Other performing arts Books

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Book SynopsisTaking an interdisciplinary approach, this book provides an in-depth analysis of Takarazuka’s history, educational traditions and theatrical ethos viewed from the prism of Japan’s modernization and globalization in the twentieth century. Its relationship to Japanese popular culture, especially in the fields of manga and fashion as well as its ongoing success are also addressed.Trade Review„Makiko Yamanashi erhellt die Geschichte des Takarazuka-Theaters, das in den Zeiten des japanischen Imperialismus auch zu Propagandazwecken missbraucht und unter anderem für mehrere Tourneen in der besetzten Mandschurei eingesetzt wurde. Die Autorin gibt, und dies macht die Lektüre besonders wertvoll, einen Einblick in die sozialen Hintergründe und die Gender-Aspekte der Revue, die zu Unrecht bisher noch nicht als eine eigenständige Tradition der japanischen Populärkultur anerkannt worden ist.“ Neue Züricher Zeitung, (14.07.12 / Nr.162 / Seite 56 / Teil 01)

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Book SynopsisIn the 1960s, Kurokawa’s historic nō tradition, as theatre and festival, came under the spotlight of the Japanese public. Advertised as ‘secret nō of the snow country’ it soon became one of the most well-known and long-studied folk performing arts traditions. That a secluded village isolated by mountainous country around it should have developed and sustained a high cultural entertainment such as nō theatre and integrated it into Shinto shrine festivals, prompted considerable interest among folklore scholars, theatre researchers, politicians, and tourists alike. Even today Kurokawa nō continues to be regarded as an example of an earlier form of Japanese culture and folk tradition that essentially has been frozen in time over the course of many centuries. In this volume, the author provides a detailed record of the history and development of Kurokawa nō and the processes of its transmission over the generations. The author also examines its impact on the wider cultural life of Japan and its literary heritage, the travel industry, government policy and folklore traditions in Japan generally. In addition, Kurokawa Nō offers an invaluable, authentic case study in the wider context of notions of Japanese self-perception and self-representation.

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Book SynopsisWhat happens, when dance and literature meet; when movement is integrated into the literary world or even replaces verbal communication? This study explores dance in British literature from Shakespeare to Yeats, and illustrates the many ways in which these two forms of artistic expression can enter into various kinds of intermedial encounters and cultural alliances.Table of ContentsContents Acknowledgements 1. Introduction 2. THEORY: Mediality and Literalised Dance 2.1. Definition of Medium 2.2. Literature as Medium 2.2.1. A Semiotic Perspective on Literature 2.2.2. From a Semiotic to a Cultural Perspective on Literature 2.3. Dance as Medium . 2.3.1. General Statements 2.3.2. A Semiotic Perspective on Dance 2.3.2.1. Movement 2.3.2.2. Time 2.3.2.3. Space 2.3.3. From a Semiotic through a Cultural to an Intermedial Perspective on Dance 2.3.3.1. Dance Genres as Markers of Class, National Identity, and Gender 2.3.3.2. The Body and Signification . 3. TYPOLOGY: Literalised Dance as Intermedial Encounter 3.1. Intermediality as a Concept 3.2. Toward a Typology of Literalised Dance 3.2.1. A Semiotic Approach 3.2.1.1. Extra-compositional Intermediality 3.2.1.2. Intra-compositional Intermediality 3.2.2. A Cultural Approach 3.2.2.1. Literalised Dance as a Platform for Cultural Discourse . 3.2.2.2. Representations of Dance Culture in Poetry and Caricature 4. CASE STUDIES: Literalised Dance in British Drama 4.1. Dance in British Drama from the Renaissance to the 18th Century 4.1.1. Plurimediality in Renaissance Masques— Dance as Allegory of Order: Jonson’s Hymenaei and Shakespeare’s The Tempest, Jonson’s Pleasure Reconciled to Virtue, Milton’s Comus 4.1.2. Intermedial Reference and Cultural Ridicule in Restoration and 18th Century Comedy: Wycherley’s The Gentleman Dancing Master, Sheridan’s The Rivals 4.2. Dance in British Drama of the 19th Century 4.2.1. Popular Literature and the Waltz 4.2.1.1. The Waltz: A Public Scandal and its Poetic Representations 4.2.1.2. The Waltz in 19th Century ‘Illegitimate’ Drama 4.2.2. Elitist Drama and Modern Dance 4.2.2.1. Presence through Absence: Oscar Wilde’s Salome 4.2.2.2. The Revolution of Modernism: Yeats and Modern Dance 5. Conclusion Works Cited List of Illustrations Index

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Book SynopsisFighting arts have their own beauty, internal philosophy, and are connected to cultural worlds in meaningful and important ways. Combining approaches from ethnomusicology, ethnochoreology, performance theory and anthropology, the distinguishing feature of this book is that it highlights the centrality of the pluripotent art form of pencak silat among Southeast Asian arts and its importance to a network of traditional and modern performing arts in Southeast Asia and beyond. By doing so, important layers of local concepts on performing arts, ethics, society, spirituality, and personal life conduct are de-mystified. With a distinct change in the way we view Southeast Asia, this book provides a wealth of information about a complex of performing arts related to the so-called 'world of silat'. An ancillary media companion website (www.bits4culture.org/pencaksilatandmusic/) is part of this work. Login authorisation information is included in the book. Contributors include: Bussakorn Binson, Jean-Marc de Grave, Gisa Jähnichen, Margaret Kartomi, Zahara Kamal, Indija Mahjoeddin, Ako Mashino, Paul H. Mason, Uwe U. Paetzold, Kirstin Pauka, Henry Spiller and Sean Williams.Trade Review"The Fighting Art of Pencak Silat and Its Music [2016] is a fine example of how martial arts studies can encompass musical (and choreographic) considerations alongside issues of culture, society, religion, ritual, media, politics, nationalism, identity, gender, and embodiment. One of the greatest strengths of this book is its broad-yet-deep approach, which is unlikely to have been possible as a single, double, or even triple-author monograph. The twelve contributors combine approaches from ethnomusicology, ethnochoreology, anthropology, and performance studies. They cover nearly the whole ‘world of silat’, including Indonesia, Malaysia, Singapore, Brunei Darussalam, southern Thailand, and overseas transplants. [...] The Fighting Art of Pencak Silat and Its Music would be a valuable resource for people with interests in martial arts as a blurred genre, as well as in the general topic area of Southeast Asian performing arts. [...] I heartily recommend this book." – Colin P. McGuire, in Martial Arts Studies 3/2016 (DOI 10.18573/j. 2017.10100) "The chapters will give the reader a deeper appreciation of the social context, historical development and aesthetic nuances of different genres of pencak silat and silat-inspired performance arts. The Fighting Art of Pencak Silat and Its Music will interest anthropologists, philosophers, cultural theorists, Southeast Asian scholars, and Indonesianists, not to mention musicians, dancers and other performance artists. Ethnomusicologists and dance anthropologists in particular will find this volume an indispensable addition to their libraries. As a bonus, upon buying the book purchasers are given exclusive access to corresponding media materials available online. The book includes an abundance of colourful figures and photos, an impressive glossary and an index of names and terms to help the selective reader source relevant material. The editors have gone to great lengths to engage with scholars from a variety of language backgrounds and the diversity of the content reflects this. As a unique contribution to the study of music, martial arts, theatre, dance, and cultural life in Southeast Asia, this book should be applauded for its breadth of scholarship and depth of analysis." – Alfira O’Sullivan, Artistic Director of Suara Indonesia Dance, Sydney, in Inside Indonesia 127 (Jan-Mar 2017). "I could also see myself using this book to analyze different ways music and movement are used together— whether in dance or fighting arts or other practices. The book certainly achieves its goal of providing a wealth of information about the role of music in fighting-arts traditions in Southeast Asia, particularly Indonesia, and of opening space for further explorations into the role of music in fighting-arts traditions more broadly. It also models what can be reaped from international, interdisciplinary scholarly collaboration." – Christina Sunardi, University of Washington, in Asian Music, (Winter/Spring 2019).

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Book SynopsisIn The Encoded Cirebon Mask: Materiality, Flow, and Meaning along Java’s Islamic Northwest Coast, Laurie Margot Ross situates masks and masked dancing in the Cirebon region of Java (Indonesia) as an original expression of Islam. This is a different view from that of many scholars, who argue that canonical prohibitions on fashioning idols and imagery prove that masks are mere relics of indigenous beliefs that Muslim travelers could not eradicate. Making use of archives, oral histories, and the performing objects themselves, Ross traces the mask’s trajectory from a popular entertainment in Cirebon—once a portal of global exchange—to a stimulus for establishing a deeper connection to God in late colonial Java, and eventual links to nationalism in post-independence Indonesia.Trade Review"This is a rare case of a scholar taking seriously the Islamic religious sentiments that underlie a local Southeast Asian artistic tradition." - Shahzad Bashir, Lysbeth Warren Anderson Professor in Islamic Studies, Stanford "A mountain of fascinating information." – Benedict Anderson, Aaron L. Binenkorb Late Professor Emeritus of Government and International Studies, Cornell UniversityTable of ContentsFigures, Drawings, Map Introduction Part I: Cultural Markers Chapter 1: The Pasisir in the Age of Steam, Sail, and the Railway Chapter 2: Independence: Registration Cards, Theme Parks, and Topeng Tours Chapter 3: Floating Artists on the Circumambulatory Road Part II: Mystic Travelers Chapter 4: Tuning the Body: Dzikir Flows and Sonic Theism Chapter 5: Engaging the Body and the Senses Part III: Objects that Speak Chapter 6: Looking Closely: The Iconic Mask Chapter 7: Looking Closer: The Inner Face Chapter 8: Mapping Tarekat: Performing the Mosque/Grave Complex Conclusion Appendix I: The Topeng Cosmology Appendix II: Fitting Susuk Glossary Works Consulted

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Book SynopsisThe contributors to this volume share the assumption that popular narrative, when viewed with an evolutionary lens, offers an incisive index into human nature. In theory, narrative art could take a near infinity of possible forms. In actual practice, however, particular motifs, plot patterns, stereotypical figures, and artistic devices persistently resurface, indicating specific predilections frequently at odds with our actual living conditions. Our studies explore various media and genres to gauge the impact of our evolutionary inheritance, in interdependence with the respective cultural environments, on our aesthetic appreciation. As they suggest, research into mass culture is not only indispensable for evolutionary criticism but may also contribute to our understanding of prehistoric selection pressures that still influence modern preferences in popular narrative. Contributions by David Andrews, James Carney, Mathias Clasen, Brett Cooke, Tamás Dávid-Barrett, Tom Dolack, Kathryn Duncan, Isabel Behncke Izquierdo, Joe Keener, Alex C. Parrish, Todd K. Platts, Anna Rotkirch, Judith P. Saunders, Michelle Scalise Sugiyama, Dirk Vanderbeke, and Sophia Wege.Trade Review"[…] this edited volume is an excellent addition to the study of popular culture, introducing a wider variety of narrative to the Darwinian approach. […] It is encouraging to see such a broad range of narrative included, especially some of those often aimed at a young audience, such as graphic novels and Harry Potter. As someone who has dabbled in this area myself and advocated for the study of popular culture as artifacts of human nature, I highly recommend Evolution and Popular Narrative to anyone interested in the application of evolution to the arts or the study of popular culture in general." -Catherine Salmon, in Evolutionary Studies in Imaginative Culture, Vol. 4, No. 1, 2020, pp. 141-143Table of ContentsList of Figures Introduction Brett Cooke and Dirk Vanderbeke 1 Evolution and Slasher Films Mathias Clasen and Todd K. Platts 2 Remaking, or Not, the Classics: Straw Dogs and Biocultural Stability in Rape-Revenge Movies David Andrews 3 Imagining the End of the World: a Biocultural Analysis of Post-Apocalyptic Fiction Mathias Clasen 4 On Love and Marriage in Popular Genres Dirk Vanderbeke 5 Social Network Complexity in Mozart’s Marriage of Figaro Tamás Dávid-Barrett, James Carney, Anna Rotkirch, Isabel Behncke Izquierdo 6 Banal Classicism and Borrowed Ethos in the Rhetorics of Human and Nonhuman Animals Alex C. Parrish 7 The Reader Is Always Right. Biopoetic and Cognitive-Aesthetic Aspects of Karl May’s Adventure Novel Winnetou I Sophia Wege 8 Why We Read Detective Fiction: Theory of Mind in Action Judith P. Saunders 9 Handel, Senesino, and Giulio Cesare, or the Irreversible Decline of Opera Seria Brett Cooke 10 We’ve Evolved into the Gutters: Using Cognition and a Graphic Novel to Kill Shakespeare Joe Keener 11 Theory of Mind and Mind Eating: the Popular Appeal of Jane Austen and Pride and Prejudice and Zombies Kathryn Duncan 12 The Relevance of Popularity: Ecological Factors at Play in Story Pervasiveness Michelle Scalise Sugiyama 13 A Quantitative Approach to Counterintuitive Imagery in the Hebrew Bible and the Harry Potter Novels Tom Dolack Index

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Book SynopsisIn Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director. Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.Table of ContentsAcknowledgemnts List of Illustrations  Introduction  1 The Three Artists: Background and Selection  2 Rationale for Selection  3 The Making of Art  4 Modernism and Theatre  5 Romantic-modernist Precursor  6 Late Modernism in Theatre  7 Form, Politics and Theatre Theory  8 Chapter Outlines 1 Richard Foreman  1 Theatre as a Philosophical Endeavour  2 Foreman’s Early Influences  3 Phenomena and Ontology Onstage  4 Molecular Creation: Insistence and Gertrude Stein  5 Language, Metaphor and Action in Mid-career Plays  6 Confusion, Enticement and the Spectator  7 Foreman as Director: The Relationship of Word to Action  8 Foreman in the Rehearsal Room  9 Theatre of a Quantum Age  10 Performers in Foreman’s Theatre: Manic Dancers of the Pattern 2 Jenny Kemp  1 Early Influences  2 The Verbal and the Visual  3 Interweaving Theatrical Modes in The Black Sequin Dress  4 Language Registers in Call of the Wild  5 Organisational Strategies in The Black Sequin Dress  6 The Multi-dimensional Woman in The Black Sequin Dress  7 Kemp as Visualiser: Storyboards and Paul Delvaux  8 Kemp as Director: Working with Duration  9 Complementary Autonomy: Artistic Collaboration  10 Actors: New Forms of Representation 3 Richard Murphet  1 Cultural Influences on Subjectivity  2 Seeking an Epileptic Language: Quick Death  3 Scenic Writing: Slow Love  4 The Language of Disintegration: Dolores in the Department Store  5 Construction of Entanglement: The Inhabited Woman  6 Writing Invasion: The Inhabited Man  Conclusion  1 Updating Subjectivity  2 The Writer/Director  3 Two Focal Depths: The Something and the Nothing  4 Resistance within the Practice  Bibliography  Index

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Book SynopsisA Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of Habsburg musical patronage over a broad timeframe. Bringing together existing research and drawing upon primary sources, the authors, all established experts, provide overviews of the musical institutions, the functions of music, the styles and genres cultivated, and the historical, political, and cultural contexts for music at the Habsburg courts. The wide geographical scope includes the imperial courts in Vienna and Prague, the royal court in Madrid, the archducal courts in Graz and Innsbruck, and others. This broad view of Habsburg musical activities affirms the dynasty’s unique position in the cultural life of early modern Europe. Contributors are Lawrence Bennett, Charles E. Brewer, Drew Edward Davies, Paula Sutter Fichtner, Alexander J. Fisher, Christine Getz, Beth L. Glixon, Jeffrey Kurtzman, Virginia Christy Lamothe, Honey Meconi, Sara Pecknold, Jonas Pfohl, Pablo L. Rodríguez, Steven Saunders, Herbert Seifert, Louise K. Stein, and Andrew H. Weaver.Table of ContentsContents Acknowledgements List of Illustrations List of Tables List of Music Examples Manuscript Sigla and Other Abbreviations Notes on Contributors Introduction  Andrew H. Weaver  1 Politics, Religion, and Music at the Early Modern Habsburg Courts: Some Context  Paula Sutter Fichtner with Andrew H. Weaver Part 1: Institutional Contexts  2 The Court Chapels of the Habsburg-Burgundian Line: From Emperor Maximilian I to Emperor Charles V  Honey Meconi  3 The Court Chapels of the Spanish Line: From King Philip II to King Charles II  Pablo L. Rodríguez  4 The Court Chapels of the Austrian Line (I): From Emperor Ferdinand I to Emperor Matthias  Jonas Pfohl  5 The Court Chapels of the Austrian Line (II): From Archduke Charles II to Emperor Leopold I  Lawrence Bennett, Steven Saunders, and Andrew H. Weaver  6 The Court Chapels of the Tyrolean Line: From Archduke Ferdinand II to Archduke Ferdinand Charles  Sara Pecknold Part 2: Cultural Contexts  7 Italian Musical Dramatic Genres at the Courts of the Austrian Habsburgs  Herbert Seifert  8 Festivity and Spectacle at the Spanish Royal Court  Louise K. Stein  9 Contexts for and Functions of Instrumental Music in Central Europe  Charles E. Brewer  10 Manuscript Culture: The Habsburg-Burgundian Scriptorium and Some Successors  Honey Meconi  11 Print Culture: Printed Music and Other Media in the Service of the Habsburgs  Andrew H. Weaver  12 Colonialism and Music in Habsburg New Spain  Drew Edward Davies Part 3: International Contexts  13 Die Teutsche Nation: Musical Links between the Habsburg Courts and the German States of the Empire  Alexander J. Fisher  14 Milan: Imperial City and ‘Theatre of the World’  Christine Getz  15 Musical Connections between the Austrian Habsburgs and Venice in the Late Sixteenth and Seventeenth Centuries  Beth L. Glixon, Jeffrey Kurtzman, and Steven Saunders  16 A Tale of Two entrate:Processions, Politics, and Patronage for the Habsburgs in Sixteenth – and Seventeenth-Century Rome  Virginia Christy Lamothe Index

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Book SynopsisWhat is Dance? What is Theatre? What is the boundary between enacting a character and narrating a story? When does movement become tinted with meaning? And when does beauty shine alone as if with no object? These universal aesthetic questions find a theoretically vibrant and historically informed set of replies in the oeuvre of the eleventh-century Kashmirian author Abhinavagupta. The present book offers the first critical edition, translation, and study of a crucial and lesser known passage of his commentary on the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The nature of dramatic acting and the mimetic power of dance, emotions, and beauty all play a role in Abhinavagupta’s thorough investigation of performance aesthetics, now presented to the modern reader.Table of ContentsPreface 0 Introduction  0.1 A Forgotten Chapter in the History of Indian Aesthetics  0.2 Recovering Dance through Texts: A Note on Method 1 Nāṭyaśāstra and Abhinavabhāratī: Trends and Open Questions  1.1 Editorial History and Textual Reception  1.2 Archiving Performance: Texts and Images  1.3 The Nāṭyaśāstra and the Place of Dance in It  1.4 The Abhinavabhāratī: A Medieval Document on Performance Part 1 Practice and Aesthetics of Indian Dance 2 Formalizing Dance, Codifying Performance  2.1 Nāṭya, nṛtta, and nṛtya between Movement and Mimesis  2.2 Dance as Technique: aṅgahāra, karaṇa, recaka  2.3 Between Gender and Genre: tāṇḍava, sukumāra, lāsya  2.4 Expanding the Idea of nṛtta  2.5 Tradition, Creativity, and Artistry: A Śaiva Perspective 3 The Aesthetics of Dance  3.1 Dance within Theatre, Dance without Theatre  3.2 Enacting Emotions: A vademecum for the Actor  3.3 Communication without Words  3.4 Dance, Beauty, and the Fabrication of Dramatic Fiction  3.5 Reshaping the Idea of abhinaya in Dance Part 2 Critical Edition and Annotated Translation of Abhinavabhāratī ad Nāṭyaśāstra 4.261cd–269ab 4 Introduction to the Edition  4.1 General Remarks on the Transmission of the Abhinavabhāratī  4.2 Genealogy of the Present Text: The Sources  4.3 A Note on the Sanskrit Text and Translation  4.4 Symbols and Abbreviations in the Apparatus Analysis of ABh ad NŚ 4.261cd–269ab Edition and Translation: Abhinavabhāratī ad Nāṭyaśāstra 4.261cd–269ab Appendix: Kāvyānuśāsana of Hemacandra (pp. 445–449) Bibliography Index

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Book SynopsisThis publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.Table of ContentsPreface List of Figures and Tables List of Abbreviations and Acronyms Contributors 1 Appurtenances to Power: Performing Arts and the Royal Courts of Southeast Asia  Lawrence N. Ross 2 Space, Performance and Cultural Connections in Early Modern Southeast Asia  Barbara Watson Andaya 3 The Role of the Elite in the Circulation of Culture in Southeast Asia  Leonard Y. Andaya 4 Istana, Desa, Tariqah: Inter-court Relations of Zapin in the Malay Sultanates of Sumatra and the Malay Peninsula  Mohd Anis Md Nor 5 I Madé Lebah, Legong and the Performing Arts in the Balinese Court of Peliatan  David Harnish 6 Wayang Jawa (Wayang Kulit Melayu): A Shadow Play Devised by and for the Royalty of the Malay Sultanates of Kedah and Kelantan, Malaysia  Patricia Matusky 7 The Nobat: From Muslim Antiquity to Malay Modernity  Raja Iskandar Bin Raja Halid 8 Lanna Court Music and Performing Arts in Chiang Mai, Thailand, in the Nineteenth and Twentieth Centuries  Thitipol Kanteewong 9 Inter-court Relations in the Spread of Nobat and Gamelan as Legitimacy Symbols in the Malay World (c. Thirteenth to Twentieth Centuries)  Margaret Kartomi 10 Bele Bele Bejale: Exploring the Role of the Royal Courts of Kelantan, Riau-Lingga and Serdang on the Circulation and Transformation of Mak Yong in the Nusantara  Patricia Ann Hardwick 11 The Sultan of Lingga’s Brass Band: Music, Politics and Memory in the Riau-Lingga Sultanate  Anthea Skinner 13 Music and Dance at the Royal Courts of Cambodia  Sam-Ang Sam Glossary of Non-English Terms Index

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Book SynopsisThe manuscript from the thirteenth century deals with musicians’ behaviour at the court; singers'qualities; the eminence of music and its effect on people and animals; the importance of drinking when listening to music; the process of composition; rhythmic and melodic modes, and repertoire in Andalusia, the Maghreb, Persia and the Middle East; Andalusian song lyrics and the appearance of new poetic forms such as the zajal and the muwashshaḥ; Andalusian musical instruments; dances of Egypt, Iraq, Syria, India and China; Andalusian dances and shadow plays and shadow dancers; aesthetics of dance; poems describing the dances.

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Book SynopsisNational identity is not some naturally given or metaphysically sanctioned racial or territorial essence that only needs to be conceptualised or spelt out in discursive texts; it emerges from, takes shape in, and is constantly defined and redefined in individual and collective performances. It is in performances—ranging from the scenarios of everyday interactions to ‘cultural performances’ such as pageants, festivals, political manifestations or sports, to the artistic performances of music, dance, theatre, literature, the visual and culinary arts and more recent media—that cultural identity and a sense of nationhood are fashioned. National identity is not an essence one is born with but something acquired in and through performances. Particularly important here are intercultural performances and transactions, and that not only in a colonial and postcolonial dimension, where such performative aspects have already been considered, but also in inner-European transactions. ‘Englishness’ or ‘Britishness’ and Italianità, the subject of this anthology, are staged both within each culture and, more importantly, in joint performances of difference across cultural borders. Performing difference highlights differences that ‘make a difference’; it ‘draws a line’ between self and other—boundary lines that are, however, constantly being redrawn and renegotiated, and remain instable and shifting.Table of ContentsManfred PFISTER: Introduction: Performing National Identity 1. Early Modern Literary Exchanges Werner VON KOPPENFELS: ‘Stripping up his sleeves like some juggler’: Giordano Bruno in England, or, The Philosopher as Stylistic Mountebank Ralf HERTEL: ‘Mine Italian brain ’gan in your duller Britain operate most vilely’: Cymbeline and the Deconstruction of Anglo-Italian Differences 2. Italian and English Art in Dialogue John PEACOCK: Inigo Jones and the Reform of Italian Art Alison YARRINGTON: ‘Made in Italy’: Sculpture and the Staging of National Identities at the International Exhibition of 1862 3. Travelling Images Barbara SCHAFF: Italianised Byron – Byronised Italy Fabienne MOINE: Elizabeth Barrett Browning’s Italian Poetry: Constructing National Identity and Shaping the Poetic Self Stephen GUNDLE: The ‘Bella Italiana’ and the ‘English Rose’: Reflections on Two National Typologies of Feminine Beauty 4. Political Negotiations Pamela NEVILLE-SINGTON: Sex, Lies, and Celluloid: That Hamilton Woman and British Attitudes towards the Italians from the Risorgimento to the Second World War Peter VASSALLO: Italian Culture versus British Pragmatics: The Maltese Scenario David FORGACS: Gramsci’s Notion of the ‘Popular’ in Italy and Britain: A Tale of Two Cultures 179 Carla DENTE: Personal Memory / Cultural Memory: Identity and Difference in Scottish-Italian Migrant Theatre 5. Contemporary Mediations Claudio VISENTIN: The Theatre of the World: British-Italian Identities on the Tourism Stage Judith MUNAT: Bias and Stereotypes in the Media: The Performance of British and Italian National Identities Sara SONCINI: Re-locating Shakespeare: Cultural Negotiations in Italian Dubbed Versions of Romeo and Juliet Mariangela TEMPERA: Something to Declare: Italian Avengers and British Culture in La ragazza con la pistola and Appuntamento a Liverpool Anthony KING: English Fans and Italian Football: Towards a Transnational Relationship Greg WALKER: Selling England (and Italy) by the Pound: Performing National Identity in the First Phase of Progressive Rock: Jethro Tull, King Crimson, and PFM Gisela ECKER: Zuppa Ingleseand Eating up Italy: Intercultural Feasts and Fantasies Notes on Contributors

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Book SynopsisPlaying Culture represents one of the corner stones in the model of the Theatrical Event, as developed by the Working Group of the International Federation for Theatre Research (IFTR). In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings. The playfulness characterizing academic traditions sets the tone in the introduction, illustrating the four sections of the book: Theories, Expansions, Politics and Conventions. The theoretical chapters depart from the classical Homo Ludens and offer a number of new perspectives on what play and playing implies in today’s mediatized culture. The contributions to the second section on extensions, deal with playing in non-theatrical circumstances such as market places, passports and stock holders’ meetings. The third section on the politics of playing focuses on wood-chopping women, saints and youngsters in South African townships – all demonstrating their social and political ambitions and purposes. The last section returns to the stage on which performers intend to represent, respectively, themselves, Bunraku puppets or the audience. Playing appears in many forms and in many places and constitutes a basic principle of theatre and performance. This book touches upon important theoretical implications of playing and offers a wide range of historical and contemporary examples. Playing Culture – Conventions and Extensions of Performance is the third book of the IFTR Working Group on The Theatrical Event. The first volume, entitled Theatrical Events – Borders Dynamics Frames was published in 2004, followed by Festivalising! Theatrical Events, Politics and Culture in 2007. The present volume continues to expand the vision of the Theatrical Event as a theory and model for the study of playing, theatre, performance and mediated events.Table of ContentsWillmar Sauter: Playing Culture – an Introduction Part One: Theories Shulamith Lev-Aladgem: Playing Culture: The Return of/to the Homo Ludens Andreas Kotte: Play Is the Pleasure of Being the Cause. On the Comparability of Scenic Sequences within the Playing Culture Willmar Sauter: Playing Is Not Pretending Part Two: Extensions Loren Kruger: Performance, Production and Other Spatio-temporal Practices in the Edgy City Anneli Saro: Writing: Exploring the Margins of Playing and Theatricality Barbara Orel: Naming as a Playing Practice and Political Strategy Janne Tapper: Pervasive Games: Representations of Existential In-between-ness Part Three: Politics Rikard Hoogland: Playing on and around the Public Square Vicki Ann Cremona: When the Saint Comes Marching out – the Cultural Playing of a Maltese Festa Gay Morris: Playing with Change: Repetition and Innovation in Township Performance Part Four: Conventions Henri Schoenmakers: ‘Being Oneself on Stage’: Modalities of Presence on Stage Mitsuya Mori: The Structure of Acting Reconsidered: from the Perspective of a Japanese Puppet Theatre, Bunraku David Graver: The Theatricality of Playing over and Playing out Biographies Index

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