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.
Stephen Sondheim is an artist with many contradictory facets: he is an avant-garde composer and lyricist working in the populist art form, an apparently dry and acerbic critic who captures all the ambivalent pain of passion, an intellectual whose work contains some of the funniest bawdy lines on the Broadway stage.
Stephen Sondheim is an artist with many contradictory facets: he is an avant-garde composer and lyricist working in the populist art form, an apparently dry and acerbic critic who captures all the ambivalent pain of passion, an intellectual whose work contains some of the funniest bawdy lines on the Broadway stage.
Alan Bennett is perhaps best known in the UK for the BBC production of his Talking Heads TV plays, while the rest of the world may recognize him for the film adaptation of his play, The Madness of King George.
Alan Bennett is perhaps best known in the UK for the BBC production of his Talking Heads TV plays, while the rest of the world may recognize him for the film adaptation of his play, The Madness of King George.
This collection of essays and interviews is the first book about the drama of American playwright Terrence McNally; it examines his career to date (30-plus years), focusing particularly on the two plays for which McNally won Tony Awards for Best Play of 1995, Love!
This collection of essays and interviews is the first book about the drama of American playwright Terrence McNally; it examines his career to date (30-plus years), focusing particularly on the two plays for which McNally won Tony Awards for Best Play of 1995, Love!
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.
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.
Choreomusicology: Dialogues in Music and Dance is a distinguished collection of chapters by leading scholars presenting research that redefines and rethinks the question of what dance and music are, together and apart, and which promotes new ideas and voices in the discipline.
Inspired by a series of debates at the Conference of Women Theatre Directors and Administrators, the articles in this issue record the history of women in the theatre and honour their accomplishments.
Inspired by a series of debates at the Conference of Women Theatre Directors and Administrators, the articles in this issue record the history of women in the theatre and honour their accomplishments.
