This revolutionary introductory performance studies coursebook brings together classic texts in critical theory and shows how these texts can be used in the analysis of performance.
The Polish playwright and artist Stanislaw Ignacy Witkiewicz, known as Witkacy, is now recognized as Poland's leading theatrical innovator of the interwar years and one of the outstanding creative personalities of the European avant-garde.
This volume brings together performance texts from nine productions by the experimental theatre company Lightwork and one playtext from Lightwork's precursor company Academy Productions, presented between 1997 and 2011.
Tracing the flows of people, material items, and digitalcontent between Havana and Miami, as well as between Cuba and Panama, Guyana,and Mexico, this book demonstrates the worldmaking of marginalized Cubancommunities in a transnational setting.
Embodied Playwriting: Improv and Acting Exercises for Writing and Devising is the first book to compile new and adapted exercises for teaching playwriting in the classroom, workshop, or studio through the lens of acting and improvisation.
The Philosophy of Theatre, Drama and Acting is the ideal collection for students and scholars of aesthetics, theatre studies and the philosophy of art.
Theatrical Speech Acts: Performing Language explores the significance and impact of words in performance, probing how language functions in theatrical scenarios, what it can achieve under particular conditions, and what kinds of problems may arise as a result.
In pointing to the way in which women have been historically represented (or left out altogether) and the reality of women's lives, feminist performance makes the histories, lives and desires of women visible, as this volume of plays from the 1990s aims to illustrate.
Minstrel Traditions: Mediated Blackface in the Jazz Age explores the place and influence of black racial impersonation in US society during a crucial and transitional time period.
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 History of Equestrian Drama in the United States documents the history of equestrian drama in the United States and clarifies the multi-faceted significance of the form and of the related stage machinery developed to produce hippodramas.
Given that slaveholders prohibited the creation of African-style performing objects, is there a traceable connection between traditional African puppets, masks, and performing objects and contemporary African American puppetry?
This book explores the genealogy of Jamaican dancehall while questioning whether dancehall has a spiritual underscoring, foregrounding dance, and cultural expression.
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.
Personal Narrative Performance and Storytelling: A Method of Composition from Action to Text offers a practical method for composing and performing personal narrative stories for artistic and academic purposes.
This book explores the concept of playmaking and activism through three research projects in which culturally and linguistically diverse high school students and young adults created original theatre around the issues that inform their lives and constrain their futures.
In Staging and Re- cycling , John Keefe and Knut Ove Arntzen re-visit and reappraise a selection of their work to explore how the retrieval, re-approaching and re-framing of material can offer pathways for new work and new thinking.
Facial Hair and the Performance of Early Modern Masculinity is the first full-length critical study to analyse the importance of beards in terms of the theatrical performance of masculinity.
This book makes a significant contribution to recent scholarship on the ways in which women responded to the regulation of their behavior by focusing on representations of women speakers and their audiences in moments Smith identifies as "e;scenes of speech.
The Theatre of Les Waters: More Like the Weather combines original writings from Les Waters with short essays by a wide range of his collaborators, creating a personal and multi-faceted portrait of an influential director, revered mentor, and inspirational theatre artist.
This book foregrounds the subjectivity of 'acting women' amidst violent debates on femininity and education, livelihood and labour, sexuality and marriage.
This volume investigates performances as situated "e;machineries of knowing"e; (Karin Knorr Cetina), exploring them as relational processes for, in and with which performers as well as spectators actively (re)generate diverse practices of knowing, knowledges and epistemologies.
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).
This book establishes an analytical model for the description of existing translations in their historical context within a framework suggested by systemic concepts of literature.
Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them.
Amanda Glauert revisits Beethoven's songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe.
