Dance Books

Book SynopsisThe Fluid Nature of Being is a collection of writings by practitioners of Integrative Bodywork & Movement Therapy (IBMT), an approach to somatic movement education and therapy. The cultivation of consciously embodied movement is at the heart of somatic movement practice. Through embodiment practices, soma - the subjectively experienced sense of embodied self - becomes a vital, living reality and a foundation through which healthy relationship to others, to Nature, and to life as a whole can be nourished.The book describes the practice, thinking, research and creative work of twenty-one IBMT practitioners. Each has also trained in other disciplines and their writing weaves together their broader learning, passion and professional practice within the IBMT approach to somatic work. In this volume we offer a collection of expressions with a rich diversity of themes and styles, bringing these voices from the next generation of somatic movement practitioners, writers and leaders to a wider audience.The book covers topics such as IBMT in therapy, education, early years learning, dance and theatre; the integration with psychotherapy, psychoanalytic thinking, and somatic trauma therapy; and the connection between individual healing and the healing of the Earth and Nature during this time of planetary crisis.There are many aspects of IBMT practice described in this book that are shared with somatic practices in general, though there are also aspects which are specific to this approach. IBMT uniquely integrates in-depth studies in Somatic Psychology and the Discipline of Authentic Movement into a foundation of Body-Mind Centering training. At the core of the practice is the quest to deepen connection with self, and from there, connection with others and the world around us.

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Book SynopsisExported out of cities like Chicago and Detroit in the late 80's, House and Techno music washed back up on US shores in the early 90's, repackaged by the English and Germans as Rave'. UK live acts like The Shamen, Altern8, 808 State, Utah Saints, and others began to put a face to what most Americans considered to be a faceless' genre. Before the proliferation of the World Wide Web made connecting with like-minded heads as easy as a few clicks via social media, news of underground dance music and culture spread slowly through word-of-mouth networks and regional, DIY magazines called fanzines - published and distributed by fans to record shops, clothing stores, and other hangouts. Based in Central Florida, one of America's most fertile underground scenes, TRiP Magazeen documented the bourgeoning US rave scene from a uniquely Florida perspective from March 1992 to December 1994. Published pre-internet on early desktop publishing tools, founder/editor Peter Wohelski and staff captured the wide-eyed enthusiasm of this new culture movement across 17 issues, including the first American interviews from global electronic music innovators, iconic record labels, influencers, and legends such as Aphex Twin, Prodigy, Moby, Richie Hawtin & John Acquaviva, Paul van Dyk, Orbital, The Orb, Autechre, Dubtribe Sound System, Hardkiss Music, Rising High Records, ambient DJ extraordinaire Mixmaster Morris, French DJ legend Laurent Garnier, UK drum'n'bass icons A Guy Called Gerald and Rob Playford, Future Sound of London, Global Communication, and more. Over the 2 years of publishing, TRiP's coverage garnered the attention of bigger UK dance culture bibles such as DJ Magazine, Mixmag, and Jockey Slut, with credited quotes from its interviews appearing in stories on Aphex Twin and Future Sound of London and receiving a postcard from enigmatic Underground Resistance co-founder Mad Mike Banks expressing his utmost respect for TRiP's coverage of Detroit artists and releases. TRIP MAGAZEEN: The Complete Collection 1992-1994 also includes a rare interview by the late psychedelic explorer, counterculture author, and rave philosopher Terence McKenna.

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Book SynopsisBody percussion is for anybody who is looking for appropriate practice material to start playing sounds and rhythms on her/his own body, even for beginners, for drumming enthusiasts who have some playing experience as well as for professionals. Comes with an accompanying DVD.

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Book SynopsisOpen Singing is all about creating moments of magic and pure pleasure through singing with others. At Open Singing sessions, everyone is invited to sing: the event is neither choral rehearsalor choral concert. It is - pure and simple - all about turning up and making music. Open Singing transcends age, style and culture. Along with a methodical approach and good communication skills, a clever choice of repertoire is one of the most important preconditions for a successful session. This album presents a varied selection of time-honoured classics and new pieces suitable for all kinds of Open Singing. Additionally, Sing Along - Sing Together! offers valuable tips and performance suggestions for successful planning and realization of Open Singing sessions.

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Book SynopsisEight songs for eightpart vocal groups.

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Book SynopsisThe revised and expanded edition of The Art of Song Grade 6, for High Voice and Piano. A graded selection of 28 songs through the ages, for the advanced level singer. With downloadable accompaniment tracks and practice tracks available online.The Art of Song series provides an extensive selection of songs and arias from the ABRSM singing syllabus. These editions of wide-ranging repertoire cover composers from Purcell and Byrd through Brahms and Schubert to Verdi and Sullivan, arranged in different keys to suit diverse voice-types.Die revidierte und erweiterte Ausgabe von The Art of Song Grade 6, für hohe Stimme und Klavier. Sie enthält eine Auswahl von 41 Liedern aller Epochen für Sänger der Mittelstufe. Mit Begleittracks im Download und online verfügbaren Übungsstücken.Die Reihe Art of Song bietet eine umfangreiche Auswahl an Liedern und Arien aus dem Lehrplan des ABRSM (Associated Board of the Royal Sc

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Book SynopsisA selection of songs from the ABRSM Syllabus Revised and Expanded Edition Medium Voice.

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Book Synopsis(Easy Guitar). 27 classic Beatles songs from their album of #1 hits arranged for even beginners to play, including: All You Need Is Love * Can''t Buy Me Love * Eight Days a Week * Eleanor Rigby * From Me to You * A Hard Day''s Night * Help! * Hey Jude * I Want to Hold Your Hand * Let It Be * Penny Lane * She Loves You * Something * Ticket to Ride * and more.

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Book SynopsisA collection of soups, salads, meats and deserts. It includes over a hundred inventive recipes: lentil soup with tomatoes, calamari and coriander salad, five-spice lamb and rice, fried halloumi cheese with quince jam, pumpkin kibbeh, pears in arak, and rose ice cream, to name but a few.Trade Review`Ahmad Joudeh's story is one that is worth knowing, worth recounting to everyone ... it touches the heart and truly lets us understand the importance of having a dream, of believing in it solidly and of fighting for it until that dream becomes reality.' Roberto Bolle

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Book SynopsisTable of ContentsPART I: PRELIMINARIES TO INTERPERSONAL COMMUNICATION Foundations of Interpersonal Communication Culture and Interpersonal Communication Perception of the Self and Others PART II: INTERPERSONAL MESSAGES Verbal Messages Nonverbal Messages Listening Emotional Messages Conversational Messages PART III: INTERPERSONAL RELATIONSHIPS Interpersonal Relationship Stages, Communication, and Theories Interpersonal Relationship Types Interpersonal Conflict and Conflict Management Interpersonal Power and Influence

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Book SynopsisIn Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. In place of the conventional documentary, she advocates for a postrealist cinema.Trade ReviewKill the Documentary is a brilliant, angry book. An honest book. A brave book. Guggenheim Fellow and award-winning filmmaker Jill Godmilow has written a stirring call to arms. -- Cynthia Close * Documentary Magazine *Creatively curious pages -- Ezra Winton * Cineaste *Jill Godmilow marshals a pantheon of hard-hitting, tough-minded films that refuse to be herded into the realist corral. Godmilow’s letter, or manifesto, like most manifestos, draws a line in the sand. Which side are you on becomes the question. Stay put and miss the point, or step on through to the other side and restore for yourself some of the nuance and subtlety that is foreign to the spirit of a manifesto. -- Bill Nichols, from the ForewordThis provocative and engaging book by acclaimed filmmaker Jill Godmilow raises important questions for anyone concerned about the future of political documentary. She maps out an original approach to “postrealist” documentary that champions moral engagement, social activism, aesthetic daring, historical grounding, and intersectional participation for bold twenty-first-century filmmaking. -- Deirdre Boyle, author of Ferryman of Memories: The Films of Rithy PanhIn her captivating and original Kill the Documentary, filmmaker and critic Jill Godmilow offers a plea—in the form of a letter, which is a manifesto, and forty propositions, and a tool kit—for making postrealist nonfiction, for making film useful and fruitful. In her scathing critique of “great” documentaries, and her offering up of her own counter-canon, she insists that filmmakers and viewers can begin again by refusing the pedigree, pornography, and cultural imperialism of the real, and by supporting postrealist strategies: interventionist and interactive, performative and formal. Honestly, I don’t agree with all she says, or every one of the 144 films she honors, and that’s her urgent book’s point and purpose: I can and should make my own. -- Alexandra Juhasz, Brooklyn College, CUNYKill the Documentary is a provocative manifesto for rethinking the documentary. Godmilow provides a shield against the tear-soaked sentimentality and nostalgia of the Ken Burns style of packaging history. A new tool in the film teacher's kit, this book is useful beyond discussions of documentary. The passion of her prose is infectious—a welcome relief for student reading assignments. -- DeeDee Halleck, professor emerita, University of California, San DiegoThis book will be a gold mine for any instructors putting together an “Introduction to Documentary Filmmaking” syllabus or for cinematic autodidacts hungry to experiment with alternative modes of nonfictional filmmaking. -- Jaimie Baron * Film Quarterly *Herein lies the specificity and refreshing nonconformity of [this] book: it pushes the reader not only to see through the ideological premises of conventional formats, but also to delve into the multiple configurations that generate subversive experiences . . . [Godmilow's] persistent faith in the importance of developing critical awareness and in the agency of art to intervene into reality despite the omnipresent ‘capitalist realism’ in the global neoliberal society radiates a compelling force. -- Stefanie Baumann * Radical Philosophy *Table of ContentsManifestly Radical: A Foreword, by Bill NicholsAcknowledgmentsI Call This Book a LetterIntroduction—a Letter to Filmmakers1. Abandon the Conventional Documentary—Reject Realism as the Only Authentic Nonfiction Form2. Take Action—Make Useful Postrealist Films3. Forty Postrealist Strategies to Learn from and Borrow4. The ToolkitNotes BibliographyIndex

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Book SynopsisOn choreography: âChoreography is a negotiation with the patterns your body is thinking.âOn rules: âTry breaking the rules on a need to break the rules basis.âThe updated and revised edition of 'A Choreographerâs Handbook' invites the reader to investigate how and why to make a dance performance. In an inspiring and unusually empowering sequence of stories, questions, ideas and paradoxes, internationally renowned choreographer Jonathan Burrows explains how itâs possible to navigate a course through this complex process.It is a stunning reflection on a personal practice and professional journey, and draws upon many years of workshop discussions, led by Burrows.Burrowsâ open and honest prose gives the reader access to a range of principles, exercises, meditations and ideas on choreography that allow artists and dance-makers to find their own aesthetic process.It is a book for anyone interested in making performance, at whatever level and in whichever style.

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Book SynopsisBeginning in the late 1970s as an offshoot of disco and punk, dance-punk is difficult to define. Also sometimes referred to as disco-punk and funk-punk, it skirts, overlaps, and blurs into other genres including post-punk, post-disco, new wave, mutant disco, and synthpop. This book explores the historical and cultural conditions of the genre as it appeared in the late 1970s and early 1980s and then again in the early 2000s, and illuminates what is at stake in delineating dance-punk as a genre. Looking at bands such as Gang of Four, ESG, Public Image Ltd., LCD Soundsystem, The Rapture, and Le Tigre, this book examines the tensions between and blurring of the rhetoric and emotion in dance music and the cynical and ironic intellectualizing associated with post-punk.Table of ContentsIntroduction: Genealogies and Constellations 1. Death Disco to Disco Infiltrator: Spaces and Times of Dance-Punk 2. Dry Drums and Angular Guitars: Dance-Punk as Genre 3. Us v. Them: Dance-Punk and the “Other” Conclusion: Losing Its Edge: Whither Dance-Punk 10 Essential Tracks

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Book SynopsisA thrilling and tumultuous, behind-the-scenes account of house music in NYC.The Beat, the Scene, the Sound follows DJ Disciple and his behind-the-scenes account of how DJs, promoters, fans, and others transformed house music from a DIY project into an international sensation—dive into the glitzy clubs, underground parties, and the diverse communities who made up the scene amidst the tumult of 1980s/90s-era NYC—between the fall of disco and the rise of EDM. The book unearths many untold stories of the era. When house first rose to prominence in the 1980s, it brought people together—Palladium, Paradise Garage, Tunnel, Zanzibar, Studio 54, and other clubs were going strong. But as DJ Disciple established himself in the scene, he witnessed it shatter. During the crack-cocaine epidemic, he literally dodged bullets bringing his records to and from clubs at night. HIV/AIDS and homophobia threw up fear-based partitions. Then, mayors worked to close the clubs. House music was pushed underground and then abroad to the UK and Europe. Disciple and many other DJs sought to regain a footing in the United States, but that only became possible with the rise of commercialized EDM. With dozens of interviews and historic photographs, The Beat, the Scene, the Sound shows what is possible when you bring people together and what can unravel when you split them apart.

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Book SynopsisUnmaking Contact interrogates contact, understood in Global North dance discourse as a shorthand for the movement discipline of contact improvisation (CI) and its characteristic shifting points of weight-sharing between two or more bodies through physical touch, by attending to power asymmetries that are foundational to this practice.By placing South Asian aesthetics, bodies, discourses, and philosophies on touch at the heart of its interrogation through the lenses of caste, ecology, faith, gender, and sexuality, author Royona Mitra argues for an intersectional, intercultural, and inter-epistemic understanding of contact, that may or may not involve touch. The book shifts and expands understandings of contact in dance-making through intercultural epistemologies that examine notions of touch and contact. In this book the term contact signals both a shorthand for CI and a shift away from it to more expansive choreographic considerations. It becomes an apparatus for dismantling power regimes; it is conjured as a catalyst to examine power in social relations; it appears as a fulcrum of ecological relationality; it arises as critical encounters full of generative and transformative potential; and finally, it manifests as community.

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Book SynopsisFrom the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while it has long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets. Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency and collective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience, cognition, and technologies.Trade ReviewMost contributors are from the US, the UK, and Continental Europe, and they range from young scholars to scholars with years of experience. This range makes the volume useful for a broad audience. The fairly consistent and approachable length of each essay (15-20 pages) will encourage comparative readings. Well-sourced references accompany each piece, and a helpful index is included. ... Highly recommended * CHOICE *Table of ContentsIntroduction. Improvising Dance: A Way of Going About Things Vida L Midgelow Section 1: Life worlds and Ethics 1. Life Practices Ann Cooper Albright 2. Ethico-aesthetic practice of improvising: relations through motion Fiona Bannon 3. Reflections on dance improvisation and its dynamic interrelationship with everyday movement Libby Worth 4. A Philosophy of the Improvisational Body Sondra Fraleigh 5. Chance encounters, Nietzschean philosophy and the question of improvisation Philipa Rothfield 6. Moving in medias res: Towards a phenomenological hermeneutics of dance improvisation Nigel Stewart Section 2: Attunement and Perception 7. I notice that I'm noticingEL Sally Doughty 8. Embodied Consciousness in Improvised Performance Nalina Wait 9. 'Mass may be the single most important sensation': Perceptual Philosophies in Dance Improvisation Malaka Sacro-Thomas 10. Rethinking Improvisation from a Daoist perspective of Qi-energy I-Ying Wu 11. Exploring Uncertainties of Language in Dance Improvisation Louise McDowall Section 3: Habit, Freedom and Resistance 12. Improvisation and Habit Gary Peters 13. Unpredictable Maneuvers: Eva Karczag's Improvised Strategies for Thwarting Institutional Agendas Doran George 14. Movements of freedom: performing popular liberty in the early cancan Claire Parfitt-Brown 15. Valorizing Uncertainty: Chance, Totalitarianism and Soviet Ballet Janice Ross 16. The Emancipation of Improvisation Larry Lavender Section 4: Memory and Transmission 17. Improvisation and Argentinean Tango: On playing with body memories Susanne Ravn 18. Dancing Life Norah Zuniga Shaw 19. What Remains Robert Bingham & Stephanie Hanna 20. Improvisational Practices in Jazz Dance Battles Jane Carr and Irven Lewis 21. Twelve Days in Tarbena: an evolutionary approach to moving through silence and sound to speech in Ruth Zaporah's Action Theater training Robert Vesty 22. Intention and Surrender Stephanie Skura Section 5: Agency and Transformation 23. Transcending Boundaries: Improvisation and disability in dance Sarah Whatley 24. Artful humanising conversations: Improvisation in Early Years dance Kerry Chappell and Lizzie Swinford 25. Instinctive Connections: Improvisation as a research methodology in health and care settings Lisa Dowler 26. Somatic Sensing and Creaturely Knowing in the University Improvisation Class Ali East 27. Improvising Happiness: Belly Dance's Evolution through Improvisation Barbara Sellers Young Section 6: Interconnectivity, emergence and technologies 28. Dancing the Interface: Improvisation in Zones of Virtual Exchange Thomas DeFrantz 29. Programmed Improvisation Inspied from Autonomous Humanoids Amy LaVeirs 30. Contact Improvisation and Embodied Social Cognition April Flakne 31. Modelling Improvisation as Emergence: A Critical Investigation of the Practice of Cognition Colleen Dunagan, Roxane Fenton, and Evan Dorn 32. Towards a cognitive theory of joint improvisation: The case of tango argentino Micheal Kimmel Section 7: Ecology and Environments 33. Improvisation and the Earth: Dancing in the Moment as Ecological Practice Tamara Ashley 34. Dancing the Land: An Emerging Geopoetics Melinda Buckwalter 35. Scoring and Siting: Improvisatory Approaches to Site-Specific Dance Victoria Hunter 36. The Dancer, the Philosopher and the Tramp Hilary Elliot 37. Audience Improvisation and Immersive Experiences: the sensuous world of the body in the work of Lundahl & Seitl Josephine Machon Section 8: Techniques, Strategies and Histories 38. Lost in the Footlights: The Secret Life of Improvisation in Contemporary American Concert Dance Kent De Spain 39. In the Moment: Improvisation in Traditional Dance Anthony Shay 40. Playing with the Beat: Choreomusical Improvisation in Rhythm Tap Dance Allison Robbins & Christopher J. Wells 41. Moving Sound: New Relationships between Contemporary Dance and Music in Improvisation Anna Sanchez Colberg & Dimitris Karalis 42. Mens Agilis Corpore Agili Ivar Hagendoorn 43. Embodiology®: A Hybrid Neo-African Improvisation-as-Performance Practice distinguished by Dynamic Rhythm Sheron Wray

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Book SynopsisThis work examines the musical influences of a Malaysia's Portuguese community, whose roots lie in the conquest of Malacca in 1511 by the Portuguese seafarer Afonse D'Albuquerque.

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Book SynopsisRebecca Schneider is Professor of Theatre Arts and Performance Studies at Brown University, USA. She is the author of The Explicit Body in Performance and Performing Remains: Art and War in Times of Theatrical Reenactment, as well as numerous essays. She is the Consortium Editor for The Drama Review: A Journal of Performance Studies, edited by Richard Schechner, and is co-editor with David Krasner of the book series Theater: Theory/Text/Performance.Trade Review"Coherent and clear, each of the sections illuminates the relationship between theatre and history in a different but always convincing and engaging manner. An attractive text for anyone interested in putting this relationship into perspective, ideal for beginning or more advanced students." - Marvin Carlson, Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies, City University of New York, USA 'The clear, playful authority of the volume leaves readers simultaneously eager for Schneider's next book and inspired to expand the interdisciplinary dimensions of their own work.' - Glenn Odom, Roehampton University, UKTable of ContentsSeries Editors' Preface 1. Theatre And History 2. 'And' 3. 'History' 4. 'Theatre' 5. History and the Theatre Artist 6. The Anti-theatrical Prejudice 7. The Anti-intellectual Prejudice 8. Theatre and the Historian 9. The Problem with Passions 10. The Problem with Archives 11. Whose History is Theatre's History? 12. Of Knives and Blood Bibliography Index.

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Book SynopsisNICOLAS WHYBROW isAssociate Professor ofTheatre and Performance Studies at the University of Warwick, UK. He is the author of Street Scenes, linking Brechtian and Benjaminian ideas to an experience of contemporary Berlin, and Art and the City (I.B.Tauris, 2009).

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Book SynopsisThe Story of American Vernacular DanceTable of Contents* Marshall Winslow Stearns: An Appreciation by James T. Maher * Prologue Prehistory * Africa and the West Indies * New Orleans and the South * The Pattern of Diffusion Beginnings * From Folk to Professional * Early Minstrelsy * Minstrel Dances and Dancers * Late Minstrelsy The Vernacular * Medicine Shows and Gillies * Carnivals, Circuses, and Negro Minstrels * Roadshows, T.O.B.A., and Picks * The Witman Sisters Tin Pan Alley and Song Lyrics * Ballroom Origins * The Song Writer: Perry BradfordI * The Song Writer: Perry BradfordII Broadway and the Reviewers * Williams and Walker and the Beginnings of Vernacular Dance on Broadway * Early Harlem * Shuffle Along * Broadway: The Early Twenties * Broadway: The Late Twenties * Choreography: Buddy Bradley Technique: Pioneers, Innovators, and Stylists * King Rastus Brown and the Time Step * Bill Robinson: Up on the Toes * Frank Condos: Wings and the Expanding Repertory * James Barton: Versatility * Harland Dixon and Character Dancing * John W. Bubbles and Rhythm Tap * Fred Astaire Specialties * Eccentric Dancing * Comedy Dancing * Russian Dancing Acrobatics * Straight Acrobatics * The New Acrobatics * The Flash Acts The Class Acts * The Original Stylists * The First Class-Act Team: Greenlee and Drayton * Pete Nugent and the Class Acts * Coles and Atkins: The Last of the Class Acts The Jitterbug * Harlem Background * The Savoy Ballroom * From Coast to Coast Requiem * Baby Laurence and the Hoffers Club * Groundhog * The Dying Breed * Epilogue

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This is an exploration of the vital and rapidly evolving world of Commercial Dance, tracing the evolution and merging of Hip-Hop, Club and Jazz dance styles from the music videos of the early 1980s, to today's huge influence on pop music and dance in a multi-media culture.Chapters including âIconic Momentsâ and âMain Moversâ contextualise and analyse culturally significant works and choreographers. With direct contributions from an international array of industry leading dancers, choreographers and creatives - including JaQuel Knight (Beyonceâs choreographer), Rich + Tone Talauega (Madonna & Michael Jackson collaborators), Rebbi Rosie (Rihannaâs dancer), Dean Lee (Janet Jacksonâs choreographer) and Kiel Tutin (BLACKPINKâs choreographer) - this book shines a light on the creatives in the Commercial Dance industry who have made significant impacts, not just on the world of dance but on popular culture itself. Chapters discussing dance history, copyright law, inclusivity and dan

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Book SynopsisTable of ContentsList of illustrations, Acknowledgements, 1 Introduction: transatlantic crossings, 2 Cunningham, Judson, and the historical avant-garde, 3 Minimalism, theory, and the dancing body, 4 Allegories of the ordinary and particular, 5 Before and after 1968: dance, politics, and the avant-garde, 6 Repetition: Brown, Bausch, and De Keersmaeker, 7 Traces of intimacy and relationless relations, 8 The Judson tradition at the start of a new century, Notes, Bibliography, Index

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Book SynopsisBeyond Dance: Laban's Legacy of Movement Analysis offers students of dance and movement a brief introduction to the life and work of Rudolf Laban, and how this work has been extended into the fields of movement therapy, communications, early childhood development, and other fields.While many dance students know of Laban and his work as it applies to their field, few know the full story of how this technique has developed and grown. For many who enter into the fields of dance movement therapy, performance, and communications, there are valuable lessons to be learned from Laban and his follower's works. Beyond Dance offers a concise introduction to this world. Refreshingly free of jargon and easy to understand, the work offers dance students â and others interested in human movement â a full picture of the many possibilities inherent in Laban's theories. For many who will pursue careers 'beyond dance', this work will be a useful guidebook into related areas.This will be ideally suited to students of Laban movement theory in dance and movement therapy, and will be used in advanced courses in these areas as useful, brief introduction to the field.Table of ContentsIllustrations Acknowledgments Foreword Introductio n Chapter One: Laban in Europe His early life Ascona and After Labanotation Chapter Two: Laban's War Effort His arrival in England - Dartington Lisa Ullmann and Education Laban and F. C. Lawrence Lilt in Labour Chapter Three: Shape and Effort Warren Lamb and the Art of Movement Studio Choreutics Eukinetics Laying Down the Rules of Movement Analysis Shape - The Three Planes of Movement Effort - The Three Qualities of Movement Laban's Eight Basic Efforts The Importance of Flow Chapter Four: Arriving at Aptitude Assessment Working on the Factory Floor The Laban Lawrence Effort Assessment Aptitude Assessment The 3-Stage Decision-Making Process Adding Shape to the Formula Posture and Gesture Into Team-Building Chapter Five: Action Profilers International Broadening the Base: Pamela Ramsden The Body-Mind Connection The Motivation to Interact The Overall Factors Sharing and Private Behavior Training Profilers Research and Validation Problems for Action Profiling Chapter Six: Movement Analysis and Personality Childhood Development - Judith Kestenberg Some Basic Personality Types The Communicator The Confronter Action Man / Woman Chapter Seven: Movement and Gender The Gender War Male and Female in Movement The Importance of Flow - Again Some Interpretations Putting on the Pressure Caring and Sharing Making Decisions Vive la Difference Chapter Eight: All the World's a Stage Movement and Politics Movement Analysis and Therapy Ritualized Behavior Social Considerations of Movement and Gender Personal Relationships Punishment and Rehabilitation Movement as a Common Denominator Appendix I: Warren Lamb's Profile of Rudolf Laban Appendix II: The Laban Lawrence Effort Assessment Appendix III: An Aptitude Assessment for a Marketing Director Bibliography

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisAn exploration of radical political theatre in Britain from 1968 to present day.Trade Review'This is an indispensable archive of resistant performance practice, combining memoir, dramatic and critical writing. Wiltshire, Cowan, and their collaborators confront Project Austerity's culture of contempt and despair by recovering and asserting British theatre's history of critical refusal' -- Victor Merriman, author of ' 'Because We are Poor': Irish Theatre in the 1990s''Believe that 1960s theatre making is dead duck pass? Reader, best start re-thinking. Editor/authors Kim Wiltshire and Billy Cowan forge an original and powerfully mind-bending take across 50 years of radicalised performing. Essential territory for driving future performance toward politicised hope' -- Baz Kershaw, Emeritus Professor of Theatre and Performance, University of Warwick'Recommended' -- CHOICETable of ContentsIntroduction: A Very Brief History of Political Theatre in the Twentieth Century up to 1968 - Kim Wiltshire and Billy Cowan Prologue by Lyn Gardner Scene 1: Agitprop and Political Theatre Introduction - Kim Wiltshire Interview with Rod Dixon (Red Ladder) and Kathleen McCreery (Red Ladder and Broadside Mobile Workers' Theatre) - Kim Wiltshire Apartheid: The British Connection (Extract), Broadside Mobile Workers' Theatre - Kathleen McCreery Contemporary Protest Theatre in South Africa - David Peimer The Lost Art of Agitprop and the Return of Socialist Praxis - Rebecca Hillman Scene 2: Working-Class Theatre Introduction - Kim Wiltshire Blood Red Roses at the Liverpool Everyman - Bob Eaton Ways of Seeing: Class, Gender and the Universal, from Blood Red Roses to The Sum - Lizzie Nunnery Plugging into History: Time Travel with John McGrath and 7: 84 - Lindsay Rodden Scene 3: Theatre in Education Introduction - Anthony Jackson Farewell to Erin (Extract), Belgrade TIE Company Interview with Tony Hughes (M6 Theatre Company) and Justine Themen (Belgrade TIE Company) - Billy Cowan Everyone's Got a Story to Tell ... and Their Own Way of Telling It - Julia Samuels (20 Stories High) Scene 4: Women's Theatre Introduction - Kim Wiltshire Interview with Sue Parrish (Sphinx) and Mica Nava (Women's Theatre Group) - Kim Wiltshire Work To Role (Extract), Women's Theatre Group The Work of Open Clasp and Why Women-centred Theatre is Still Relevant Today - Catrina McHugh (MBE) and Jill Heslop Forty Years of Women-centred Theatre-Making - Anna Hermann with Kim Wiltshire A Conversation on Sexual Assault in Theatre - Mighty Heart and Kim Wiltshire Scene 5: Queer Theatre Introduction - Billy Cowan Men (Extract), Don Milligan and Nol Greig Interview with Julie Parker (Drill Hall, 1981-2011) - Billy Cowan Interview with Ruth McCarthy (Outburst Queer Arts Festival, Belfast) - Billy Cowan We Who are Here Together: (Re-)making Queer Theatre - Chris Goode Scene 6: Theatre and Race Introduction - May Sumbwanyambe A Tainted Dawn (Extract) - Sudha Bhuchar and Kristine Landon-Smith The Personal is Always Political - Sudha Bhuchar Pokfulam Road Productions: A Political Theatre Company? - Jingan Young Epilogue: Where Next for Political Theatre? - Billy Cowan and Kim Wiltshire Further Reading Notes on Contributors Index

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Book SynopsisThe philosopher, visual artist, and dancer Erin Manning explores the concept of the "more than human" in the context of movement, perception, and experience.Trade Review"Erin Manning's book offers a philosophy of neurodiverse perception, encouraging us “not to begin with the pre-chunked.” How ironic, then, that the impulse to categorize and to pathologize is generally seen as evidence of the normate’s proper functioning. In Manning’s splendid book, autism comes to signify not a disorder but a relational “dance of attention,” one that refuses to strand any entity at the margin of our concern."—Ralph James Savarese, coeditor of Autism and the Concept of Neurodiversity, a special issue of Disability Studies Quarterly"In Always More Than One, Erin Manning produces a truly original choreographic thinking. I don't just mean that she writes about choreography. She thinks how the body moves, and moves her writing in step with that thinking. She performs an expanded choreography, developed in dialogue with dance, putting dance in dialogue with other practices. A must for dancers who think - and philosophers who wish they could dance."—William Forsythe, Choreographer and Artistic Director of The Forsythe Company"In this book, Erin Manning takes us on an amazing journey. It is a journey of philosophical thought, to be sure; but it is also a journey of bodies in motion, through landscapes that are enlivened and transformed by their passage. Always More Than One is a book about the vitality of the in-between. It presents a vision of life adding to life, whether in the simplest everyday encounters, or in the densely articulated webs of works of art."—Steven Shaviro, author of Post Cinematic Affect"Through inventive language and a deep engagement with continental philosophy, her authoritative text pushes thought to the limits of expressibility, and presents to the reader a world that shimmers with potential." -- Megan Bridge * Dance Chronicle *Table of ContentsPrelude / Brian Massumi ix Acknowledgments xxv 1. Toward a Leaky Sense of Self 1 Interlude. When Movement Dances 13 2. Always More Than One 16 Interlude. Dancing the Virtual 30 3. Waltzing the Limit 41 4. Propositions for the Verge 74 Interlude. What Else? 91 5. Choreography as Mobile Architecture 99 Interlude. Fiery, Luminous, Scary 124 6. The Dance of Attention 133 7. An Ethics of Language in the Making 149 Interlude. Love the Anonymous Elements 172 8. The Shape of Enthusiasm 184 Coda. Another Regard 204 Notes 223 Bibliography 257 Index 267

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Book SynopsisDramaturgies of Interweaving explores present-day dramaturgies that interweave performance cultures in the fields of theater, performance, dance, and other arts.Merging strategies of audience engagement originating in different cultures, dramaturgies of interweaving are creative methods of theater and art-making that seek to address audiences across cultures, making them uniquely suitable for shaping people's experiences of our entangled world. Presenting in-depth case studies from across the globe, spanning Australia, China, Germany, India, Iran, Japan, Singapore, Taiwan, Vietnam, the US, and the UK, this book investigates how dramaturgies of interweaving are conceived, applied, and received today. Featuring critical analyses by scholarsas well as workshop reports and artworks by renowned artiststhis book examines dramaturgies of interweaving from multiple locations and perspectives, thus revealing their distinct complexities and immense potential.Ideal for sTable of ContentsPART I Sketching Designs for Unique Encounters 1 The Tjunta Trail: Cross-Cultural Dramaturgy in Australian Place-Making 2 Diagrammatic Dramaturgies: Navigations between Theory, Disfiguration, and Movement PART II Interlacing Archival Threads 3 No(H) To Trio A: Interweaving Dramaturgies for a Performative Exhibition of Yvonne Rainer’s Work 4 Performance Community in an Age of Reenactment: Takao Kawaguchi’s About Kazuo Ohno and the Conversation with Ghosts PART III Unraveling Productions 5 Speaking Black: Tonya Pinkins’s Mother Courage 6 Catalyst and Conduit: A Call for the Bicultural Dramaturge INTERLUDE A Durus Arabij/Arabic Lessons B Arabic Lessons: Stämme/שורשים/جذور C Heiliger Franz/St. Francis: Notes from a Playwright’s Perspective PART IV Entangling Diverse Audiences 7 Encountering a "Theater of (Inter-)Singularity": Transformations and Rejections of Shifting Institutional Dramaturgies in Contemporary German Theater 8 Yael Ronen: Devising Dramaturgy for an Interwoven World PART V Unfolding Alternatives 9 Alternative Dramaturgies Informed by a Deaf and Disability Perspective 10 Dramaturgies of In-Betweenness: Iranian Theater and Performance Art since the 1970s PART VI Tailoring Textual Material 11 Learning with Broken Words: Directing Plastic Rose by Shogo Ota with Collaborative Dramaturgy 12 The Emergence of Co-Dramaturgy: Arthur Miller, Satyajit Ray, and Thomas Ostermeier Encounter Ibsen Coda: Performers and Time: The Five Stages of Waiting

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Book SynopsisOut of Time? has many different meanings, amongst them outmoded, out of step, under time pressure, no time left, or simply delayed. In the disability context, it may also refer to resistant attitudes of living in âœcrip timeâ that contradict time as a linear process with a more or less predictable future. According to Alison Kafer, âœcrip time bends the clock to meet disabled bodies and minds.â What does this mean in the disability arts? What new concepts of accessibility, crip futures, and crip resistance can be staged or created by disability performance? And how does the notion of âœout of timeâ connect crip time with pandemic time in disability performance?The collective volume seeks to respond to these questions by exploring crip time in disability performance as both a concept and a phenomenon. The book tackles the topic from two angles: on the one hand from a theoretical point of view that connects performance analysis with crip and performance theory, on the

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Book SynopsisAn innovative resource which shatters tango stereotypes to account for the genre's impact on arts, culture, and society around the world. Twenty chapters by North and South American, European, and Asian contributors, some publishing in English for the first time, collectively cover tango's history, culture, and performance practice.

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Book SynopsisLearn to play the fiddle? Easy.Table of ContentsIntroduction 1 Part I: Getting Started Playing Fiddle 7 Chapter 1: Getting Ready to Become a Fiddle Player 9 Chapter 2: Selecting the Right Instrument and Accessories 21 Chapter 3: Tuning, Rosining, and Taking Care of Your Fiddle 39 Part II: Working with Technique Basics and Fundamentals 63 Chapter 4: Holding the Fiddle and Bow 65 Chapter 5: Building a Musical Bow Stroke Sound 81 Chapter 6: Working with the Left Hand 105 Part III: Unlocking the Keys to Reading Music 121 Chapter 7: Understanding How to Read Music 123 Chapter 8: Keeping Rhythm in a Fiddle Tune 141 Chapter 9: Starting Easy with Basic Fiddle Tunes 161 Chapter 10: Getting into Trickier Fiddlin’ 173 Part IV: Working with the Various Fiddle Styles 185 Chapter 11: Developing the Irish Fiddle Style 187 Chapter 12: Scottish-Style Fiddling 205 Chapter 13: Fiddling to Old-Time Music 219 Chapter 14: Learning Bluegrass Fiddle 237 Part V: Taking Fiddling to the Next Level 249 Chapter 15: Shifting, Vibrato, and Double-Stops 251 Chapter 16: Expanding Your Ability 271 Chapter 17: Improvising and Playing Electric Fiddle 283 Part VI: The Part of Tens 297 Chapter 18: Ten Great Fiddle Players You Need to Hear 299 Chapter 19: (More Than) Ten Tips on Finding the Right Teacher 305 Appendix: Audio Tracks and Video Clips 313 Index 319

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Book SynopsisTable of ContentsIntroduction 1 Part 1: Getting Started with Musical Theatre 5 Chapter 1: Before the Curtain Rises: Just the Basics about Musical Theatre 7 Chapter 2: The History of Musical Theatre (in “only” 100 pages!) 19 Chapter 3: Finally the Anatomy of a Musical 123 Chapter 4: Oklahoma, Chicago, Avenue Q: Where Musical Theatre Takes Place 139 Chapter 5: Experiencing the Magic of Musical Theatre 167 Part 2: The People Who Make Musical Theatre Happen 189 Chapter 6: Making the Musical — The Creators 191 Chapter 7: Creating the Big Picture — “The Room Where It Happens” 217 Chapter 8: Delivering the Details — The Creatives 231 Chapter 9: “Being Alive” — The Performers 249 Chapter 10: Introducing the People Who Work the Show Night after Night 271 Part 3: The Blood, Sweat, and Tears of Theatre Life 295 Chapter 11: Understanding How an Idea Becomes Broadway Gold 297 Chapter 12: “Hi-Ho, the Glamorous Life” (of a Broadway Performer) 319 Chapter 13: Landing a Role (Paying or Not!) 339 Part 4: The Part of Tens 363 Chapter 14: Ten (Plus) Songs You Didn’t Realize Came from Musical Theatre 365 Chapter 15: Ten Celebs Who Started in Musical Theatre 369 Index 375

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Book SynopsisDavis Robinson is founder and artistic director of Beau Jest Moving Theatre and Professor of Theater at Bowdoin College, USA.Trade ReviewAimed at actors, directors, and teachers, the seven short chapters of this book offer practical tools alongside a frank assessment of the difficulties common to the process, culled from Robinson’s thirty years of devising experience … It provides plenty of exercises that will ease novice practitioners into the process of ensemble creation … Most importantly, it sparks a flame–both artistic and intellectual–that might compel its readers to further engagement with the practice and study of devising. * Karen Jean Martinson, Theatre Topics, Vol. 26 (1) *Table of ContentsIntroduction 1. What is Ensemble Devising? 2. Fundamentals 3. Short Prompts 4. Large Prompts 5. Organizational Structures 6. Full Length Pieces 7. Polishing Appendix Bibliography.

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Book SynopsisThis volume, now available in paperback, explores what it means to create and experience urban performance - as both an aesthetic and a political practice - in the burgeoning world where cities are built by globalization and neoliberal capital.Trade Review“In Performance and the Global City, editors D. J. Hopkins and Kim Solga compile a selection of essays that tackle the complex relationship between spatiality and performance in the global world. … With a consistently high quality of theoretical rigour and critical analysis, this text offers valuable insights for both geographers and performance studies scholars interested in performance’s capacity to contribute to and spur change in urban spaces.” (Laine Zisman Newman, Theatre Research International, Vol. 41 (1), 2016)“The book is divided into three parts, with four essays in each, thematically linked around attention to border zones, bodily movement in the city … . It is a very coherent structure, which places the contributions into a productive dialogue with one another. … make a strong case for the richness of performance practice as an ideal lens through which to consider the politics of place.” (Fiona Wilkie, Theatre Journal, Vol. 67, December, 2015)“This is a book that speaks to our present while also anchoring its many discussions in careful historical, theoretical, and practice-based contexts. Ultimately, then, Performance and the Global City proves well written and accessible, rigorous and substantial, ethical and engaged, and truly global in both reach and impact.” (Patrick Lonergan, Contemporary Theatre Review, Vol. 25 (4), 2015)'Following on from Performance and the City, a well-curated collection of essays exploring performance's role in renegotiating urban space in the industrialized West post-9/11, editors D. J. Hopkins and Kim Solga have published a formidable follow-up. Performance and the Global City builds on its predecessor through a range of essays that explore performance's role in the process of global city mobilization the level of scholarship in Performance and the Global City is consistently high, including further contributions from Melissa Bucher, Philip Hager, Simon Jones and Paul Rae, and the cities covered represent an international cross-section of urban centres.' Performance ResearchTable of ContentsList of Illustrations Acknowledgements Notes on Contributors Introduction: Borders, Performance, and the Global Urban Condition; D.J. Hopkins with Kim Solga PART I: MOBILITIES AND (IN)CIVILITIES: THE GLOBAL URBAN BORDERLANDS 1. The Drama of Hospitality: Performance, Migration and Urban Renewal in Johannesburg; Loren Kruger 2. Performing Survival in the Global City: Theatre ISÔKO's The Monument; Jennifer H. Capraru and Kim Solga 3. Eva / Nacha / Cristina and the Argentine Trinity of Local, National, and Global Urban Politics; Jean Graham-Jones 4. China's Global Performatives: 'Better City, Better Life'; Susan Bennett PART II: TRANSACTING BODIES / EMBODIED CURRENCIES: SUBJECTS AND CITIES 5. Losing Venice: Conversations in a Sinking City; Nicolas Whybrow 6. The Urbanization and Transnational Circulation of the Peruvian Scissors Dance; Jason Bush 7. Commuting Performance ? Working the Middle Ground; Paul Rae and Simon Jones 8. Cultures of Commuting: The Mobile Negotiation of Space and Subjectivity on Delhi's Metro; Melissa Butcher PART III: CITIZEN STAGES: ACTS OF DISSENT IN THE GLOBAL CITY 9. Distrito Federal: 'Global City, Ha, Ha, Ha!'; Ana Martinez 10. Sarajevo: A World City Under Siege; Silvija Jestrovic 11. Cairo: My City, My Revolution; Nesreen Hussein 12. Dramaturgies of Crisis and Performances of Citizenship: Syntagma Square, Athens; Philip Hager Bibliography Index

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Book SynopsisThe 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. This lushly illustrated book presents the history and development of this American art form by documenting the origins, influencers, and genuine articles that created its aesthetic. Showcases of legendary performers, including Lydia Thompson, Gypsy Rose Lee, Sally Rand, Bettie Page, Kitten Natividad, and Dita Von Teese, demonstrate costume styles through the years. This guide gives readers a clear view of how burlesque costume looked and why. It teaches collectors, burlesque performers, and fans alike to recognize vintage pieces for what they are and to design their own costumes with inspiration from the originals. By including detailed costume documentation, over 400 images, and interviews with prominent costume designers such as Catherine D'Lish and Garo Sparo, Trade Review"The Costumes of Burlesque: 1866-2018 by Coleen Scott is an exquisite book that fills a long-empty gap in the costume history library….General readers will devour this book for its details and beautiful illustrations. Scholars will appreciate the comprehensive bibliography that will lead burlesque enthusiasts and researchers alike to deepen their knowledge of this American art form."-Laurie Kurutz, Theatre Design & Technology Fall 2019"Scott’s text offers a visually and materially exciting overview of the costumes for burlesque; her use of images of extant costume and interviews with performers, designers, and makers of burlesque costume reiterates the significance of costume to cultural studies and performance studies. As such, The Costumes of Burlesque, 1866–2018 offers a valuable contribution to the emergent field of costume studies. Specifically, the book provides a significant visual record for costume makers, who are all too often left in the margins of the field of costume studies."-Louise Elizabeth Penn Chapman, The Journal of Dress History, Volume 5, Issue 4, Early Autumn 2021Table of ContentsForeword by Leslie Zemeckis Introduction 1- The Birth of Burlesque 1868-19teens 2- Flappers and Film Stars 1920s-1930s 3- "The Golden Age" 1940s-1950s 4- The Death of Burlesque 1960s-1970s 5- The Strip Club meets Neo Burlesque 1980s-2001 6- Modern Burlesque Costume Design - Epilogue

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Book SynopsisKristi McKim offers close-analyses of films in which attachment and detachment, intimacy and distance, ephemera and endurance become more visible and meaningful. Films discussed include Wim Wenders'' Wings of Desire , Agnès Varda''s Jacquot de Nantes , Doris Dörrie''s Cherry Blossoms and Olivier Assayas'' Summer Hours.Trade Review'Kristi McKim is a keen, imaginative and moving analyst of texts both cinematic and theoretical and she writes in a powerfully evocative and poetic style that is nonetheless precise and rigorous. Her analyses of an international array of films are superlative. This is theoretical and critical work of the highest order, a highly original work of cinema studies and in particular of the representation of time and love in the cinema.' - Matthew H. Bernstein, Emory University, USATable of ContentsList of Figures Acknowledgements Introduction Love in the Time of Cinema Cinematic Reconciliation of Romantic and Historical Time: Wim Wenders' Wings of Desire Mortality and Cinephilia in the Cinematic Elegy: Agnès Varda's Jacquot de Nantes Learning to Love What Passes: Hirokazu Kore-eda's After Life Making Art of What Endures: Doris Dörrie's Cherry Blossoms and Olivier Assayas' Summer Hours Conclusion Endnotes Bibliography Index

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Book SynopsisThis is the first book to offer a clear introduction to Kattaikkuttu (or Terukkuttu), a vibrant, vocal and physical outdoor Tamil theatre tradition from India. It describes the theatre's characteristic heroic nature as expressed through its principal, male kattai characters, explores its history, social status and ritual context, and examines the production of all-night plays. After placing Kattaikkuttu in the wider, competitive context of the performing arts in India, Hanne M. de Bruin introduces readers to some of the debates about the form and provides an overview of the different elements that make up a Kattaikkuttu performance. It considers its performance spaces and the way the form has changed, such as its transition towards an independent and more professional theatre genre, as well as the opening up of the form to different castes and to women. It covers the production and frameworks of all-night performances, uses the Mahabharata play Karna MokTrade ReviewThis is an extraordinary introduction to an invisibilized theatre tradition. De Bruin skillfully highlights the complex social history, spectacular technique and cultural politics around the Tamil kuttu theatre. This book marks an immense contribution to the study of subaltern theatres from South Asia by one of the most significant scholars on the subject. Few studies of Indian theatre glide so seamlessly between theoretical propositions and the affective and material dimensions of practice. This book is bound to become a classic for the study of theatre in modern South Asia. * Davesh Soneji, University of Pennsylvania, USA *Table of ContentsList of Illustrations Series Preface Acknowledgements Notes on Transliteration Introduction What’s in a Name? Tamil Theatre Histories Discourse of Contempt Alternative Views Personal Note Chapter 1. Kattaikkuttu: Aesthetic Characteristics and Historical and Socio-economic Contexts What is Kattaikkuttu? The Elements Performance Spaces Performances Performers Art as Labour Theatre Companies Emergence of Kattaikkuttu as a Distinct Genre Summary Chapter 2. Producing an All-night Performance Performance Texts Framework of a Performance Building Blocks and Modes of Production Performance Conventions and Recall Strategies The Play Karna Moksam Shifting Repertories Summary Chapter 3. Transmission, Interpretation and Innovation Kattaikkuttu’s Embodied Performance Knowledge Interpretation The Kattaikkuttu Gurukulam Pakatai Tukil Validation and Aesthetics Notes References Index

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