicault's entry on to the global stage of the Irish diaspora to the contemporary dramas created by the experiences of the New Irish.

This edition first published in 1962.

An inspiring speaker and artist asked 20,000 people around the world to share the regrets they wanted him to burn in a mock Viking ship.

Marina Abramovic is the creator of pioneering performance art which transcends the form's provocative origins.

This book is an account of a public seminar held in honour of Jan Kott's influential study, Shakespeare Our Contemporary.

This book posits an interconnection between the ways in which contemporary television serials cue cognitive operations, solicit emotional responses, and elicit aesthetic appreciation.

An absorbing and original addition to Shakespeareana, this handbook of production is for all lovers of Shakespeare whether producer, player, scholar or spectator.

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.

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A bold reconception of ancient Greek drama by one of the most brilliant and original classical scholars of his generationWhen John Winkler died in 1990, he left an unpublished manuscript containing a highly original interpretation of the development and meaning of ancient Greek drama.

This anthology consists of ten plays from countries involved in the First World War, including plays from Germany and France never before available in translation.

This collection brings together scholarship and creative writing that brings together two of the most innovative fields to emerge from critical and cultural studies in the past few decades: Disability studies and performance studies.

This is a concise survey of new play projects that bring together the worlds of science and performance, and the benefits that dramaturgical praxis can bring to both disciplines.

Commedia dell'Arte, its Structure and Tradition chronicles a series of discussions between two renowned experts in commedia dell'arte - master practitioners Antonio Fava and John Rudlin.