History of Performing Arts Books

Book SynopsisThis first-of-its-kind book brings together writing by artists and scholars to survey the field of Puerto Rican experimental dance across four decades. Originally published as Habitar lo Imposible, the translation features essays, artist statements, and interviews plus more than 100 photos of productions, programs, posters, and scores.Trade ReviewInhabiting the Impossible enters into current conversations about the connections between corporealities, choreography, dance, geopolitics, identity construction and ideas of nation, race, gender, class and sexuality, political agency and artistic practices--and the circulation of these concepts in the Americas. The book will interest scholars, students, practitioners and those interested in Latin American cultural theory, aesthetics, political studies, anthropology, or gender and sexuality studies." - Anamaria Tamayo-Duque, Universidad de Antioquia"This history of experimental dance in Puerto Rico also serves as a model for understanding the aesthetic impacts of dance within particular cultural and political contexts. Further, it foregrounds the voices of artists as it narrates the importance of dance as a mode of cultural manifestation, whether on the street, in living rooms and kitchens, within ritual sites, in abandoned, repurposed spaces, or on concert stages." - Jennifer Monson, University of IllinoisTable of Contents Preface to the English Edition Susan Homar and nibia pastrana santiago Introduction: Inhabiting Dance in Puerto RicoPart I. Histories, Bodies, and Alterities Susan Homar Clear the Way, We’re Coming Through! Forging a New Dance Field in Puerto Rico Adriana Garriga-LÓpez Insurrectionary Bodies: Performance at the Borderlands of Governability and Regeneration nibia pastrana santiago against erasure, in favor of strangeness, and remember: this choreography is not a Caribbean myth, others came before itPart II. Considerations about, from, and with Dance Alma ConcepciÓn SuÁrez The Legacy of Gilda Navarra and the Taller de Histriones Teresa PeÑa JordÁn Transforming the Gaze: Moving Beyond Boundaries with Poetry, Testimony, and Dance Translated by Sarah Yates Gibson Nelson Rivera Puerto Rico: Four Encounters Linking Dance, Music, and the Visual ArtsPart III. Decolonial Tasks: Improvisations, Performances, and Events Lydia PlatÓn LÁzaro The Possible from the Unknown: Transformations in the Present-Present of Improvisation Arnaldo RodrÍguez BaguÉ Curating the Foro Permanente de Performance, FPP RamÓn H. Rivera-Servera Moving Queer Feminist Movements in the Commons … or How Puerto Rico Dances its Decolonial DesiresPart IV. To Inhabit, to Write, to Move Alicia DÍaz ConcepciÓn Oscar Mestey Villamil Ñequi GonzÁlez MartÍnez teresa hernÁndez JesÚs Miranda Santiago (Pito) Awilda RodrÍguez Lora Jeanne d’Arc Casas Panouze Javier Cardona Otero NoemÍ Segarra RamÍrez Karen Langevin Pepe Álvarez ColÓnPart V. MAPA: Originary Cartographies--Interviews Alejandra Martorell Mapping Puerto Rico: Coordinates of Five Explorers of Dance as Performance Interviews with: Petra Bravo (HernÁndez) MeriÁn Soto Myrna Renaud Awilda Sterling-Duprey Viveca VÁzquez Sonia DaubÓn Aquino Guide to Informational and Bibliographic Resources on Experimental Dance in Puerto Rico Notes on Collaborators

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Book SynopsisThis first-of-its-kind book brings together writing by artists and scholars to survey the field of Puerto Rican experimental dance across four decades. Originally published as Habitar lo Imposible, the translation features essays, artist statements, and interviews plus more than 100 photos of productions, programs, posters, and scores.Trade ReviewInhabiting the Impossible enters into current conversations about the connections between corporealities, choreography, dance, geopolitics, identity construction and ideas of nation, race, gender, class and sexuality, political agency and artistic practices--and the circulation of these concepts in the Americas. The book will interest scholars, students, practitioners and those interested in Latin American cultural theory, aesthetics, political studies, anthropology, or gender and sexuality studies." - Anamaria Tamayo-Duque, Universidad de Antioquia"This history of experimental dance in Puerto Rico also serves as a model for understanding the aesthetic impacts of dance within particular cultural and political contexts. Further, it foregrounds the voices of artists as it narrates the importance of dance as a mode of cultural manifestation, whether on the street, in living rooms and kitchens, within ritual sites, in abandoned, repurposed spaces, or on concert stages." - Jennifer Monson, University of IllinoisTable of Contents Preface to the English Edition Susan Homar and nibia pastrana santiago Introduction: Inhabiting Dance in Puerto RicoPart I. Histories, Bodies, and Alterities Susan Homar Clear the Way, We’re Coming Through! Forging a New Dance Field in Puerto Rico Adriana Garriga-LÓpez Insurrectionary Bodies: Performance at the Borderlands of Governability and Regeneration nibia pastrana santiago against erasure, in favor of strangeness, and remember: this choreography is not a Caribbean myth, others came before itPart II. Considerations about, from, and with Dance Alma ConcepciÓn SuÁrez The Legacy of Gilda Navarra and the Taller de Histriones Teresa PeÑa JordÁn Transforming the Gaze: Moving Beyond Boundaries with Poetry, Testimony, and Dance Translated by Sarah Yates Gibson Nelson Rivera Puerto Rico: Four Encounters Linking Dance, Music, and the Visual ArtsPart III. Decolonial Tasks: Improvisations, Performances, and Events Lydia PlatÓn LÁzaro The Possible from the Unknown: Transformations in the Present-Present of Improvisation Arnaldo RodrÍguez BaguÉ Curating the Foro Permanente de Performance, FPP RamÓn H. Rivera-Servera Moving Queer Feminist Movements in the Commons … or How Puerto Rico Dances its Decolonial DesiresPart IV. To Inhabit, to Write, to Move Alicia DÍaz ConcepciÓn Oscar Mestey Villamil Ñequi GonzÁlez MartÍnez teresa hernÁndez JesÚs Miranda Santiago (Pito) Awilda RodrÍguez Lora Jeanne d’Arc Casas Panouze Javier Cardona Otero NoemÍ Segarra RamÍrez Karen Langevin Pepe Álvarez ColÓnPart V. MAPA: Originary Cartographies--Interviews Alejandra Martorell Mapping Puerto Rico: Coordinates of Five Explorers of Dance as Performance Interviews with: Petra Bravo (HernÁndez) MeriÁn Soto Myrna Renaud Awilda Sterling-Duprey Viveca VÁzquez Sonia DaubÓn Aquino Guide to Informational and Bibliographic Resources on Experimental Dance in Puerto Rico Notes on Collaborators

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Book SynopsisExamines the representation of blackness on television at the height of the southern civil rights movement and again in the aftermath of the Reagan-Bush years. This book looks at how television's ideological projects with respect to race have supported or conflicted with the industry's incentive to maximize profits or consolidate power.Trade Review"Lucid and accessible in both argument and style, this book offers perhaps the most theoretically sophisticated treatment to date of the historical relationship between the civil rights movement and network television, as well as of the complexities of representations of race in contemporary television. It embraces a wide academic audience, opening a conversation across disciplines that too often fail to take each other's accomplishments into account."—Sharon Willis, University of Rochester"This book is distinguished by a rare combination of critical acumen and historical insight. Torres is characteristically incisive, presenting an argument that appears both incontrovertibly correct and wholly original."—Phillip Brian Harper, New York UniversityTable of ContentsList of Illustrations ix Acknowledgments xi INTRODUCTION 1 The Vicissitudes of the Stereotype 1 Issues and Some Answers 4 Television and Conservative Racial Projects after the '60s 8 CHAPTER ONE "In a crisis we must have a sense of drama": Civil Rights and Televisual Information 13 The Burden of Liveness 13 "Pictures are the point of television news" 15 "We have shut ourselves off from the rest of the world" 20 "That cycle of violence and publicity" 23 "The vehemence of a dream" 33 CHAPTER TWO The Double Life of "Sit-In" 36 "Sit-In"'s Industrial Context 36 "Sit-In" Flashes Back 39 "Sit-In" as a Movement Text 41 "Sit-In" and Black Idiom 44 CHAPTER THREE King TV 48 Rodney King Live 48 Liveness: An Ideology of Television and Race 49 L.A. Law and Televisual Justice 52 Doogie Howser, M.D., and Televisual Instruction 60 Rodney King Dead 68 CHAPTER FOUR Giuliani Time: Urban Policing and Brooklyn South 70 Cops and Cop Shows 70 Giuliani Time 71 How to Identify with the Cops 77 Good Cop, Bad Cop 83 CHAPTER FIVE Civil Rights, Done and Undone 86 "A virtual whitewash in programming" 86 Malcom X on TV 91 The Nick Styles Show 97 Video Surveillance and Counterspectatorship 103 NOTES 109 SELECTED BIBLIOGRAPHY 131 INDEX 137

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Book SynopsisExplores Greek conceptions of human innerness and the way in which Greek tragedy shaped European notions of mind and self. Arguing that Greek poetic language connects images of consciousness, with the darkness attributed to Hades and to women, this title analyzes tragedy's biological and daemonological metaphors for what is within.Trade ReviewOne of Choice's Outstanding Academic Titles for 1992 "A rich and brilliant study... [Padel] helps us to see not just that Greek ways of thinking are so profoundly alien, but also how they make sense and could be coherently lived. Her skill as a writer ... make[s] those foreign patterns of thought compellingly vivid."--Malcolm Heath, The Times Literary Supplement "Unfamiliar connections and perspectives will make [this] book important for professionals, and the vivid portrayal of an intense and exotic mental world will appeal to the serious general reader."--Jasper Griffin, The New York Review of Books "An intriguing book... Padel ranges widely over the medical writers, epic, comedy, and philosophy. She fortifies and enriches her arguments with the work of scholars in anthropology, psychology, and religion... A poet herself, she is very sensitive to the possibilities and associations of language."--Michael R. Halleran, Bryn Mawr Classical Review "Ruth Padel's close reading of the language of the extant plays will be helpful to scholars and provide a window onto ancient Greek ideas of the mind for the general reader."--The Washington TimesTable of ContentsPrefaceAcknowledgmentsAbbreviationsCh. 1Introduction: The Divinity of Inside and Outside3Ch. 2Innards12Entrails: Learning, Feeling, Dividing12Heart, Liver, Phrenes, Inner Liquids18"Spirit," "Soul," "Mind"27Metaphor and "Anatomical Details"33Concreteness of the Innards: Poroi and Pre-Socratics40Insight into Disunity44Ch. 3Disease and Divination: Knowing the Causes of Pain49External and Internal Forces of Disease49Channels to the Soul: The Vulnerability of Sight and Hearing59Inner Movement: Source of Knowledge, Sign of Pain65Black Prophetic Innards68Discourse of Darkness75Ch. 4The Flux of Feeling78Death, Sleep, Dream, and Underground Rivers78Flow and Storm81Breaths of Passion88Ch. 5Inner World, Underworld, and Gendered Images of "Mind"99"Mind," Earth, Womb, Hades99Inner Impurities and Emissions: "Good" Turned "Bad"102The Mainly Female "Mind"106Ch. 6The Zoology and Daemonology of Emotion114Daemonic Weather, Wind, Fire114Goads, Whips, Pursuit117Biting, Eating119Oistros, Poison, Snakes, Dogs120The Mobile Adversary One Cannot Fight125The Aerial Terrorist129These Inner Wounds Are Real132The Alternative: Growth Within134Ch. 7Animal, Daimon: Bringers of Death and Definition138Nonhuman: What We Defend Ourselves Against138Animal Weaponry141Using Animal Is Using Daimon144Nonhuman Definition of the Human147Gods' Weapons152Personifications157States of Mind: Multiple, Daemonic, Female159Ch. 8Blood in the Mind162Ate, Lyssa: Madness Personified162Epic Erinyes164Tragic Erinyes: Damage "from the Ground"168Blood, Murder, Madness172Erinyes Seen179The Most Polluted Day182Erinyes Unseen185Where the Terrible Is Good189Works Cited193Index205

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Book Synopsis"Like love, Greek poetry was not for hereafter," writes Eva Stehle, "but shared in the present mirth and laughter of festival, ceremony, and party." Describing how men and women, young and adult, sang or recited in public settings, Stehle treats poetry as an occasion for the performer's self-presentation. She discusses a wide range of pre-HellenistTrade Review"Stehle has set about the important and arduous task of situating existing texts and text fragments of ancient Green nondramatic poetry in their performative contexts ... This is a thorough analysis ... clearly written and compelling, a valuable resource for classics, gender, and performance studies scholars and students."--Classical WorldTable of ContentsPrefaceAbbreviationsIntroduction3Ch. 1Community Poetry26Ch. 2Women in Performance in the Community71Ch. 3Male Performers in the Community119Ch. 4Bardic Poetry170Ch. 5The Symposium213Ch. 6Sappho's Circle262Conclusion319Appendix: Chronology of Primary Sources326Transliterated Terms329Bibliography331Index Locorum353General Index357

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Book SynopsisElizabeth Belfiore offers a striking new interpretation of Aristotle's Poetics by situating the work within the Aristotelian corpus and in the context of Greek culture in general. In Aristotle's Rhetoric, the Politics, and the ethical, psychological, logical, physical, and biological works, Belfiore finds extremely important but largely neglected sTable of ContentsAcknowledgmentsAbbreviationsIntroduction3Pt. IThe Greek Background7Ch. 1The Gorgon at the Feast9Gorgon and Gorgoneion11Pindar14Eumenides19A Medicine to Produce Aidos30Pt. IIPlot: The Soul of Tragedy41Ch. 2Philia and Tragic Imitation44Imitation45Representation48Production: Tragedy Imitates Nature53Similarity63Theoria66Philia70Ch. 3Plot and Character83The Plot-Character Distinction83Ethos92Ethos as Part of Tragedy94The Spoudaioi100Problems103Plot and Ethos in the Greek Tragedies107Ch. 4Necessity, Probability, and Plausibility111Necessity and Probability111Plausibility, Plot, and Episode119Ch. 5Parts and Wholes132The Parts of the Plot132Pathos134Peripeteia141Recognition153Good and Bad Plots160Poetics 13: Changes and Characters161Poetics 14: Pathos and Recognition170Pt. IIIPity and Fear177Ch. 6Fear, Pity, and Shame in Aristotle's Philosophy181Pity, Fear, and Physical Danger181Fear of Disgrace: Aidos and Aischune189Aristotle and the Greek Tradition190Rhetoric192Nicomachean Ethics193Eudemian Ethics199Aidos, Excellence, and Habituation203Kataplexis and Ekplexis216Summary222Ch. 7Tragic Emotion226Pity and Pear in the Poetics226Aesthetic and Real-Life Emotion238Flight and Pursuit238Tragedy and Rhetoric246Pt. IVKatharsis255Ch. 8Katharsis and the Critical Tradition257The Definition of Tragedy257The Homeopathic Prejudice260Homeopathy: Theoretical Problems266Homeopathy: The Ancient Evidence278Ch. 9Katharsis in Aristotle's Philosophy291Overview292Physical Katharsis300Katharsis of the Katamenia300Medical Katharsis306Psychic Katharsis314Purity315Psychic and Physical Excellence317Politics 8320Iron and Wood327The Platonic Elenchus331Ch. 10Tragic Katharsis337Glossary361Aristotelian Texts Used363Bibliography365Index of Passages Cited381General Index405

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Book SynopsisBesides documenting the predominant presence of privileged patrons in the audience, the author discusses the shape of the privileged life, the place of the privileged in the social structure, the forces that drew so many of them to London, and the factors that made them such avid theatergoers. Originally published in 1981. The Princeton Legacy LiTable of Contents*FrontMatter, pg. 1*Contents, pg. 5*Preface, pg. 7*Introduction, pg. 8*Edward Nelson, pg. 12*Andrei Okounkov, pg. 14*Michael Artin, pg. 16*John Horton Conway, pg. 18*Friedrich E. Hirzebruch, pg. 20*Janos Kollar, pg. 22*Richard Ewen Borcherds, pg. 24*David Mumford, pg. 26*Bryan John Birch, pg. 28*Sir Michael Francis Atiyah, pg. 30*Isadore Manual Singer, pg. 32*Mikhael Leonidovich Gromov, pg. 34*Kevin David Corlette, pg. 36*Sun-Yung Alice Chang, pg. 38*Shing-Tung Yau, pg. 40*John Forbes Nash, Jr., pg. 42*Karen Keskulla Uhlenbeck, pg. 44*James Harris Simons, pg. 46*Phillip Griffiths, pg. 48*Gang Tian, pg. 50*Heisuke Hironaka, pg. 52*Eriko Hironaka, pg. 54*John Willard Milnor, pg. 56*Joan S. Birman, pg. 58*Frances Kirwan, pg. 60*Robion Kirby, pg. 62*Burt Totaro, pg. 64*Simon Donaldson, pg. 66*Henri Cartan, pg. 68*Robert D. Macpherson, pg. 70*Michael Freedman, pg. 72*Margaret Dusa Mcduff, pg. 74*William Paul Thurston, pg. 76*Bertram Kostant, pg. 78*John N. Mather, pg. 80*Maryam Mirzakhani, pg. 82*Curtis Mcmullen, pg. 84*Dennis Parnell Sullivan, pg. 86*Stephen Smale, pg. 88*Marina Ratner, pg. 90*Yakov Grigorevich Sinai, pg. 92*Benoit Mandelbrot, pg. 94*George Olat Okunbo Okikiolu, pg. 96*Kate Adeb Ola Okikiolu, pg. 98*William Timothy Gowers, pg. 100*Lennart Axel Edvard Carleson, pg. 102*Terence Chi-Shen Tao, pg. 104*Robert Clifford Gunning, pg. 106*Elias Menachem Stein, pg. 108*Joseph John Kohn, pg. 110*Charles Louis Fefferman, pg. 112*Robert Fefferman, pg. 114*Yum-Tong Siu, pg. 116*Louis Nirenberg, pg. 118*William Browder, pg. 120*Felix E. Browder, pg. 122*Andrew Browder, pg. 124*Cathleen Synge Morawetz, pg. 126*Peter David Lax, pg. 128*Alain Connes, pg. 130*Israel Moiseevich Gelfand, pg. 132*Vaughan Frederick Randal Jones, pg. 134*Sathamangalam Rangaiyengar Srinivasa Varadhan, pg. 136*Marie-France Vigneras, pg. 138*Michele Vergne, pg. 140*Robert Phelan Langlands, pg. 142*Jean-Pierre Serre, pg. 144*Adebisi Agboola, pg. 146*Marcus Du Sautoy, pg. 148*Peter Clive Sarnak, pg. 150*Gerd Faltings, pg. 152*Enrico Bombieri, pg. 154*Viscount Pierre Deligne, pg. 156*Noam D. Elkies, pg. 158*Benedict H. Gross, pg. 160*Don Zagier, pg. 162*Barry Mazur, pg. 164*Sir Andrew John Wiles, pg. 166*Manjul Bhargava, pg. 168*John T. Tate, pg. 170*Nicholas Michael Katz, pg. 172*Kenneth Ribet, pg. 174*Persi Warren Diaconis, pg. 176*Paul Malliavin, pg. 178*William Alfred Massey, pg. 180*Harold William Kuhn, pg. 182*Avi Wigderson, pg. 184*Arlie Petters, pg. 186*Ingrid Chantal Da Ubechies, pg. 188*Sir Roger Penrose, pg. 190*Robert Endre Tarjan, pg. 192*Davi D Harold Blac Kwell, pg. 194*Afterword, pg. 197*List of Mathematicians, pg. 198*Acknowledgments, pg. 200

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Book SynopsisThe conventions of television and their impact on composer and opera are discussed, with particular reference to Amahl and the Night Visitors, Owen Wingrave, and The Triumph of Beauty and Deceit.Television opera - that is, opera commissioned for television - was one of the earliest attempts by television to bridge the distinction between high culture and popular culture: between 1951 and 2002, in Britain and the United States, over fifty operas were commissioned for television. This book discusses three case studies, the first a live broadcast, the second a video recording, and the third a filmed opera made for television: Gian Carlo Menotti's Amahl and the Night Visitors (NBC, 1951); Benjamin Britten's Owen Wingrave (BBC, 1971), taking into account Britten's earlier television experiences with The Turn of the Screw (Associated Rediffusion, 1959)and Billy Budd (NBC, 1952 and BBC 1966); and Gerald Barry's The Triumph of Beauty and Deceit (1995), part of Channel 4's decision in 1989 to embark upon a series of six hour-long television operas. In each case, thecomposer's response to the demands of television, and his place within the production's hierarchy, are examined; and the effect of the formats and techniques peculiar to television on the process of composing are discussed. JENNIFER BARNES is Assistant Principal and Dean of Studies at Trinity College of Music, London.Trade ReviewThe book's downbeat subtitle says it all: the genre seems to be dying on its shaky feet. It is a slightly esoteric subject, but one the author has pursued with laudable persistence based on extensive research. -- Alan Blyth * GRAMOPHONE *[This] study is a significant contribution to the growth of the still-young scholarship on mediated opera. * NOTES *Packed with closely researched detail, precisely and elegantly argued. It makes for compulsive and intelligent reading. * BBC MUSIC MAGAZINE *Table of Contents"A daring experiment"; Britten, opera and television; trial by television.

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Book SynopsisAspects of medieval theatre examined for reflection of contemporary life.The essays in this volume explore ways in which plays and public spectacles mirrored the beliefs and values of the late medieval world. Topics covered include seasonal festivals, trade gilds, stagecraft, and the role played by themunicipal governments in fostering and controlling dramatic productions. The geographic range takes in all western Europe, with particular consideration of the connections between the various medieval European dramatic traditions. Inter-disciplinary in approach, perspectives range from the history of theatre to cultural and political history and literary criticism. There is particular emphasis on the real advances that can be made in expanding knowledge of medieval theatre through research in local and regional archives. ALAN E. KNIGHT is professor emeritus of French at the Pennsylvania State University. Contributors: ALEXANDRA F. JOHNSTON, LYNETTE R. MUIR, PAMELA SHEINGORN, R.B. DOBSON, GERARD NIJSTEN, CLIFFORD DAVIDSON, WIM HÜSKEN, STEPHEN SPECTOR, ALAN E. KNIGHTTrade ReviewDemonstrates the continuing excellence and vitality of scholarship in this field...the essays are of an extremely high standard. * TIMES HIGHER EDUCATION SUPPLEMENT *Table of Contents`The Stage as Context: Two Late Medieval French Susanna Plays'. - Alexandra F. Johnston `Playing God in Medieval Europe'. - Lynette Muir `The Bodily Embrace or Embracing the Body: Gesture and Gender in Late Medieval Culture'. - Pamela Sheingorn `Craft Guilds and City: The Historical Origins of the York Mystery Plays Reassessed'. - R B Dobson `Feasts and Public Spectacle: Late Medieval Drama and Performance in the Low Countries'. - `Civic Drama for Corpus Christi at Coventry: Some Lost Plays'. - Clifford Davidson `Politics and Drama: The City of Bruges as Organizer of Drama Festivals'. - Wim Husken `Time, Space and Identity in the 'Play of the Sacrament''. - Stephen Spector `The Stage as Context: Two Late Medieval French Susanna Plays'. - Alan E. Knight

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Book SynopsisInvestigates German religious drama since the 1970s, asking the question whether it develops religious themes or only exploits religious motifs, and exploring how it reflects the changing place of religion and spirituality in theworld. Critics often claim that the twenty-first century has seen a sudden "return" of religion to the German stage. But although drama scholarship has largely focused on politics, postmodernity, gender, ethnicity, and "postdramatic" performance, religious themes, forms, and motifs have been a topic and a source of inspiration for German dramatists for several decades, as this study shows. Focusing on works by four major dramatists - Botho Strauß, George Tabori,Werner Fritsch, and Lukas Bärfuss - this book examines how, why, and to what effect religion is invoked in German drama since the late 1970s. It asks whether contemporary German drama succeeds in developing religious insights or is at most quasi-religious, exploiting religious signs for aesthetic, theatrical, or dramaturgical ends. It considers the performative and historical intersections between drama and religion, contextualizing the playwrights' treatments of religion by exploring how they lean on or repudiate the traditions of modern European drama, especially that of Strindberg, the Expressionists, Artaud, Grotowski, and Beckett. It also draws on the sociology, anthropology,and psychology of religion, exploring how these works reflect the changing place of religion and spirituality in the world, from secularization to the "alternative" modes of religiosity that have proliferated in Western society since the 1960s. Sinéad Crowe is a Teaching Assistant at the University of Limerick, Ireland.Trade ReviewCrowe largely succeeds in reaching her objective of offering thought-provoking interpretations of religion in contemporary avant-gardist German-language theatre. In her analyses of religious elements in individual dramas, in particular, she provides models of thoughtful, well-researched commentary on the use of religion in literature in general, while taking full consideration of the context, the medium, and the audience. * SEMINAR *Table of ContentsIntroduction: Definitions and Themes The Relationship between Theater and Religion Religion in Modern European Theater and Drama "No One Wants to Get to God Anymore"? Botho Strauß's Groß und klein and Die eine und die andere Theological Farce: George Tabori's Mein Kampf "The Last Refuge for Metaphysics": Werner Fritsch's Theater Theory "The Feeling of Faith": Fritsch's Wondreber Totentanz and Aller Seelen Belief and Unbelief in the Twenty-First Century: Lukas Bärfuss's Der Bus (Das Zeug einer Heiligen) Conclusion Bibliography Index

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Book SynopsisThis book describes the "glory years" of Ira Aldridge's first Continental tour, during which he won more awards and honors, often conferred by royalty, than any other actor of his day. Ira Aldridge: Performing Shakespeare in Europe, 1852-1855, the third volume of Bernth Lindfors's award-winning biography, traces the American-born black classical actor's itinerary on his first Continental tour. Starting inBrussels and following Aldridge up the Rhine to Basel, on to Berlin and Vienna, and cities in Prussia and Hungary, Lindfors recounts the major performances and analyzes audience responses to them. Because European audiences wanted to see this "African" actor in Shakespearean roles rather than in the melodramas and farces that were popular in Britain, Aldridge concentrated almost exclusively on performing as Othello, Shylock, Macbeth, and Richard III. He performed the roles in English even when acting with local companies who spoke in German, Hungarian, or another European language. Aldridge's impressive manner of interpreting these characters won him many honors, awards, and medals, some bestowed by heads of state or by national academies. Drawing on myriad reviews, playbills, and letters, many of them penned by Aldridge himself, Lindfors examines in detail Aldridge's interpretations of these timeless characters and shows why these were Aldridge's glory years. Bernth Lindfors, professor emeritus of English and African Literatures, University of Texas at Austin, is the author of Ira Aldridge: The Early Years, 1807-1833 and Ira Aldridge: The Vagabond Years, 1833-1852, both published by the University of Rochester Press in 2011.Trade ReviewWinner of the Theatre Library Association's 2015 George Freedley Award Special Jury Prize * . *As a meticulously researched study with superb supplementary materials, Lindfor's book is a very valuable historical resource. * THEATRE SURVEY *The third volume of Bernth Lindfor's estimable multi-volume biography of Aldridge provides an in-depth, thoroughly researched account of Alridge's 1852-1855 Continental tour. * NEW THEATRE QUARTERLY *Recommended. * CHOICE *Bernth Lindfors's Aldridge series is a breathtaking and ambitious project of both superlative scholarship and the utmost historical importance, written in a precise, fluent, and charming style that is straightforward and authoritative. In Ira Aldridge: Performing Shakespeare in Europe, 1852-1855, Lindfors provides much new information on topics such as Aldridge's character, acting style, use of gesture and voice, performance strategies, and ideological disposition that will become anchoring reference points for future scholarship. --Colin Chambers, author of Black and Asian Theatre in Britain: A History * . *Table of ContentsIntroduction Making Up a Company Brussels Navigating up the Rhine Moving into the Interior Berlin On to Vienna Hungarian Rhapsodies Comparisons and Contrasts Personal and Personnel Matters Hungarian Rap Sheet Prussia, Germany, Switzerland Homeward Bound Interpreting Shakespeare Further Travels Appendixes Notes Selected Bibliography Index

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Book SynopsisThis final volume of Bernth Lindfors's definitive biography records the remarkable achievements and experiences of Ira Aldridge in the last years of his life, when he performed at theaters throughout Europe. Ira Aldridge The Last Years, 1855-1867, the fourth volume of Bernth Lindfors's definitive biography, places on record Aldridge's remarkable achievements and experiences in the final phase of his life, when he performed at theaters throughout Europe. His first Continental tour in 1852-1855 had been a spectacular success, and though he returned to Britain periodically afterwards, he spent much of the remainder of his career entertaining audiences in central and eastern Europe, mainly in Ukraine and Russia. His Shakespearean performances in St. Petersburg in 1858 and Moscow in 1862 were among his greatest triumphs and led to numerous appearances elsewhere in provincial cities and towns. During his forty-three years on stage in Europe, Ira Aldridge traveled more widely and won more honors, decorations, and awards than any other actor of his day. He is remembered not only as a talented thespian but also as a very visible representative of his race, someone who changed European perceptions of black people through the sheer brilliance of his artistry on stage. And by doing so, he helped to humanize the image of Africans andtheir descendants in Europe at an important transitional moment in history, when the movement to abolish slavery was gathering force and winning international acceptance. Bernth Lindfors is Professor Emeritus of English and African literatures at the University of Texas at Austin.Trade ReviewThrough his thorough mining of a vast array of European archives, Lindfors surpasses all previous studies in recounting the actions of, and wildly contradictory viewpoints towards, this seminal figure ... his absolute mastery of the sources and deep understanding of Aldridge and the period lead to probing insights. * THEATRE JOURNAL *With Ira Aldridge The Last Years, 1855-1867, Berth Lindfors concludes what will surely remain the definitive biography of the great nineteenth-century African American actor, Ira Aldridge, for many a decade ... Through an exhaustive search of local reviews and commentary he is able not only to follow Aldridge on his travels, but also to provide a wide range of observations on the actor's technique and artistic success. * RESEARCH IN AFRICAN LITERATURE *Winner of the Theatre Library Association's 2015 George Freedley Award Special Jury Prize * . *Lindfors's four-volume biography is destined to become the standard life of Aldridge, without equal in the future. Highly recommended. * CHOICE *Table of ContentsList of Illustrations Acknowledgments Abbreviations Introduction Readjusting to Britain Crim. Con. On the Road Again Stockholm The Second Continental Tour Pest and Buda A Short Break The Third Continental Tour Home Again The Fourth Continental Tour The Fifth Continental Tour The Sixth Continental Tour Taking a Break The Seventh Continental Tour Another Break The Eighth Continental Tour The Ninth Continental Tour Final Acts Postmortem Notes Selected Bibliography Index

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Book SynopsisA listing of plays performed in the theatres of Alicante during the first decade of the 20th century. With this volume, the scope of the Fuentesseries widens both geographically and chronologically. The first volumes dealt with Madrid, concentrating, though not exclusively, on the sixteenth and seventeenth centuries. Latervolumes covered Alcalà de Henares, Tudela and Córdoba. In the present volume Francisco Reus Boyd-Swan lists the plays performed in the theatres of Alicante during the first decade of the twentieth century. Recent critics have become aware of the need to treat the theatre of the provinces of Madrid in the nineteenth and twentieth centuries as seriously as that of the capital, and to study it in equal depth. In his Introduction the author recounts the history of the twelve theatres which were in use in the period and studies legislation affecting the theatres, special performances, times and prices of perfomances and analyses the theatre-going public and the types of plays presented. The main listing of plays is in chronological order, supported by indexes of playwrights, librettists and composers. Twelve illustrations include plans of theatres and reproductions of contemporary posters. FRANCISCO REUS BOYD-SWAN is a graduate of the Universidad Nacional de Educación a Distancia, Spain's Open University.

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Book SynopsisEste libro es el primero en examinar lo radicalmente nuevo y desafiante Teatro Pánico, un grupo de obras compuestas por Arrabal entre 1957 y 1966, en el apogeo del movimiento avant-garde. ENGLISH VERSION This book is the first to examine closely the radically new and challenging Panic Theatre, a group of plays composed by Arrabal between 1957 and 1966, at the zenith of the avant-garde movement.Trade ReviewTo be sure, Santos Sánchez's detailed textual analyses offer a useful basis for understanding Arrabal's avant-garde theatre and performance practices of the 1960s. * SYMPOSIUM *Table of ContentsIntroducción Las obras La ceremonia pánica Los mecanismos de la memoria y la neg(oci)ación de la narración Las reglas del azar y la ordenación rigurosa de la acción La confusión y la imperfección de los elementos de la escena Conclusión Bibliografía

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Book SynopsisThis collection of original essays focuses on the cross-currents and points of contact among Spain, Portugal and Latin America and their impact on the regions' film industries. This book focuses on the cross-currents and points of contact in film production among so-called Hispanic countries (Spain, Portugal and Latin America), and in particular the impact that co-production and supranational funding initiatives are having on both the film industries and the films of Latin America in the twenty-first century. Together with chapters that discuss and further develop transnational approaches to reading films in the Hispanic and Latin American context, the volume includes chapters that focus on funding initiatives, such as IBERMEDIA, that are aimed at Spain, Portugal and Latin America. An analysis of such initiatives facilitates a nuanced discussion of the range of meanings afforded to the term transnationalism: from the workings of those driven by economic imperatives, such as co-productions and 'Hispanic' film festivals, to the cultural, for example the invention of a marketable 'Latinamericaness' in Spain, or a 'Hispanic aesthetic' elsewhere. Stephanie Dennison is Reader in Brazilian Studies at the University of LeedsTrade ReviewThis volume offers an insightful synthesis of the cross currents and co-operation in film production between Latin America and the Iberian Peninsula..a useful book for university students, especially at honours level, and for some academics working in this area. I would expect it to fall into the category of recommended reading, particularly for courses dealing with Hispanic and Latin-American cinema in both departments of Hispanic Studies and Comparative Literature. * BULLETIN OF SPANISH VISUAL STUDIES *Table of ContentsEditor's Introduction - Stephanie Dennison National, Transnational and Post-national:Issues in Contemporary Film-making in the Hispanic World - Stephanie Dennison Redefining Transnational Cinemas:A Transdisciplinary Perspective - Libia Villazana Deconstructing and Reconstructing 'Transnational Cinema' - Deborah Shaw Ibero-Latin American Co-productions: Transnational Cinema, Spain's Public Relations Venture or Both? - Tamara Falicov Building Latin American Cinema in Europe: Cine en Construcción/ Cinéma en construction - Núria Triana-Toribio Pedro Almodóvar's Latin-American 'Business' - Marvin D'Lugo Transnational Film Financing and Contemporary Peruvian Cinema: The Case of Josué Méndez - Sarah Barrow The Silenced Screen: Fostering a Film Industry in Paraguay - Catherine Leen Finance and Co-productions in Brazil - Alessandra Meleiro Epilogue - Stephanie Dennison Works Cited - Stephanie Dennison

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Book SynopsisPeral Vega explores the importance of Pierrot as a symbol of failure in matters of love in García Lorca's imagery and his literary and personal life. Academic research has paid little attention to the importance of the figure of Pierrot in García Lorca's imagery and, above all, in his literary and personal life. An image of marginality and failure, Pierrot was soon taken over by Spanish intellectuals of the early twentieth century as a representation of the bohemian spirit and, corresponding to his marginal status in matters of love, as a symbol of furtive desires experienced by those whose sexuality had to remain silent. Consequently, García Lorca, as Pierrot, needs a mask to cover his identity, facing perpetual failure in his relentless pursuit of the other. As can be seen already from the poems, prose and plays of his youth,García Lorca outlines in Pierrot his innermost self, a trend that will continue in the aforementioned series of drawings and some of his major pieces, such as El público. Pierrot / Lorca: White Carnival of Black Desire aims, from a multidisciplinary perspective, to open new critical readings of both García Lorca's work and some episodes of his life; as with, for example, his relationship with Salvador Dalí, which can be presented in theatrical terms: Harlequin (Dalí) / Pierrot (García Lorca). Emilio Peral Vega is Associate Professor of Spanish Literature at the Universidad Complutense de Madrid.Trade ReviewEmilio Peral Vega's new monograph, . . . a welcome new title on Lorcan queer studies, restores authorial intention to both creative and critical endeavors, while addressing complex relationships between the personal and the aesthetic, artisticand lived experiences, and visual and literary cultural domains. * STUDIES IN 20TH and 21ST CENTURY LITERATURE *[Peral] combines his deep knowledge of the history of this mask with sharp insights and imaginative thinking to shed new light on García Lorca's multifaceted output. * MODERN LANGUAGE REVIEW *[This] book stands as a mandatory reading for those interested in carnival representation of both the poetic self and the dramatic character in Federico García Lorca's works. * ANAGNÓRISIS *Emilio Peral has written a provocative book that will invite further discussion. * BULLETIN OF SPANISH STUDIES *Table of ContentsPrologue A Modern Mask: from Deburau to The Tramp First Examples of an Effeminate Pierrot: from Verlaine to Lorca Pierrot / Lorca: Alter Ego for a Young Poet Lorca / Pierrot: Between Painting and Theatre Love Game and Masquerade: Dalí / Lorca Perlimplín / Lorca / Pierrot: Frustrated Desire A White Clown for a Black Desire: El público and Así que pasen cinco años Epilogue Bibliography

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Book SynopsisThe Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration. Table of ContentsChapter 1: Theatre and Migration: Defining the Field.- Section One: Theatre and Migration: Themes and Concepts. Chapter 2: The Eternal Immigrant and the Aesthetics of Solidarity.Chapter 3: ‘A Real State of Exception’: Walter Benjamin and the Paradox of Theatrical Representation.Chapter 4: Theatre as Refrain: Representations of Departure from the Terezín/Theresienstadt Ghetto.Chapter 5: Refugees and the Right to Have Rights.Chapter 6: Postmigrant Theatre and its Impact on Contemporary German Theatre.Chapter 7: Interculturalism and Migration in Performance: From Distant Otherness to the Precarity of Proximity. Chapter 8: Cosmopolitanism: The Troublesome Offset of Global Migration.-Chapter 9: Indigenous Migrations: Performance, Urbanization and Survivance in Native North America.Chapter 10: Migratory Blackness in Leave Taking and Elmina’s Kitchen.Chapter 11: ‘What needs to happen so we may remain at home?’: Climate Migration and Performance.Chapter 12: Theatre’s Digital Migration, by Matthew Causey.- Section Two: Early Representations of Migration.Chapter 13: Theatre and Migration in Gilgamesh.Chapter 14: Migration and Ancient Indian Theatre.Chapter 15: Fated Arrivals: Greek Tragedy and Migration.Chapter 16: Migration in Greek and Roman Comedy.Chapter 17: Migrating Souls and Witnessing Travellers in the Dramaturgy of Nō Theatre.Chapter 18: The Things She Carried: The Vertical Migrations of Lady Rokujō in Japanese Theatre.Chapter 19: The Stranger’s Case: Exile in Shakespeare.Chapter 20: The ‘English Comedy’ in Early Modern Europe: Migration, Emigration, Integration.Chapter 21: Migrations and Cultural Navigations on Early-Modern Italian Stages.- Section Three: Migration and Nationalism.Chapter 22: Immigration and Family Life on the Early Twentieth-Century Argentine Stage.Chapter 23: Sonless Mothers and Motherless Sons, or How Has Polishness Haunted Polish Theatre Artists in Exile?.Chapter 24: All Our Migrants: Place and Displacement on the Israeli Stage.Chapter 25: Shylock is Me: Aryeh Elias as an Immigrant Jewish-Iraqi Actor in the Israeli Theatre.Chapter 26: Emerging, Staying or Leaving: ‘Immigrant’ Theatre in Canada.Chapter 27: Migrant Artists and Precarious Labour in Contemporary Russian Theatre.Chapter 28: Chicano Theatre and (Im)migration: La víctima.Chapter 29: Staging War at the Home Depot: Yoshua Okón’s Octopus and the Shadow Economy of Migrant Labour.Chapter 30: From Emigrant to Migrant Nation: Reckoning with Irish Historical Duty.Chapter 31: Dwelling in Multiple Languages: The Impossible Journeys Home in the Work of Sidi Larbi Cherkaoui and Akram Khan.- Section Four: Migration, Colonialism and Forced Displacement.Chapter 32: The Theatre of Displacement and Migration in Southern Africa: Zimbabwe and South Africa in Focus.Chapter 33: From the Yoruba Travelling Theatre to the Nobel Prize in Literature: Nigerian Theatre in Motion.Chapter 34: Migratory Subjectivities and African Diasporic Theatre: Race, Gender and Nation.Chapter 35: Immobile Relegations and Exiles: Creation and Migration in French Theatre Between 1980 and 2020.Chapter 36: Storying Home: Retracing the Trail of Tears to Restore Ekvnvcakv.Chapter 37: Diasporic Trauma, Nativized Innovation, and Techno-Intercultural Predicament: The Story of Jingju in Taiwan.Chapter 38: Our Life Together: War, Migration, and Family Drama in Korean American Theatre.Chapter 39: Chronicles of Refugees Foretold, by Hala Khamis Nassar.Chapter 40: Ukrainian Theatre in Migration: Military Anthropology Perspective.- Section Five: Refugees.Chapter 41: Spaces and Memories of Migration in Twenty-First Century Greek Theatre: Station Athens’ I Left (E_Φυγα).Chapter 42: Troubled Waters: The Representation of Refugees in Maltese Theatre.Chapter 43: Staging Borders: Immigration Drama in Spain, from the 1990s to the Present.Chapter 44: Performance and Asylum Seekers in Australia (2000-2020).Chapter 45: Ramadram: Refugee Struggles, Empowerment and Institutional Openings in German Theatre.Chapter 46: To Come Between: Refugees at Sea, from Representation to Direct Action.Chapter 47: Theatre, Migration, and Activism: The Work of Good Chance Theatre.Chapter 48: Theatre and Migration in the Balkans: The Death of Asylum in Žiga Divjak’s The Game.Chapter 49: Theatre of the Syrian Diaspora.Chapter 50: The Finnish National Theatre, Refugees, and Equality.- Section Six: Itinerancy, Traveling and Transnationalism.Chapter 51: Transnationality: Intercultural Dialogues, Encounters, and the Theatres of Curiosity.Chapter 52: German Theatre and August von Kotzebue’s Theatrical Success and Pitfalls in Russia.- Chapter 53: The Itinerant Puppet.Chapter 54: Fin-de-siècle Black Minstrelsy, Itinerancy, and the Anglophone Imperial Circuit.Chapter 55: Actor Migration to and from Britain in the Nineteenth Century.Chapter 56: Migration and Marathi Theatre in Colonial India, 1850-1900.Chapter 57: The Dybbuk: Wandering Souls of the Vilna Troupe and Habimah Theatre.Chapter 58: Indian Circus: A Melting Pot of Migrant Artists, Performativity, and Race.Chapter 59: Contemporary (Post-)Migrant Theatre in Belgium and the Migratory Aesthetics of Milo Rau’s Theatre of the Real.Chapter 60: Belarus Free Theatre: Political Theatre in Exile.

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