Performance art Books
Taylor & Francis Ltd Games for Actors and NonActors
Book SynopsisGames for Actors and Non-Actors is the classic and bestselling book by the founder of Theatre of the Oppressed, Augusto Boal. It sets out the principles and practice of Boal's revolutionary method, showing how theatre can be used to transform and liberate everyone actors and non-actors alike! This new third English edition includes recently uncovered interviews and essays from the 1970s, some of which featured in the earliest Portuguese edition of this book, and a new essay by the theatre director Sergio de Carvalho, which looks at Boal's work in the context of Brazilian theatre and politics over the past fifty years.This is a vital handbook for theatre makers and activists of all kinds who want to deepen their understanding of the theory and practice of Boal's Theatre of the Oppressed. It is also an excellent introduction for those new to the system.Trade Review'This is an inspiring and powerful book, a lucid account that will be of substantial use to people already using Theatre of the Oppressed. It should also act as an excellent introduction for those new to the system.' —Artscene'This is a useful handbook for those who want to explore Boal's Theatre of the Oppressed and, as such, is greatly to be welcomed. Boal's work deserves and demands emulation.' —Theatre Research International'You have achieved what Brecht only dreamt of and wrote about: making a useful theatre that is entertaining, fun and instructive. It is a different kind of theatre – a kind of social therapy. It focuses the mind, relaxes the spirit and gives people a new handle on their situations.' —Richard SchechnerTable of Contents1 Theatre of the Oppressed in Europe 2 The Structure of the Actor’s Work 3 The Arsenal of Theatre of the Oppressed 4 The Early Forms of Forum Theatre 5 Forum Theatre: Doubts and Certainties: Incoprporating a New Method of Rehearsing and Devising a Forum Theatre Model 6 First Experiences with Invisible Theatre 7 Artistic Creation and Divine Madness: A Meditation on Art and the Miraculous 8 Interview for the Portuguese Edition (1977) 9 To the People, the means of Theatrical Production: Interview with Émile Copferman 10 Specialisation and Profession, Vocation and Language
£128.25
Taylor & Francis Games for Actors and NonActors
Book SynopsisGames for Actors and Non-Actors is the classic and bestselling book by the founder of Theatre of the Oppressed, Augusto Boal. It sets out the principles and practice of Boal's revolutionary method, showing how theatre can be used to transform and liberate everyone actors and non-actors alike! This new third English edition includes recently uncovered interviews and essays from the 1970s, some of which featured in the earliest Portuguese edition of this book, and a new essay by the theatre director Sergio de Carvalho, which looks at Boal's work in the context of Brazilian theatre and politics over the past fifty years.This is a vital handbook for theatre makers and activists of all kinds who want to deepen their understanding of the theory and practice of Boal's Theatre of the Oppressed. It is also an excellent introduction for those new to the system.Trade Review'This is an inspiring and powerful book, a lucid account that will be of substantial use to people already using Theatre of the Oppressed. It should also act as an excellent introduction for those new to the system.' —Artscene'This is a useful handbook for those who want to explore Boal's Theatre of the Oppressed and, as such, is greatly to be welcomed. Boal's work deserves and demands emulation.' —Theatre Research International'You have achieved what Brecht only dreamt of and wrote about: making a useful theatre that is entertaining, fun and instructive. It is a different kind of theatre – a kind of social therapy. It focuses the mind, relaxes the spirit and gives people a new handle on their situations.' —Richard SchechnerTable of Contents1 Theatre of the Oppressed in Europe 2 The Structure of the Actor’s Work 3 The Arsenal of Theatre of the Oppressed 4 The Early Forms of Forum Theatre 5 Forum Theatre: Doubts and Certainties: Incoprporating a New Method of Rehearsing and Devising a Forum Theatre Model 6 First Experiences with Invisible Theatre 7 Artistic Creation and Divine Madness: A Meditation on Art and the Miraculous 8 Interview for the Portuguese Edition (1977) 9 To the People, the means of Theatrical Production: Interview with Émile Copferman 10 Specialisation and Profession, Vocation and Language
£34.19
Taylor & Francis Ltd Contemporary Farce on the Global Stage
Book SynopsisContemporary Farce on the Global Stage provides audiences and practitioners a detailed survey of how the genre of farce has evolved in the 21st century. Often dismissed as frivolous, farce speaks a universal language, with the power to incisively interrogate our world through laughter.Unlike farces of the past, where a successful resolution was a given and we could laugh uproariously at adulterous behaviour, farce no longer guarantees an audience a happy ending where everything works out. Contemporary farce is no longer diverting us' with laughter. It is reflecting the fractured world around us. With a foreword by award-winning playwright Ken Ludwig, the book introduces readers to the Mechanics of Farce, and the Four Ps,' which are key elements for understanding, appreciating, and exploring the form. The Five Doors to Contemporary Farce identify five major categories into which farces fall. Behind each door are a wide selection of plays, modern and contemporary examp
£34.19
Taylor & Francis Ltd Fifty Key Theatre Designers
Book SynopsisFifty Key Theatre Designers looks at the history of theatrical scenography by examining the work and contributions of fifty ground-breaking set, costume, lighting, and projection designers since the Renaissance. Developments of scenic design are traced from the introduction of perspective painting to create illusionistic scenery in Renaissance Italy to the use of digital projection in the twenty-first century. The book also discusses important landmarks in the evolution of costume and lighting design, as well as the introduction of film and video technology to stage design. A broad range of work is explored, including opera, dance, Broadway and West End commercial theatre, avant-garde performance, and even Olympic spectacles. Each chapter features one designer, including basic biographical information and a discussion of that artist's style, aesthetics, and contributions. Designers covered include Sebastiano Serlio, Ferdinando Bibiena, Richard Wagner, Adolphe Appia, Table of Contents1. Sebastiano Serlio (1475–1554[?]) 2. Inigo Jones (1573–1652) 3. Giacomo Torelli (1608–1678) 4. Ferdinando Bibiena (1657–1743) 5. Philippe-Jacques De Loutherbourg (1740–1812) 6. Pierre-Luc-Charles Ciceri (1782–1868) 7. Richard Wagner (1813–1883) 8. André Antoine (1858–1943) 9. Viktor Simov (1858–1935) 10. Adolphe Appia (1862–1928) 11. Léon Bakst (1866–1924) and Alexandre Benois (1870–1960) 12. Edward Gordon Craig (1872–1966) 13. Joseph Urban (1872–1933) 14. Alexandra Exter (1882–1949) 15. Emil Pirchan (1884–1957) 16. Vlastislav Hofman (1884–1964) 17. Robert Edmond Jones (1887–1954) 18. Oskar Schlemmer (1888–1943) 19. Liubov Popova (1889–1924) 20. Traugott Müller (1895–1944) 21. Caspar Neher (1897–1962) 22. Boris Aronson (1898–1980) 23. Nikolai Okhlopkov (1900–1967) 24. Jo Mielziner (1901–1976) 25. Irene Sharaff (1910–1993) 26. Jean Rosenthal (1912–1969) 27. Tanya Moiseiwitsch (1914–2003) 28. Tadeusz Kantor (1915–1990) 29. Jocelyn Herbert (1917–2003) 30 Wieland Wagner (1917–1966) 31. Josef Svoboda (1920–2002) 32. Ralph Koltai (1924–2018) 33. John Bury (1925–2000) 34. Ming Cho Lee (1930–2020) 35. Sally Jacobs (1932–2020) 36. David Borovsky (1934–2006) 37. Jerzy Gurawski (1935–2022) 38. Jennifer Tipton (1937–) 39. Robert Wilson (1941–) 40. Hélio Eichbauer (1941–2018) 41. Richard Peduzzi (1943–) 42. William Dudley (1947–) 43. Jim Clayburgh (1949–) 44. Wendall K. Harrington (1950–) 45. Anna Viebrock (1951–) 46. Liu Xinglin (1953–) 47. George Tsypin (1954–) 48. William Kentridge (1955–) 49. Bert Neumann (1960–2015) 50. Franc Aleu (1966–)
£37.99
Taylor & Francis Ltd Performance Studies The Basics
Book SynopsisPerformance Studies: The Basics offers an overview of the multiple, often overlapping definitions of performance, from performance art, performance as everyday life, and rituals, to the performative dimensions of identity, such as gender, race and sexuality. This book defines the interdisciplinary field of performance studies as it has evolved over the past four decades at the intersection of academic scholarship and artistic and activist practices. It discusses performance as an important means of communicating and of understanding the world, highlighting its intersections with critical theory and arguing for the importance of performance in the study of human behaviour and social practices.Complete with a helpful glossary and bibliography, as well as suggestions for further reading, this book is an ideal starting point for those studying performance studies as well as for general readers with an interest in the subject.Trade Review'If you are looking for rigorous, accessible and bracingly contemporary answers to the "what", "how" and "why" of performance studies, you will find them in Performance Studies: The Basics. This meticulous introduction outlines the field’s complex and contested genealogies, its theoretical infrastructures, and its methodological possibilities. It efficiently and evocatively captures performance studies’ scope, models its ethical commitments, and details its diversity: a "must-read" for students and faculty from high school to grad school.'—Judith Hamera, Princeton University'This book is a necessity and an inspiration to read from the high school classroom to the university seminar, from the dramatic stage to the lecture podium, and from those who are new to performance studies to those who founded the field. The brilliance of the book is its breadth and depth enhanced by its clarity. Micu opens new questions on the intersections of performance theory and everyday life, on performance history and social activism, and on how performance methods can both change and connect us in the ways we make social life and worlds. This book is a treasure. I wish Performance Studies: The Basics was available to me (or one just like it) during my fifty years of teaching theatre and performance studies. I am grateful to learn from it now.'—D. Soyini Madison, Professor Emeritus, Northwestern UniversityTable of Contents1 What Is Performance? 2 Performance Art 3 Performance and Performativity 4 Identity and Lived Experience 5 Performance Activism 6 Performance Research Methods 7 Performance Studies
£18.99
Taylor & Francis Folk Theatres of North India Contestation
Book SynopsisThis book examines folk theatres of North India and discusses their genesis, history and independent trajectory; folk theatre and Sanskrit dramaturgy; cinematic legacy; and theatrical space as performance besides investigating causes, inter-relations within socio-cultural factors, and the performance principles underlying them.Table of ContentsForeword. Acknowledgements. Note on Transliteration. Introduction — Folk Theatre: Genesis, History and Causes 1. Folk Theatre and Sanskrit Dramaturgy 2. Folk Theatre and Western Theatre 3. Folk Theatre: The Cinematic Legacy 4. Folk Theatrical Space as Performance. Conclusion. Glossary. Works Cited. Index
£128.25
Taylor & Francis Ltd Beyonce and Beyond
Book SynopsisThis book examines three years of Beyoncé's career as a pop mega star using critical race, feminist and performance studies methodologies.The book explores how the careful choreography of Beyoncé's image, voice and public persona, coupled with her intelligent use of audio and visual mediums, makes her one of the most influential entertainers of the 21st century. Keleta-Mae proposes that 2013 to 2016 was a pivotal period in Beyoncé's career and looks at three artistic projects that she created during that time: her self-titled debut visual album Beyoncé, her video and live performance of Formation, and her second visual album Lemonade. By examining the progression of Beyoncé's career during this period, and the impact it had culturally and socially, the author demonstrates how Beyoncé brought 21st century feminism into the mainstream through layered explorations of female blackness.Ideal for scholars and students of performance in the social and politiTable of ContentsChapter 1. Teaching BeyoncéChapter 2. Self-Titled, 2013Chapter 3. Formation, 2016 Chapter 4. Lemonade, 2016 Chapter 5. LongevityIndex
£47.49
Taylor & Francis Ltd Architecture and Choreography
Book SynopsisArchitecture and Choreography: Collaborations in Dance, Space and Time examines the field of archi-choreographic experimentsâunique interdisciplinary encounters and performed events generated through collaborations between architects and choreographers.Forty case studies spanning four decades give evidence of the range of motivations for embarking on these creative endeavors and diverse conceptual underpinnings, generative methods, objects of inquiry, and outcomes. Architecture and Choreography builds histories and theories through which to examine these works, the contexts within, and processes through which the works emerged, and the critical questions they raise about ways to work together, sites and citations, ethics and equity, control and agency. Three themes frame pairs of chapters. The first addresses disciplinarity through works that critically reflect upon their disciplineâs tools, techniques, and conventions juxtaposed against projects that cite or use other art forms and cultural phenomena as source material. The second interrogates space and the role of spatial dispositifs, institutions, and sites, and their hidden and not-so-hidden conditions, as conceptual drivers and structures to subvert, trouble, unsettle, remember. The third asks who and what dances, finding a spectrum from mobilized architectural bodies to more-than-human cybarcorps. Modes of collaboration and the temporalities and life cycles of projects inform bookending chapters.Architecture and Choreography offers vital lessons not only for architects and choreographers but also for students and practitioners across design and performance fields.
£36.09
Taylor & Francis Ltd Playbuilding as ArtsBased Research
Book SynopsisThe new edition ofPlaybuilding as Arts-Based Research details how playbuilding (creating an original performative work with a group) as a methodology has developed in qualitative research over the last 15 years.The second edition substantially updates the award-winning first edition by making connections to current research theories, providing complete scripts with URL links to videos, and including a new section with interviews with colleagues. Chapter 1 provides an in-depth discussion of the epistemological, ontological, axiological, aesthetic, and pedagogic stances that playbuilding takes, applying them to research in general. The value of a playful, trusting atmosphere; choices of style, casting, set, and location in representing the data; and pedagogical theories that guide participatory theatre are highlighted. Chapter 2 discusses how Mirror Theatre generates data, structures dramatic scenes, and conducts live and virtual participatory workshops. Chapter 3
£41.79
Taylor & Francis Ltd The Routledge Anthology of Womens Theatre Theory
Book SynopsisThe Routledge Anthology of Women''s Theatre Theory and Dramatic Criticism is the first wide-ranging anthology of theatre theory and dramatic criticism by women writers. Reproducing key primary documents contextualized by short essays, the collection situates women's writing within, and also reframes the field's male-defined and male-dominated traditions. Its collection of documents demonstrates women's consistent and wide-ranging engagement with writing about theatre and performance and offers a more expansive understanding of the forms and locations of such theoretical and critical writing, dealing with materials that often lie outside established production and publication venues. This alternative tradition of theatre writing that emerges allows contemporary readers to form new ways of conceptualizing the field, bringing to the fore a long-neglected, vibrant, intelligent, deeply informed, and expanded canon that generates a new era of scholarship, learning, and artTable of Contents1. FIVE MEDIEVAL WOMEN: St. Perpetua (c. 185–203), Hildegard of Bingen (1098–1179), Hadewijch (c. 1200–1250), Katherine Sutton (d. 1376), Margery Kempe (c. 1373–1438)Andrew Galloway2. HROTSVIT OF GANDERSHEIM (c. 935–1002)Andrew Galloway3. MARGARET LUCAS CAVENDISH (c.1623–1673)Sujata Iyengar and Mikaela Warner4. APHRA BEHN (1640–1689)Joseph Roach5. ANNE FINCH (1661–1720)Christina Black6. SUSANNA CENTLIVRE (c. 1669–1723)Gillian Skinner7. CHARLOTTE LENNOX (1729–1804)Elizabeth Kraft8. CHARLOTTE CHARKE (1713–1760)Molly Marotta9. FRANCES BURNEY (1752–1840)Serena Baiesi10. HANNAH COWLEY (1743–1809)Melinda C. Finberg and Angela Escott11. LADY EGLANTINE WALLACE (c. 1754–1803)Lilla Maria Crisafulli12. SALLY SIDDONS (1775–1803)Laura Engel13. ELIZABETH INCHBALD (1753–1821)Lisa A. Freeman14. JOANNA BAILLIE (1762–1851)Thomas C. Crochunis15. FELICIA HEMANS (1793–1835)Diego Saglia16. ADELAIDE O’KEEFFE (1776–1865)Donelle Ruwe17. SARAH SIDDONS (1755–1831)Daniel O’Quinn18. “ANONYMOUS”Marjean D. Purinton19. MARY RUSSELL MITFORD (1787–1855)Serena Baiesi20. AMELIA CHESSON (1833–1902)Tracy C. Davis21. FRANCES A. KEMBLE (1809–1893)Catherine Burroughs22. OLIVE LOGAN (1839–1909)Merritt Denman Popp23. MICHAEL FIELD [KATHARINE HARRIS BRADLEY (1846–1914) AND EDITH EMMA COOPER (1861–1913)]Jill R. Ehnenn24. CHARLOTTE PERKINS GILMAN (1860–1935)Andrew Tolle25. PHYLLIS ROBBINS (1883–1972)Kim Marra26. LADY AUGUSTA GREGORY (1852–1932)Marjorie Howes27. EDITH CRAIG (1869–1947)Katharine Cockin28. CHRISTOPHER ST. JOHN (1871–1960)Lesley Ferris29. BINODINI DASI (1862–1941)Aparna Dharwadker30. FLORENCE KIPER (1886–1976)Sharon Friedman31. MAY ISABEL FISK (1872–1955)Jennifer Schmidt32. DJUNA BARNES (1892–1982)Nick Salvato33. SOPHIE TREADWELL (1885–1970)Jerry Dickey34. VIRGINIA WOOLF (1882–1941)Shilo McGiff 35. ELIZABETH ROBINS (1862–1952)Joanne Gates36. LENA ASHWELL (1872–1957)Maggie Gale37. CONSTANCE ROURKE (1885–1941)Charlotte M. Canning38. CORNELIA OTIS SKINNER (1899–1979)Jennifer Schmidt39. GERTRUDE STEIN (1874–1946)Scott W. Klein 40. SUSAN GLASPELL (1876–1948)J. Ellen Gainor and Elizabeth A. Osborne41. HALLIE FLANAGAN (1889–1969)Elizabeth A. Osborne42. JOAN LITTLEWOOD (1914–2002)Fatine Bahar Karlidağ 43. ALICE CHILDRESS (1916–1994)Meenakashi Ponnuswami44. ANN JELLICOE (1927–2017)Kate Pierson45. BARBARA ANN TEER (1937–2008)La Donna L. Forsgren46. JUDITH MALINA (1926–2015)Kate Bredeson47. ROSE YUEN OW (1895–?)Krystyn Moon48. MARGUERITE DURAS (1914–1996)Shelley Orr49. MEGAN TERRY (1932–2023)Maya Roth50. DOROTHY HEWETT (1923–2002)Aoise Stratford51. MARÍA IRENE FORNÉS (1930–2018)Linda Ben-Zvi52. JANE CHAMBERS (1937–1983)Sara Warner53. ELFRIEDE JELINEK (b.1946)Anke Charton54. SUE-ELLEN CASE (b.1942)Penny Farfan55. ADRIENNE KENNEDY (b.1931)Maya E. Roth56. LIZ LOCHHEAD (b.1947)Aoise Stratford57. CONSTANCE CONGDON (b.1944)Ryan Platt58. ELIZABETH MACLENNAN (1938–2015)Gioia Angeletti59. MONSTROUS REGIMENT (1975–1993)Elaine Aston60. JILL DOLAN (b.1957)Jessica Del Vecchio61. THE DIVINA PROJECT (1989–1998)Juliet Guzzetta62. NEHAD SELAIHA (1945–2017)Marvin Carlson 63. PEGGY PHELAN (b.1959)Daniel Sack64. SUZAN-LORI PARKS (b.1963)Kristen Wright65. KATE BORNSTEIN (b.1948)Kara Raphaeli66. ELIN DIAMOND (b. 1948)Jen-Scott Mobley67. HÉLÈNE CIXOUS (b.1937)Rachel Morris Watson68. MĨCERE GĨTHAE MŨGO (1942–2023)Kellen Hoxworth69. DIANE GLANCY (b.1941)Birgit Däwes70. LOIS WEAVER (b.1949)Benjamin Gillespie71. JUDITH THOMPSON (b.1954)Erica Stevens Abbitt72. CHERRÍE MORAGA (b.1952)Lindsay Cummings73. AMAL ALLANA (b.1947)Aparna Dharwadker74. NAOMI WALLACE (b.1960)Lindsay B. Cummings75. MOJISOLA ADEBAYO (b.1971)Kellen Hoxworth76. LAUREN GUNDERSON (b.1982)Noelia Hernando-Real77. SARAH RUHL (b.1974)Amy Muse78. ELAINE ASTON (b.1958)Geraldine Harris79. DAME HARRIET WALTER (b.1950)Rosemary Malague80. CATHERINE KODICEK (b.1972)Katherine Gurnos-Davies81. SPIDERWOMAN THEATER (1976–) AND MURIEL MIGUEL (b.1937)Lilian Mengesha82. EMMA RICE (b.1967)Siouxsie Easter83. PAULA VOGEL (b.1951)Meghan Brodie84. ELAINE ROMEROJimmy A. Noriega85. VELINA HASU HOUSTON (b.1957)Eunha Na86. QUIARA ALEGRÍA HUDES (b.1977) and GABRIELA SERENA SANCHEZJ. Ellen Gainor87. WINSOME PINNOCK (b.1961)Gabriele Griffin88. TAKEMOTO KOSHIKÔ (b.1953)Maki Isaka89. ÉMILIE MONNET (b.1979)Lindsay LaChance
£35.14
Taylor & Francis Ltd Fifty Key Stage Musicals
Book SynopsisThis volume in the Routledge Key Guides series provides a round-up of the fifty musicals whose creations were seminal in altering the landscape of musical theater discourse in the English-speaking world.Each entry summarises a show, including a full synopsis, discussion of the creators'' process, show''s critical reception, and its impact on the landscape of musical theater.This is the ideal primer for students of musical theater its performance, history, and place in the modern theatrical world as well as fans and lovers of musicals.Table of Contents1. The Black Crook by Sebastian Trainor2. HMS Pinafore by Richard and Rupert Holmes3. The Merry Widow by Andrew Child4. Shuffle Along by Jerrell L. Henderson5. Show Boat by Benjamin Nissen 6. Of Thee I Sing by Laura Frankos 7. Anything Goes by Scott Miller8. Porgy and Bess by Isaiah Wooden9. The Cradle Will Rock by Johanna Pinzler10. Pal Joey by Laurence Maslon11. Oklahoma by Kevin David Thomas12. Guys and Dolls by Thomas S. Hischak13. The Threepenny Opera by Lauren Mack14. My Fair Lady by Peter Filichia15. West Side Story by Jennifer Delac16. Gypsy by Robert W. Schneider17. The Fantasticks by David Arthur18. Hello Dolly by Phillip Fazio19. Fiddler on the Roof by Beth Burrier20. Cabaret by Bruce Kimmel 21. Hair by Wes Drummond22. Promises, Promises by David Spencer23. Company by Rick Pender24. No No Nanette (1971) by Robert W. Schneider25. The Wiz by David Ward 26. A Chorus Line by Ron Fassler27. Annie by Charles Kirsch28. Sweeney Todd by Alison Morooney29. Ain’t Misbehavin by Richard Dueñez Morrison30. Dreamgirls by Bill Russell31. Cats by Stephen Mo Hanan 32. La Cage Aux Folles by Robert W. Schneider33. Les Miserables by Robert Meffe34. The Phantom of the Opera by Susan Russell35. Miss Saigon by Jeanmarie Higgins36. The Secret Garden by Elizabeth Bonjean37. Falsettos by Jack Lechner38. Beauty and the Beast by Eden Hildebrand 39. Grease (1994) by Mark Madama40. Rent by Jordan Dragutsky41. Seussical by Nathan Brewer42. The Producers by Kasey RT Graham43. Mamma Mia by Malcolm Womack44. Wicked by Lauren Haughton Gillis45. Jersey Boys by Jamie Buxton46. In The Heights by Devon Hunt47. Next to Normal by Joe Dziemianowicz48. Fun Home by Courtney Laine Self49. Hamilton by W. Jerome Stevenson50. Dear Evan Hansen by Frederick D. Miller
£30.39
Taylor & Francis Ltd Liveness
Book SynopsisLiveness: Performance in a Mediatized Culture addresses what may be the single most important question facing all kinds of performance today. What is the status of live performance in a culture dominated by mass media and digital technologies?Since its first appearance, Philip Auslander's groundbreaking book has helped to reconfigure a new area of study. Looking at specific instances of live performance such as theatre, music, sport, and courtroom testimony, Liveness offers penetrating insights into media culture, suggesting that media technology has encroached on live events to the point where many are hardly live at all. In this new edition, the author thoroughly updates his provocative argument to take into account the impact of the internet, and cultural, social, and legal developments. He also addresses the situation of live performance during the COVID-19 pandemic. In tackling some of the last great shibboleths surrounding the high cultural status of theTrade ReviewPraise for the Second Edition:"Auslander’s Liveness emerges, then, not simply as a revised and updated version of the original text, but, more remarkably, as a better, more readable book—one that will almost certainly remain foundational for future historical, critical, and theoretical elucidations of the dynamic tension between the live and the mediatized, perhaps the defining paradox of contemporary performance." —Brian Eugenio Herrera, University of New Mexico, USA"Almost twenty-five years since its original publication, during which digital culture and technologies have become increasingly integral to our lives and cultural practices, while the pandemic has rapidly necessitated a deeper conversation about mediatized performance, the questions Auslander asked in Liveness are still applicable to emerging forms, practices and experiences of liveness. These questions are as relevant today as ever, particularly in the current theatre landscape where mediatized performance is not only about prerecorded or live broadcast performance, but also about various modes of digital and hybrid performance that use technologies at the core of their formation, design, critical rationale, staging and audience engagement strategies." — Seda Ilter, University of London, UK, Theatre Research International, October 2022Table of Contents1. Introduction 2. Live performance in a mediatized culture 3. Liveness and discourses of authenticity in music 4. Legally live: law, performance, memory 5. Conclusion
£31.34
Taylor & Francis Ltd The English Theatrical AvantGarde 19001925
Book SynopsisThe English Theatrical Avant-Garde, 19001925 unearths an extensive range of hitherto forgotten or ignored theatre practices. In doing so it reveals some of the well-known figures of the early twentieth-century English theatre in a strikingly new light. It fluently describes an intensity of innovation and experiment that together made the Edwardian theatre rather more radical, and rather more queer, than we've ever thought.Where the majority of writing on the early twentieth-century theatrical avant-garde is concerned with European movements and experiments, English activity of the period is often seen as parochial and conservative mainly realism and issues-based drama. This book presents a new model of how avant-gardes might work; a model based not on masculine individualism but on communal inclusion. In describing this fascinating material, the author introduces us to many new figures and shows familiar ones in different ways: there's Florence Farr, independTable of Contents1. Experimental Theatre 2. Modernities 3. The Renovation of the Stage 4. Advanced Guards 5. Fantasy Play
£31.49
Taylor & Francis Ltd Playwriting in Europe
Book SynopsisThis book maps contemporary playwriting and theatre translation practices and ecologies in the European continent.Whether you are a scholar researching contemporary drama and translation, or a theatre practitioner looking for ways to navigate theatrical conventions in other countries, this book is for you. Through questionnaires and one-to-one interviews with key stakeholders, Dr Laera collects qualitative and quantitative data about how each national theatre culture supports living dramatists, what conventions drive the production and translation (or lack thereof) of contemporary plays, and what perceptions are held by gatekeepers, theatre-makers and other cultural operators about the theatre system in which they work.Through country-by-country descriptions and analyses; interviews with playwrights, translators, directors and gatekeepers; a list of key facts and best practices; and a rigorous assessment of its methodologies, this volume is indispensable for those inteTrade Review''The book is an impressive undertaking, building cultural and creative bridges at a time when Europe needs these urgently. The book pursues dialogues across practices, institutions, stakeholders and individuals in a methodical and illuminating way, providing a framework that will be tremendously relevant to scholars, students and practitioners alike, well beyond national border lines. Such inspiring, applied internationalism is essential to contemporary theatre scholarship.'' Vicky Angelaki, Professor in English Literature, Mid Sweden University."The quantity of information orchestrated by Margherita Laera in this brief book is quite remarkable. Inspired by best practice from the furthest reaches of Europe – Iceland to Turkey – it provides extensive information on playwriting, theatre commissioning, funding, producing and reviewing practices, constituting an essential toolkit for keeping any theatre industry in excellent working order." Clare Finburgh Delijani, Goldsmiths, University of London.Table of ContentsList of TablesAcknowledgementsPreface by Claudia Di Giacomo and Roberta ScaglionePart I: At Work with Fabulamundi1. At Work with FabulamundiPart II: Fabulamundi Workbook2. Fabulamundi Workbook: A Report on Contemporary Playwriting and Theatre Translation Practices in EuropePart III: Conversations3. For A Common Cultural Space: A Conversation with Lejla Kalamujić and Tanja Šljivar about Playwriting in Bosnia, Serbia, Croatia and Montenegro4. Representing Nordic Playwrights: A Conversation with Literary Agent Hinriikka Lindqvist about Playwriting in Finland5: From ‘Fuck Story’ to ‘Whose Story?’: A Conversation with Tyrfingur Tyrfingsson and Sigríður Jónsdóttir about Playwriting in Iceland6. Cultivating Diversity Through Policy: A Conversation with Jenny Mijnhijmer About Playwriting in the Netherlands7. We Have to Run Faster: A Conversation with Tiago Rodrigues and Marco Mendonça about Playwriting in Portugal8. A New Beginning? A Conversation with Mark Levitas about Playwriting in TurkeyIndex
£18.99
Taylor & Francis Ltd A History of Chinese Theatre in the 20th Century
Book SynopsisThe 20th century was a dynamic period for the theatrical arts in China. Booming urban theatres, the interaction between commercial practice and theatre, dramas staged during the War of Resistance against Japan and a healthy dialogue between Western and Eastern theatres all contributed to the momentousness of this period. The four volumes of A History of Chinese Theatre in the 20th Century display the developmental trajectories of Chinese theatre over those 100 years.This volume deals with the development of Chinese theatre from 1949 to 2000, covering the fluctuations of ''drama reform'', spectacles of the ''Cultural Revolution'', and theatre in the immediate years before the opening up of the country. The author demonstrates how Chinese dramatic traditions endured and adapted in the face of modernity and how politics and art interacted.By combining academic rigour with a high degree of readability, this volume is both an essential guide for scholars andTable of ContentsUpdating concepts and adapting theatrical industry to market requirements Theatrical Concepts and Theatrical Literature China’s Theatrical Situation during the Anti-Japanese War Theatrical Conditions in the Occupied Areas and Shanghai The Anti-Japanese War and Theatrical Development Theatrical Development in Revolutionary Bases under Communist Party of China
£37.04
Taylor & Francis Ltd The American Musical
Book SynopsisThe American Musical is a comprehensive history of an American art form. It delivers a detailed and definitive portrait of the American musical's artistic evolution over the course of seven distinct, newly defined eras, with a unique perspective gleaned from research at more than twenty different archives across the United States.Individual in both its approach and coverage, The American Musical traces the form's creative journey from its 19th century beginnings, through its 20th century maturation, and to the turn of the 21st century, shedding new light on a myriad of authors, directors, and craftspeople who worked on Broadway and beyond. This book actively addresses the form's often overlooked female and African-American artists, provides an in-depth accounting of such outside influences as minstrelsy, vaudeville, nightclubs, and burlesque, and explores the dynamic relationship between the form and the consciousness of its country.The American
£34.99
Taylor & Francis Ltd The Dramaturgy of Commedia dellArte
Book SynopsisThis book examines Commedia dell''Arte as a performative genre, and one that should be analysed through the framework of dramaturgy and dramaturgical practice.This volume examines the way Commedia has been explored in the twentieth and twenty-first centuries, and details its reinventors' dramaturgic approaches, both focusing in on specific examples such as Jacques Lecoq, Dario Fo and Antonio Fava, and also suggesting how modern discoveries may aid the study of historical performance practice. It also discusses how audiences read and receive masks; the relationship between the different masked and unmasked roles; the range of performance activities that come under the umbrella term improvisation'; the performative construction of a role performed live' from a scenario; the role of language and embodied locality in performance; and the performative relationship between performative commedia and literary tragicomedy.Its focus is dramaturgy, and so it may be read bothTable of Contents1. The founders of Neo-Commedia 2. The second and third generation of reinventors 3. Commedia archetypes 4. Fixed types and stock roles 5. Actors, parts and roles by Sergio Costola 6. Improvisation and Commedia 7. Grammelot and the performance of language (Alt. Grommelot/Grumelot) 8. Neo-Commedia and the ensemble 9. Masks in Neo-Commedia 10. Epilogue
£33.24
Taylor & Francis Commercial Dance
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
£37.99
Taylor & Francis Ethical Agility in Dance
Book SynopsisThis edited collection examines the potential of dance training for developing socially engaged individuals capable of forging ethical human relations for an ever-changing world and in turn frames dance as a fundamental part of human experience.This volume draws together a range of critical voices to reflect the inclusive potential of dance. The contributions offer perspectives on contemporary dance training in Britain from dance educators, scholars, practitioners and artists. Through examining the politics, values and ethics of learning dance today, this book argues for the need of a re-assessment of the evolving practices in dance training and techniques. Key questions address how the concept of âtechniqueâ and associated systems of training in dance could be redefined to enable the collaboration of skills and application of ideas necessary to twenty-first-century dance. The editors present these ideas in different modes of writing. This collection of essays, conversations Table of ContentsIntroduction: Noyale Colin & Cathy Seago; Section 1 – Ethics and Values; Chapter 1: Movement as a Social Project- Fiona Bannon; Chapter 2: Emergence -how do we assess / access becoming?- Adesola Akinleye; Chapter 3: Values, technique and creativity- Noyale Colin; Chapter 4: Democratizing dance: inclusion at the core of dance education and its impact- Betina Panagiotora; Chapter 5: African based dance technique in Higher education-Funmi Adewole; Section 2 – Practices; Chapter 6: Precision and Particularity- Jamie Dryburgh; Chapter 7: Embodying Unpredictability- Cathy Seago; Chapter 8: Digital Tools in Formal and Informal Dance Education Environments - Rosemary E. Cisneros, Marie-Louise Crawley, Karen Wood- Chapter 9: Improvisation and Spirituality in Dance- Eline Kieft; Section 3 – Conversations- Inclusive Practice Conversations; Chapter 10: Training for intergenerational dancing- Debbie Lee Anthony and Diane Amans; Chapter 11: Neurodiverse Collaborations: Changing perceptions of abilities in neuro-diverse populations- Caroline Hotchkiss; Chapter 12: Translating technique: Approaches to inclusive dance training in the UK- Imogen Aujila; Dance and Education Conversations; Chapter 13: Choreographic pedagogies: Training students’ experiences- Shantel Ehrenberg; Chapter 14: Choreography as technique- Sarah Alexander; Chapter 15: School Dance Teacher Roundtable- Noyale Colin & Cathy Seago; Independent Artist Conversations; Chapter 16: Training and citizenship- Stefanie Schober; Chapter 17: Training and solidarity- Charlotte Spencer; Chapter 18: Dance training and the potential of embodied practices- Henrietta Hale; Section 4 - Manifestos; Chapter 19: The End of Technique- Baptiste Bourgougnon and Lise Uytterhoeven; Chapter 20: Staying Alive: the dance technique class as a means for survival- Erica Stanton; Chapter 21: Dance training and the potential of strategies of self-organisation- Joe Moran
£37.04
Taylor & Francis Ltd Plays of Our Own
Plays of Our Own is the first anthology of its kind containing an eclectic range of plays by Deaf and hard-of-hearing writers. These writers have made major, positive contributions to world drama or Deaf theatre arts. Their topics range from those completely unrelated to deafness to those with strong Deaf-related themes such as a dreamy, headstrong girl surviving a male-dominated world in Depression-era Ireland; a famous Spanish artist losing his hearing while creating his most controversial art; a Deaf African-American woman dealing with AIDS in her family; and a Deaf peddler ridiculed and rejected by his own kind for selling ABC fingerspelling cards. The plays are varied in style a Kabuki western, an ensemble-created variety show, a visual-gestural play with no spoken nor signed language, a cartoon tragicomedy, historical and domestic dramas, and a situation comedy. This volume contains the well-known Deaf theatre classics, My Third Eye and A Play of
£33.24
Taylor & Francis Ltd Opera in Performance
Book SynopsisOpera in Performance elucidates the performative dimension of contemporary opera productions. What are the most striking and decisive moments in a performance? Why do we respond so strongly to stagings that transform familiar scenes, to performers' bodily presence, and to virtuosic voices as well as ill-disposed ones? Drawing on phenomenology and performance theory, Clemens Risi explains how these moments arise out of a dialogue between performers and the audience, representation and presence, the familiar and the new. He then applies these insights in critical descriptions of his own experiences of various singers, stagings, and performances at opera houses and festivals from across the German-speaking world over the last twenty years. As the first book to focus on what happens in performance as such, this study shifts our attention to moments that have eluded articulation and provides tools for describing our own experiences when we go to the opera.Trade Review''I find the book not only important and revealing but also downright exciting in how it points out connections and perspectives. An impressive work that I felt to be both brilliantly written and pioneering.'' Hans Neuenfels''With the present volume, Clemens Risi fills a serious desideratum. The discussion in theater studies has so far engaged too little with the repertory system of opera—viewed statistically, still the most common—from the perspective of performance analysis. […] The book will certainly soon develop into a standard reference and hopefully also contribute to conferring more visibility to opera in discussions in theater studies.'' Forum Modernes Theater"As the book’s subtitle suggests, Risi puts the performative dimension at the centre of his study. […] For Risi, the task at hand when analysing a performance from the realm of Regietheater is not rigorously to relate the event to the score in order to evaluate the production as well or badly done. Rather, ‘the focus is on the question of why and how a certain performance was able to affect the audience in a certain way’ (11). […] After a concise first part on the theoretical framework, situated against the backdrop of the performative turn, Risi goes on to approach opera in performance in its ephemerality and uniqueness as a bodily experience that is as subjective as it is intimate. Methodologically, he approaches the performative dimension through a phenomenological framework, arguing that phenomenology does not ‘describe any event independently from one’s own corporeal experience’ (114). Central to this study is the ‘phenomenal body in its materiality’ (95). Not only are the sound and voice produced by the performer’s body of importance, but also each body that belongs to the audience. Consequently, performances experienced by Risi himself take up most of the analysis. The author describes what he observed and felt, how other members in the audience reacted and what the overall atmosphere in the theatre was like. By doing so, he sheds light on experiences that regular opera-goers all have at some point. The quality of his approach lies in their promotion as objects of research and the establishment of an analytical toolbox to tackle them. […] It is a joy to listen with Risi to the many performances he describes so vividly. The longer one engages with his arguments, the more the author becomes the reader’s very own opera buddy. Risi’s descriptions of stage settings, singers’ bodily exertions and their vocal effects, his own impressions and physical tensions, and the atmosphere in the audience, are engaging and comprehensive. By almost ‘resurrecting’ the performance, the author creates the conditions for the performer–audience relation to incorporate the circle of readers too. All in all, Risi’s text proposes an important shift of perspective towards the performative dimension of opera, as well as a methodological approach that has already proved its urgency and applicability in opera studies.“ Elisabeth van Treeck, (Cambridge Opera Journal 34/2022) ''With the present volume, Clemens Risi fills a serious desideratum. The discussion in theater studies has so far engaged too little with the repertory system of opera—viewed statistically, still the most common—from the perspective of performance analysis. […] The book will certainly soon develop into a standard reference and hopefully also contribute to conferring more visibility to opera in discussions in theater studies.’’ T. Sofie Taubert, Forum Modernes TheaterTable of ContentsList of IllustrationsAcknowledgmentsIntroduction Opera and the PerformativePart 1 Theoretical FoundationsChapter 1 Beyond InterpretationChapter 2 Beyond Semiotics: The Interplay of Representation and PresenceChapter 3 Theories of Performance and the PerformativeChapter 4 The Entanglement of the Senses: Premises from Perception TheoryPart 2 Analytical Approaches Chapter 5 Symbioses and Contestations: The Interaction of Auditory and Visual ElementsChapter 6 The Interplay of Representation and Presence in PerformanceChapter 7 The Voice and the Body in Opera PerformancesChapter 8 Rhythm and Experiences of Time in OperaChapter 9 The Future of Opera? On the Mediated Experience and Distribution of Opera PerformancesConclusionList of Performances DiscussedBibliographyIndex
£37.04
Taylor & Francis Commedia dellArte its Structure and Tradition
Book SynopsisCommedia dell'Arte, its Structure and Tradition chronicles a series of discussions between two renowned experts in commedia dell'arte â master practitioners Antonio Fava and John Rudlin. These discussions were recorded during three recent visits by Fava to Rudlinâs rural retreat in south west France. They take in all of commedia dell'arte's most striking and enduring elements â its masks, its scripts and scenarios, and most outstandingly, its cast of characters. Fava explores the role of each stock Commedia character and their subsequent incarnations in popular culture, as well as their roots in prominent figures of their time. The lively and wide-ranging conversations also take in methods of staging commedia dell'arte for contemporary audiences, the evolution of its gestures, and the collective nature of its theatre-making. This is an essential book for any student or practitioner of commedia dell'arte â provocativTable of ContentsChapter 1 The Mask; Chapter 2 The personnages; Chapter 3 Performance location; Chapter 4 The scenarios; Chapter 5 Collective creation; Chapter 6 Gestural evolution; Chapter 7 Closed forms; Chapter 8 Multilingualism; Chapter 9 Anachronism; Appendices
£22.56
Taylor & Francis Ltd The Jukebox Musical
Book SynopsisThis is a comprehensive guide to the unique genre of the jukebox musical, delving into its history to explain why these musicals have quickly become beloved for multiple generations of theatergoers and practitioners. Providing a concise exploration of the three main categories of the jukebox musicalbiographical, genre-specific, and artist catalogthis text is perfect for those wishing to learn more about this relatively recent and unique genre of theater. It identifies the dramaturgical needs that arise in these productions and explains how certain works become critical darlings or fan favorites. How much information needs to be conveyed through song and how much can be left up to interpretation by the audience? What kinds of changes occur when a repertoire of songs is reimagined for the stage? In addition to these insightful explorations, it also reveals how creative teams tackle the unique challenge of weaving together plot and song in order to convey meaning, emotion, Table of ContentsPart 1: Historical and Dramaturgical 1. Five, Six, Seven, Eight!: An Introduction 2. Strengths and Weaknesses of the Jukebox Musical 3. Preludes and Predecessors: Vaudeville, Rock Musicals, and Megamusicals 4. Mamma Mia! and the Establishment of a Form Part 2: Types of Jukebox Musicals 5. Exploring a Discography: Artist Catalog Jukebox Musicals 6. A Life in Lyrics: Biographical Jukebox Musicals 7. Reminiscing about the Classics: Era- and Genre-Specific Musicals
£34.19
Taylor & Francis Ltd A Galaxy of Things
Book SynopsisA Galaxy of Things explores the ways in which all puppets, masks, makeup-prosthetic figures are material characters, using iconic Star Wars characters like Yoda and R2-D2 to illustrate what makes them so compelling.As an epic franchise, Star Wars has been defined by creatures, droids, and masked figures since the original 1977 movie. Author Colette Searls, a theatre director and expert in puppetry studies, uncovers how non-humans like Chewbacca, semi-humans like Darth Maul, and even concealed humans like Boba Fett tell meaningful stories that conventional human characters cannot. Searls defines three powers that puppets, masked figures, and other material characters wielddistance, distillation, and dualityand analyzes Star Wars' most iconic robots and aliens to demonstrate how they work across nearly a half-century of live-action films. Yoda and Baby Yodatwo of popular culture's greatest puppetsuse these qualities to transform their human companions. SimilarlyTable of Contents1. The Things in the Galaxy 2. Distance, Distillation, and Duality 3. Powerful, Puppetry is: How two Yodas make meaning 4. I Find Your Lack of Face Disturbing: The mask performance of Darth Vader (and friends) 5. Climbing Out of the Sarlacc Pitt: The problematic side of material character powers
£34.19
Taylor & Francis ReReading Ishis Story
Book SynopsisRereading Ishiâs Story offers a manifesto of sorts through a critical reading of an anthropological classic, Theodora Kroeberâs 1961 book, Ishi in Two Worlds: A Biography of the Last Wild Indian in North America.The heart of the analysis involves a five-play cycle, built around Gerald Vizenorâs trickster-survivance model. It gives Ishi a voice he never had in Kroeberâs book and imagines an Ishi who was not the happy warrior in Kroeberâs book. The author follows the story line in Kroeberâs book, focusing on key events as recounted by Alfred Kroeber and his associates Saxton Pope and Thomas Waterman. Chapter 1 tells Ishiâs story in his own words; Chapter 2 retells Ishiâs capture narrative, which includes the recording of his story of the wood ducks; Chapter 3 builds on stories told about Ishi by Zumwalt Jr.; Chapter 4 criticizes Kroeber and associates for making Ishi return to his homeland, asking him to âplayâ Indian; and Chapter 5 takes up his death and the recovery ofTable of ContentsPart One Chapter 1. You Can Call Me Ishi: The Story of a Trickster Chapter 2. Ishi and the Wood Ducks, Part 2, or Ishi, the Assimilated Indian Chapter 3. Ishi the Happy Warrior in Golden Gate Park Chapter 4. Ishi in the Wilderness: Anatomy of a Life and a Death (1861-1916) Chapter 5. Ishi’s Brain: The Trickster’s Revenge; Part Two Chapter 6. Ishi’s Ethics Chapter 7. Ishi Comes Home
£128.25
Taylor & Francis Ltd 20 Seasons Broadway Musicals of the 21st Century
Book Synopsis20 Seasons: Broadway Musicals of the 21st Century catalogues, categorizes, and analyzes the 269 musicals that opened on Broadway from the 2000-2001 season through the 2019-2020 season.This book is the first to comprehensively examine the musicals that premiered on Broadway during this important historical period, which was bookended by the 9/11 terrorist attacks on one end and the Coronavirus pandemic on the other. It begins by exploring the historical context for the first 20 years of the 21st century and how this impacted American culture and theatre. Rather than chronologically, the musicals are then organized into categories based on their source material and whether they were original musicals or revivals, painting a detailed picture of the Broadway musical in first 20 years of the 21st century. Jukebox musicals, screen-to-stage musicals, revivals, and other original musicals are all covered, and each chapter ends with reading guides and discussion promptTable of ContentsI. Foreword by Diep Tran II. Introduction: 20 Seasons by the Numbers 1. 20 Years/20 Seasons 2. An Introduction to Original Musicals 3. Jukebox Musicals and Revues 4. Screen to Stage Musicals 5. Other Original Musicals 6. Revivals and Remounts 7. Beyond 20 Seasons Appendix A. Shows by Opening Date Appendix B. Shows by Number of Performances
£34.19
Taylor & Francis Contemporary Storytelling Performance
Book SynopsisThis book focuses on a rising generation of female storytellers, analysing their innovation in interdisciplinary collaboration, and their creation of new multimedia platforms for story-led performance. It draws on an unprecedented series of in-depth interviews with artists including Jo Blake, Xanthe Gresham-Knight, Mara Menzies, Clare Murphy, Debs Newbold, Rachel Rose Reid, Sarah Liisa Wilkinson, and Vanessa Woolf, while Sally Pomme Claytonâs reflections on her extraordinary four-decade career provide long-term context for these cutting-edge conversations. Blending ethnographic research and performance analysis, this book documents the working lives of professional storytelling artists. It also sheds light on the practices, values, aspirations, and achievements of a generation actively redefining storytelling as a contemporary performance practice, taking on topics from ecology and maternity to griefwork and neuroscience, while working collaboratively with diverse creative partners to generate new, inclusive presences for a traditionally-inspired artform. This book will be of great interest to students, scholars, and practitioners in drama, theatre, performance, creative writing, education, and media.
£37.99
Taylor & Francis Ltd Dance Research Methodologies
Book SynopsisDance Research Methodologies: Ethics, Orientations, and Practices captures the breadth of methodological approaches to research in dance in the fine arts, the humanities, the social sciences, and the natural sciences by bringing together researchers from around the world writing about a variety of dance forms and practices.This book makes explicit the implicit skills and experiences at work in the research processes by detailing the ethics, orientations, and practices fundamental to being a researcher across the disciplines of dance. Collating together approaches from key subdisciplines, this book brings together perspectives on dance practice, dance studies, dance education, dance science, as well as dance research in cross-, multi-, and interdisciplinary fields. Practice-based chapters cover methodological approaches that provide rich examples of how research design and implementation are navigated by practicing scholars. Dance Research Methodologies also includes a practical workbook that helps readers to decide upon, refine, and enact their research, as well as develop ways in which to communicate their process and outcomes.This vital textbook is a valuable resource for research faculty interested in interdisciplinary conversation and practice, emerging scholars honing their methodological approaches, graduate students engaged in research-based coursework and projects, and advanced undergraduates.Trade Review"Candelario and Henley offer an array of reading possibilities that could be used across courses to introduce and explore research in its multitude of approaches seen in dance, simultaneously challenging thinking about research and practice... This text will surely become a vital addition to academics and students of dance." Monica J. Cameron Frichtel, PhD, Assistant Professor, University of Delaware, USA"Both inspiring and instructive, Dance Research Methods captures the diversity of today’s dance scholarship and offers an array of methodological possibilities that will surely lead to research trajectories yet to be discovered. Reminding us that dance theory and dancemaking practices are always intersecting and shaping the myriad ways that we create and present new knowledge, experienced and aspiring researchers using this text will enter into an ever-widening conversation about praxis inquiry, artful research practices, the importance of ethical decision-making, and the joys of pursuing research as a creative and artistic enterprise." Penelope Hanstein, MFA, PhD, Cornaro Professor of Dance Emerita, Texas Woman’s University, USA"While some of the meticulous and rigorously curated essays contain pre-requisite standard approaches that are nourishing, there are many where scholarship itself is critiqued and stretched to include an invaluable selection of voices, grammars, registers, provocations, and contexts, making this a standout book for scholars in the pursuit of inclusive (as yet elusive) dance research methodologies. Imbuing this impressive assembly of work with a sustained call for pervasive ethics is a compelling masterstroke for our times." Jay Pather, Director, Institute for Creative Arts, Professor, Centre for Theatre, Dance and Performance Studies, University of Cape Town, South Africa"Dance Research Methodologies includes comprehensive and detailed step-by-step methods, conversations, and personal reflections on ‘how to’ do dance research across myriad themes. Providing a wealth of different approaches in an accessible format, it is an invaluable resource for dance researchers, from undergraduate to post-doctoral." Sarah Whatley, Director, Centre for Dance Research, Coventry University, UK"The book functions like a set of hyperlinks that organize leaping off points to follow up in references and ideas across the diverse field of dance research. This wide-ranging collection highlights differences between 'research' versus 'creating work' or 'rehearsing,' and introduces archival research for where no archive exists, prompts for writing as dancing, ethics as research method, and other gems." Jonathan W. Marshall, Western Australian Academy of Performing Arts, Edith Cowan University, AustraliaTable of ContentsPart 1: Introduction1. Dance Research in/as Communities of PracticeRosemary Candelario and Matthew Henley2. Research Ethics, Orientations, and PracticesRosemary Candelario and Matthew HenleyPart 2: Dance Practice3. Introduction to Research in Dance Practice: Practice-as-ResearchVida Midgelow4. Choreographies of Presence: Improvisation as Feminist PracticeJo Pollitt5. Community Dance and Collection Creation: Art, Health, and Social Development Across the HemisphereAurelia Chillemi and Victoria Fortuna6. FutureBlackSpace: Weaving Art, Healing, and ActivismJohn-Paul Zaccarini7. Practice (or) Research: A Conversation with Eiko OtakeRosemary Candelario and Eiko OtakePart 3: Dance Studies8. Introduction to Research in Dance Studies: Dance as a HumanityThomas DeFrantz9. Choreographic Analysis as Dance Studies Methodology: Cases, Expansions, and CritiquesHarmony Bench, Rosemary Candelario, J. Lorenzo Perillo, and Cristina Fernandes Rosa10. Global South Archives: Listening and Acknowledging AuthorshipAna Paula Höfling11. Cyphering with Oral HistoryMiRi Park12. To the Motion Itself: Towards a Phenomenological Methodology of Dance ResearchNigel StewartPart 4: Dance Education13. Introduction to Research in Dance Education: New Pathways to DiscoveryLynnette Young Overby14. Towards a Decolonial Dance Research Paradigm: Ubuntu as Qualitative Hermeneutic PhenomenologyAlfdaniels Mabingo15. Ethnography for Research in Dance Education: Global, Decolonial, and Somatic AspirationsOjeya Cruz Banks16. Conducting an Experiment: How Quantifying Answers to a Question can Promote the Value of Dance Education.Lynnette Young Overby and Matthew Henley17. Classroom as Laboratory: Teacher Self-Study and Dance Education Ilana Morgan18. Mixing Methods and Approaches in Dance Education ResearchMatthew HenleyPart 5: Dance Science19. Introduction to Research in Dance Science: The Science of Movement and Choreography of Research – Evolving Methodologies in Dance ScienceMargaret Wilson20. Mentoring Dance Science Research: Circling the Square– Edel Quin in Conversation with Margaret WilsonEdel Quin and Margaret Wilson21. Thinking Statistically for Dance ResearchGregory Youdan Jr.22. A Dance/Movement Therapy Approach to Interview AnalysisTomoyo Kawano23. Carving an Innovative Space for Dialogic Intersections: Dance, Disability, and DesignMerry Lynn MorrisPart 6: Dance Research Beyond Disciplines24. Introduction to Dance Research Beyond Disciplines: Extending Dance-based Ways of KnowingRosemary Candelario and Matthew Henley25. Strange Bedfellows: Dance Studies, Academic Disciplines, and Truth in CrisisJanet O’Shea26. Keeping Movement at the Center as we Dance into Interdisciplinary ResearchAdesola AkinleyePart 727. A Creative Workbook for Rehearsing Ethics, Orientations, and PracticesRosemary Candelario and Matthew Henley
£31.34
Taylor & Francis Ltd Creating Improvised Theatre
Book SynopsisCreating Improvised Theatre: Tools, Techniques, and Theories for Short Form and Narrative Improvisation is a complete guide to improvised theatre for performers and instructors.This book provides a modern view of improvised theatre based on the rapid evolution of this art form, shedding new light on classic theories as well as developing lesser known and emerging techniques, such as the Trance Mask. Instead of simply referencing classic theories, the book revisits them and places them in the context of contemporary improvisation techniques. Designed as a practical support, this guide contains over 130 exercises that allow its theories to come alive in workshops, rehearsals, and performance. The book is divided into four sections: Nuts and bolts: The fundamental tools of improvisation to explore how to be spontaneously creative, build with your partner, and learn from masks to discover your scene instant by instant. Short Table of Contents1. Introduction Part 1: Nuts and Bolts 2. The basics 3. Spontaneous creativity 4. Creating with others 5. Masks and the art of being in the present Part 2: Short Form 6. Introducing short form 7. What’s the story? 8. Playing the platform and detecting tilts 9. Riding the rollercoaster to the end 10. The three change tools and Status 11. Physical change 12. Emotional change 13. Mischief and provoking change Part 3: Narrative Improvisation 14. What is narrative improvisation? 15. Narrative theories 16. The Initial world – locations and relations 17. The Initial world – calls and protagonists 18. Making choices to Get in trouble 19. The Crisis – ordeal and understanding 20. The Climax and the End world 21. Transitions 22. Narrative archetypes 23. Final tips for narrative improvisation Part 4: The Bits Box 24. Useful "bits" 25. Warm-ups 26. Over to you
£30.39
Taylor & Francis Ltd European Performative Theatre
Book SynopsisPerformative theatre is one of the most important trends of our time. It is emblematic of the work of many European theatrical artists in the early twenty-first century. Annamaria Cascetta does not propose a model or a historical overview, but rather strives to identify the salient features of a significant trend in the theatrical research and transformation of our time by analysing some crucial examples from outstanding works, of great international resonance. She draws on work by artists from different generations, all active between the late twentieth century and the first decades of the twenty-first, and in various European countries, performed in a number of European theatres in recent years. The aim is to apply a method of analysis in depth, bringing out the technical elements of contemporary performative theatre in the field, and above all to highlight the close links between it and the urgent and troubled issues and problems of history andTable of ContentsINTRODUCTION CHAPTER 1 The human journey. Odyssey by Robert Wilson. CHAPTER 2 A journey into mind and brain. From Je suis un phénomène to The Valley of Astonishment by Peter Brook. CHAPTER 3 Upending tradition: Christ and Aeschylus irrelevant? Romeo Castellucci's Orestea and Sul concetto di volto nel figlio di Dio. CHAPTER 4 Christ's legacy: Golgota Picnic by Rodrigo Garcia: starting again from man or drowning in nothingness? CHAPTER 5 Anna Castoldi and Francesco Marzano: How to live together? From militarism and authoritarianism to the weapon of joy in Gaudeamus by Lev Dodin. CHAPTER 6 A school of democracy for an ever-changing identity: The Blind Poet by Jan Lauwers and Ça ira by Joël Pommerat. CHAPTER 7 Migration, artificiality and the city on the axis of time: Bodenprobe Kazachstan and Remote X (Remote Milano) by Rimini Protokoll. CHAPTER 8 Oh What a Lovely War by Joan Littlewood: The prophecy of a pioneer artist. CHAPTER 9 The body's dignity regained: MDLSX by Enrico Casagrande, Daniela Nicolò and Silvia Calderoni (Motos) and Bestie di scena by Emma Dante. CHAPTER 10 The beautiful and the true: from Orchidee to Vangelo, the salvational itinerary of Pippo Delbono. PHOTOS
£37.99
Taylor & Francis Ltd (Sales) Theatre and Performance in East Africa
Book SynopsisTheatre and Performance in East Africa looks at indigenous performances to unearth the aesthetic principles, sensibilities and critical framework that underpin African performance and theatre. The book develops new paradigms for thinking about African performance in general through the construction of a critical framework that addresses questions concerning performance particularities and coherences, challenging previous understandings. To this end, it establishes a common critical and theoretical framework for indigenous performance using case studies from East Africa that are also reflected elsewhere in the continent.This book will be of great interest to students and scholars of theatre and performance, especially those with an interest in the close relationship between theatre and performance with culture.Table of ContentsChapter One Introduction; Chapter Two The Abevugyi/Abasizi of Ankore (Uganda) and Rwanda: Praise Recitation Performance; Chapter Three Identity Rituals of the Bamasaba and the Babukusu of Uganda and Kenya; Chapter Four Bwola and Larakaraka of the Acholi of Northern Uganda; Chapter Five Abadongo and Inanga Itinerant Musicians of Rwanda and Uganda; Chapter Six Gacaca: Performance and Nation; Chapter Seven Conclusion; Bibliography; Glossary
£34.19
Taylor & Francis Ltd The Male Dancer
Book SynopsisThis revised third edition of The Male Dancer updates and enlarges a seminal book that has established itself as the definitive study of the performance of masculinities in twentieth century modernist and contemporary choreography. In this authoritative and lively study, Ramsay Burt presents close readings of dance works from key moments of social and political change in the norms around gender and sexuality. The book's argument that prejudices against male dancers are rooted in our ideas about the male body and behaviour has been extended to take into account recent interdisciplinary discussions about whiteness, intersectionality, disability studies, and female masculinities. As well as analysing works by canonical figures like Nijinsky, Graham, Cunningham, and Bausch, it also examines the work of lesser-known figures like Michio Ito and Eleo Pomare, as well as choreographers who have recently emerged internationally like Germaine Acogny and Trajal Harrell. Trade ReviewReviews of the first edition:‘The fascination of this book lies in the way in which the author is ableto locate the male dancer in the broader socio-historic context of thetimes . . . a vital contribution to the placing of dance and its literaturewithin contemporary cultural debate.’Dr Alexander Carter, Middlesex University‘A complex summary of the numerous biases and windows throughwhich we have viewed and continue to view male dancers . . . Burt’swork argues persuasively that theatrical dance is a vital and threateningsite for defining masculinity in relation to the culture at large.’David J. Popalisky, Dance Research JournalTable of ContentsINTRODUCTION; CHAPTER ONE. THE TROUBLE WITH THE MALE DANCER...; CHAPTER TWO. PERFORMING MASCULINITIES; CHAPTER THREE. NIJINSKY; CHAPTER FOUR. AMERICAN MEN; CHAPTER FIVE. DANCING IN THE CITY; CHAPTER SIX. MASCULINITY AND LIBERATION; CHAPTER SEVEN. IDENTITY POLITICS; CHAPTER EIGHT. DANCING NEW RELATIONS; BIBLIOGRAPHY
£34.19
Taylor & Francis Performing Cultures of Equality
Book SynopsisThis book examines the enactment of gendered in/equalities across diverse Cultural forms, turning to the insights produced through the specific modes of onto-epistemological enquiry of embodied performance. It builds on work from the GRACE (Gender and Cultures of Equality in Europe) project and offers both theoretical and methodological analyses of an array of activities and artworks. The performative manifestations discussed include theatre, installations, social movements, mega-events, documentaries, and literary texts from multiple geopolitical locales. Engaging with the key concepts of re-enactment and relationality, the contributions explore the ways in which in/equalities are relationally re-produced in and through individual and collective bodies. This multi- and trans-disciplinary collection of essays creates fruitful dialogues within and beyond Performance Studies, sitting at the crossroads of ethnography, event studies, social movements, visual studies, critiTable of Contents1 Performing Cultures of Equality: Embodiments, Visualities, Inscriptions -Emilia María Durán-Almarza, Carla Rodríguez-González, and Suzanne Clisby PART I Embodying (In)Equalities 2 Honey Pot Performance’s Black Feminist Praxis: Embodiments of Collaboration and Collectivity -Meida Teresa McNeal 3 The Performance of Black Young Masculinity in Bola Agbaje’s and Mojisola Adebayo’s Council-Estate Plays -Paola Prieto López 4 Art’s Political Potential and the Violence That the Art Does. On the Performative Operations of Krzysztof Wodiczko’s Guests (2016) -Dorota Golańska and Aleksandra M. Różalska Part II Visualizing (In)Equalities 5 Tinted Visions: Performing Equalities Through Festive Decorations in LGBT-Themed Events in Hull (UK City of Culture 2017) -Barbara Grabher 6 Social Media Reverberations of Feminist Assemblies: Reflections After Non una di meno’s Verona transfemminista Rally -Tomasso Trillò 7 Gender-Based Violence and the Performance of Masculinity: A Comparative Analysis of the Documentary Films Ma l’amore c’entra? and Serás hombre -Orianna Calderón Sandoval and Adelina Sánchez Espinosa PART III Inscribing (In)Equalities 8 Strangers, Persisters, and Killjoys: Confronting Gender Inequality through Performance Poetry -Esther Álvarez López 9 Imperialism’s Performative Technologies: Race, Gender, and Wearable Devices in Aliette De Bodard’s ‘Immersion’ -Eleanor Drage 10 Figures of a Gender Now upon Us: The Transfeminine in Contemporary Queer Fiction from the Philippines -Jaya Jacobo
£128.25
Taylor & Francis Ltd Choreographing Dirt
Book SynopsisThis book is an innovative study that places performance and dance studies in conversation with ecology by exploring the significance of dirt in performance.Trade Review"In Choregraphing Dirt, Angenette Spalink excavates and activates our intimate and interwoven dance with the material stuff of the earth – call it dirt, soil, detritus, mud, peat, humus, ash – it is the delicate and constant dance partner of our intractably embodied lives. In light of current myriad crises, Choregraphing Dirt analyzes how performance – dance, theatre and cultural enactment – can trace the impacts of extraction and trade, reveal displacement and destruction of human and more-than-human lives, unearth and lay bare racist and genocidal histories long buried in soil, or celebrate deeply rooted cultural reciprocities with the land around us. Choreographing Dirt is a lucid and compelling analysis of the essential work of the performing arts in the era of climate change: to illuminate and complicate human kinship with the more-than-human world. Spalink has made an elegant and incisive contribution to the intersectional fields of ecodramaturgy, performance studies, dance studies and environmental humanities."Theresa J. May, author of Earth Matters on Stage: Ecology, Environment and American Theatre"Spalink does the urgent work of bringing ecocriticism to dance studies, taking seriously how dirt is choreographed on the stage, as well as how dirt in turn choreographs the movement of others in and across biological, geographical, and cultural spaces. Her analyses of theater and dance pieces in which dirt takes center stage model how the movements of dirt itself offer new insights to intractable ecological problems."Rosemary Candelario, University of Texas at Austin"By attending to the ways in which the 'choreography of matter matters,' Choreographing Dirt represents a welcome and much-needed expansion of ecocriticism and ecodramaturgy into the fields of movement and dance. Focusing on well-chosen case studies, Spalink’s analysis astutely reveals how performance can illuminate connections between the displacement of resources and environmental injustices."Dr. Wendy Arons, Professor of Drama and Director of the Center for the Arts in Society, Carnegie Mellon UniversityTable of ContentsList of figuresAcknowledgmentsIntroduction: Biogeocultography1. Performative Taphonomy: Excavating and Exhuming the Past in Suzan-Lori Parks’s The America Play2. Staging Extraction: Peat’s Vitality in Pina Bausch’s The Rite of Spring3. A Dirty Pas De Deux: Dirt, Skin, and “Trans-corporeality” in Eveoke Dance Theatre’s Las Mariposas4. Mycelium in Motion: Choreographing Care in Iván-Daniel Espinosa’s Messengers DivinosConclusion: Moving with the TroubleIndex
£47.49
Taylor & Francis Performing Public History
Book SynopsisPerforming Public History explores history-telling as a performance across a wide range of media, including theatre and film, historical re-enactments and living history performances, operas, and video games.Taking historians as storytellers, this book illustrates how the choices they make shape historical meaning. While historians may strive to be objective when they research and write the past, they inevitably draw on their imagination, emotions, and creativity, aligning them with others who make history in public. The book explores issues such as the nature of archives, realism, fact and fiction, accuracy and authenticity, and actants and audiences. It draws on case studies from all parts of the world, offering global perspectives that invite a rethinking about what history is, and how and why we do it. Sharing work by graduate students, the author also offers an appendix of classroom exercises that instructors will find valuable.Written accessibly for students, this volume offers a succinct account of the discipline of history, the field of public history, and how performance is a useful concept for thinking about history work.
£37.99
Taylor & Francis Devising Theatre A Practical and Theoretical
Book SynopsisA practical handbook that combines a critical analysis of contemporary devised theatre practice with descriptions of selected companies, and suggestions for any group devising theatre from scratch.Trade Review'This book should certainly act as an intellectual and practical stimulus to persons involved in experimental theatre or to teaches of drama in general.' - Reference Reviews'Devising Theatre provides an excellent insight into a particular way of making theatre and will be of interest both to those who wish to devise theatre and those who simply want to find out how some of the most exciting theatre in Britain over the past twenty years has been created.' - Theatre ScotlandTable of ContentsList of illustrations. Preface. 1. An Introduction to Devised Theatre 2. Beginnings: How and where to start 3. Process: Ways and means of making theatre 4. From Process to Product: Relationship and practice 5. From Process to Product: The participatory theatre-in-education programme 6 .Space: Site-specific theatre 7. Theory and Practice 8. Learning to Devise: Practical ideas and suggestions Appendices. Notes. Bibliography. Index
£37.99
Taylor & Francis Ltd (Sales) The Politics of Performance Radical Theatre as
Book SynopsisAddresses fundamental questions about the social and political purposes of performance through an investigation of post-war alternative and community theatre. A detailed analysis of oppositional theatre as radical cultural practice.Table of ContentsAcknowledgements, Introduction: In quest of performance efficacy, Part I Theory and issues: alternative and community theatre as radical cultural intervention, Part II A history of alternative and community theatre, Glossary, Bibliography, Index
£36.99
Taylor & Francis Ltd At Work with Grotowski on Physical Actions
Book Synopsis`I consider this book a precious report that permits one to assimilate some of those simple and basic principles which the self-taught at times come to know, yet only after years of groping and errors. The book furnishes information regarding discoveries which the actor can understand in practice, without having to start each time from zero. Thomas Richards has worked with me systematically since 1985. Today he is my essential collaborator in the research dedicated to Art as Vehicle.'' - from the Preface by Jerzy GrotowskiTrade Review'This book is extremely concise and makes the work of Grotowski something students understand.' - Jane Hanna, Roehampton Institute, UK'An essential text for anyone interested in the work of Polish theatre-maker and teacher Jerzy Grotowski.' - Total TheatreTable of ContentsAt Work with Grotowski on Physical Actions by Thomas Richards, Stanislavski And Grotowski: The Connection, Ryszard Cieslak At Yale, The Workshop At The Objective Drama Program, In New York, Grotowski Speaks At Hunter College, The Work At Botinaccio: An Attack On Dilettantism, One Year With Grotowski In Objective Drama, At The Workcenter Of Jerzy Grotowski, Beginning Stages, Grotowski Vs. Stanislavski: The Impulses, "Realistic" Actions In Everyday Life, Conclusion On "Realistic" Actions, Quoted texts From the Theatre Company to Art as Vehicle
£35.14
Taylor & Francis Ltd Certain Fragments Contemporary Performance and
Book SynopsisWhat is the relationship between performance and play? Between performance and technology? Between performance and death?Certain Fragments is an extraordinary exploration of what lies at the heart of contemporary theatre. Written by the artistic director of Forced Entertainment, acknowledged to be Britains most brilliant experimental theatre company (Guardian), Certain Fragments investigates the processes of devising performance, the role of writing in an interdisciplinary theatre, and the influence of the city on contemporary art practice.Tim Etchells unique and provocative voice shifts from intimate anecdote to critical analysis and back again. And as in his theatre-making so in his book: with Certain Fragments Etchells disrupts traditional notions of creative, academic, and intellectual work. The book is an exciting and radical fusion of story-telling and criticism. It also makes available, for the first time, four seminal Forced EntertainmTrade Review'Certain Fragments . . . illuminate[s] . . . the more interesting aspects of contemporary British theatre.' - David Pattie, New Theatre QuarterlyTable of ContentsForeword, Introduction, Section I Essays, Section II Performance Texts
£37.04
Taylor & Francis Postdramatic Theatre
Book SynopsisNewly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmannâs groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre.In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound.Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner MÃller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. Illustrated by a wealth of practical examples, and with an introduction by Karen JÃrs-Munby providing useful theoretical and arTrade Review'This is a provocative, illuminating and stimulating book that will undoubtedly become as essential a text in English theatre scholarship as it already has in continental Europe.' – Marvin Carlson, Theatre Research International'This groundbreaking study [is] an inventive response to the emergence of new technologies.' - International Theatre Informations'This is an important book, already elbowing its way into the forefront of English-language critical discourse on theatre...' --TDR'This is a provocative, illuminating and stimulating book that will undoubtedly become as essential a text in English theatre scholarship as it already has in continental Europe.' – Marvin Carlson, Theatre Research International'this groundbreaking study [is] an inventive response to the emergence of new technologies' - International Theatre InformationsTable of ContentsPreface to the English Edition 1. Prologue 2. Drama Drama and Theatre Drama and Dialectic 3. Pre-histories Towards a Prehistory of Postdramatic Theatre A Short Look Back at the Historical Avant-gardes 4. Panorama of Postdramatic Theatre Beyond Dramatic Action: Ceremony, Voices in Space, Landscape Postdramatic Theatrical Signs Examples 5. Performance Theatre and Performance The Present of Performance 6. Aspects: Text - Space - Time - Body - Media Text Space Time Body Media 7. Epilogue 8. Afterword Notes Bibliography Index
£49.39
Taylor & Francis Ltd (Sales) Making a Performance Devising Histories and
Book SynopsisTrade Review'Making a performance...herald[s] a renewed, more urgent critical interest in the arena of contemporary devising practices...and makes a strong, substantial and much needed contribution to the field of devised performance theory and I hope it will inspire others...' Joanna Bucknell, University of Winchester"The emphasis on contemporary companies provides a welcome introduction to works that have received scant scholarly attention. Summing Up: Recommended." --CHOICE, January 2008'Making a Performance ... herald[s] a renewed, more urgent critical interest in the arena of contemporary devising practices ... and makes a strong, substantial and much needed contribution to the field of devised performance theory and I hope it will inspire others.' – Joanna Bucknell, University of Winchester, UKTable of ContentsContents List of Illustrations Acknowledgements Introduction 1. The Art of Devising Part 1: Genealogies and Histories 2. But is it Art? Art and Non-Art 3. The Creative Performer 4. Art, Politics and Activism Part 2: Shaping Narratives 5. Autobiographical Performance 6. Narratives of Community 7. Adapting Fictional Stories Part 3: Places and Spaces 8. Making Performance Space/Creating Environments 9. The Place of the Artist 10. Between Routes and Roots: Performance, Place and Diaspora Part 4: Performing Bodies 11. The Speaking Body: Physical Theatres 12. Virtual Bodies Conclusion 13. Shifting Boundaries: Concluding Thoughts Bibliography Index
£37.99
Taylor & Francis Ltd Disability and Contemporary Performance Bodies on
Book SynopsisDisability and Contemporary Performance presents a remarkable challenge to existing assumptions about disability and artistic practice. In particular, it explores where cultural knowledge about disability leaves off, and the lived experience of difference begins. Petra Kuppers, herself an award-winning artist and theorist, investigates the ways in which disabled performers challenge, change and work with current stereotypes through their work. She explores freak show fantasies and ''medical theatre'' as well as live art, webwork, theatre, dance, photography and installations, to cast an entirely new light on contemporary identity politics and aesthetics. This is an outstanding exploration of some of the most pressing issues in performance, cultural and disability studies today, written by a leading practitioner and critic.Trade Review"'Timely and much needed. As a dancer, choreographer, community workshop artist, and top-notch scholar, Kuppers is uniquely qualified to address the myriad issues that arise when putting disability studies and performance studies into dialogue with one another.' - Carrie Sandahl, Florida State University"Table of ContentsList of figures, Acknowledgements, Figure acknowledgements, Performance and disability: An introduction, 1. Practices of reading difference, 2. Freaks, stages, and medical theaters, 3. Deconstructing images: Performing disability, 4. Outsider energies, 5. Encountering paralysis: Disability, trauma, and narrative, 6. New technologies of embodiment: Cyborgs and websurfers, Epilog: Toward the unknown body: Stillness, silence, and space in mental health settings, Notes, Bibliography, Index
£40.84
Taylor & Francis Theatre of Movement and Gesture
Book SynopsisPublished in France in 1987, this is the book in which Lecoq first set out his philosophy of human movement, and the way it takes expressive form in a wide range of different performance traditions. He traces the history of pantomime, sets out his definition of the components of the art of mime, and discusses the explosion of physical theatre in the second half of the twentieth century. Interviews with major theatre practitioners Ariane Mnouchkine and Jean-Louis Barrault by Jean Perret, together with chapters by Perret on Ãtienne Decroux and Marcel Marceau, fill out the historical material written by Lecoq, and a final section by Alain Gautrà celebrates the many physical theatre practitioners working in the 1980s.Trade Review"...this is an important addition to the growing body of scholarship treating Lecoq's work, and any student of 20th-century theatre or the use of movement in performance will find this book invaluable." --TDRTable of Contents1 Imitation: from mimicry to miming 2 The gestures of life 3 From pantomime to modern mime 4 Has mime become separated from theatre? 5 Mime, the art of movement 6 The explosion of mime 7 The theatre of gesture and image
£34.19
Taylor & Francis Ltd The EighteenthCentury Theatre in Spain A
Book SynopsisPreviously published as a special issue of The Bulletin of Spanish Studies, The Eighteenth-Century Theatre in Spain is the second in a series of research bibliographies on the Theatre in Spain.Representing ten years of searches and compilation by its specialist authors, this volume draws together data on more than 1,500 books, articles and documents concerned with Spanish eighteenth-century theatre. Studies of plays and playwrights are included as well as material dealing with theatres, actors and stagecraft. Wherever possible, items listed have been personally examined, and their library location in Britain, Spain or USA is provided. Scholars with interests in drama will find in this single-volume work of reference a wealth of reliable information concerning this specialist field.Table of ContentsPreface Abbreviations Bibliography of Eighteenth-Century Theatre in Spain Index of Titles Index of Names Index of Subjects
£118.75
Taylor & Francis Ltd (Sales) Performing Remains Art and War in Times of
Book SynopsisPerforming Remains is a collection of essays from one of Performance Studies' leading scholars, exploring the role of the fake, the false and the faux in contemporary theatre. Divided into seven essays, this book examines both contemporary and historical performance with a wide scope, questioning the importance of representation and reassessing the ritual value of failure.Trade Review'At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University'Over the past years I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider’ s book seems to me to be that book. Her work is challenging,thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester'Like a blast from the future, Performing Remains is a mind-bending, time-tripping exploration of the folds between the live and the mediated, once and again, what is passed through and what is still here. Rebecca Schneider has written a vital and revitalizing book, which will redefine the kinds of questions we can ask with performance and performance studies.' - Ann Pellegrini, New York University'This is a strikingly original, medidative study. Taking up the question of re-performance or re-enactment, Schneider ranges widely over the contemporary scene of performance, taking in a quite astonishing range of materials—contemporary plays, disciplinary concerns in the field of performance studies, the work of experimental companies, photography, protest, and more. In the strongest sense, this book presents a richly provocative mimesis of thought, in which a major critic deftly and productively follows important questions where they lead. It's an inimitable performance, but one that will be deeply and gratefully mined by its readers.' - W. B. Worthen, Barnard College, Columbia University'Rebecca Schneider's long-awaited book Performing Remains offers a major contribution to performance studies discussions and debates around liveness and temporality. Framing her study with re-enactments of the US Civil War (both 'traditional' and contemporary artist-driven), Schneider weaves together extra-theatrical militaristic re-enactments with theatrical performance and re-performance, as well as sculpture and photographic representation, to question rhetorics of performance as disapperance and to consider the archive as a space of performance. Across five chapters, plus a foreword and an afterword, Schneider's wide-ranging intellect and poetic style produce a powerful argument that is a delight to read.' - Joshua Abrams, Contemporary Theatre ReviewTable of Contents1. Forward, By Other Directions 2. Reenactment and Relative Pain 3. Finding Faux Fathers 4. In the Meantime: Performance Remains 5. Poor, Poor Theatre 6. Still Living 7. Protest Now
£37.99
Taylor & Francis Ltd Susan Glaspell and Sophie Treadwell
Book SynopsisSusan Glaspell and Sophie Treadwell presents critical introductions to two of the most significant American dramatists of the early twentieth century. Glaspell and Treadwell led American Theatre from outdated melodrama to the experimentation of great European playwrights like Ibsen, Strindberg and Shaw. This is the first book to deal with Glaspell and Treadwell's plays from a theatrical, rather than literary, perspective, and presents a comprehensive overview of their work from lesser known plays to seminal productions of Trifles and Machinal. Although each woman pursued her own themes, subjects and manner of stage production, this shared volume underscores the theatrical and cultural conditions influencing female playwrights in modern America. Trade Review'A dense, wellconsidered, and valuable starting point for interested scholars, directors, or instructors unfamiliar with the existing body of scholarship on Treadwell and Glaspell.' –Theatre Survey'a useful handbook, covering the lives, careers, works, production histories, and existing criticism of these two women. The resulting work is a dense, well-considered, and valuable starting point for interested scholars, directors, or instructors unfamiliar with the existing body of scholarship on Treadwell and Glaspell.' – Theatre Survey'succinctness here is characteristic of the book as a whole, and is one of its strengths' – Theatre Survey'a concise introduction to the lives, works, and criticism of these important American dramatists' – Theatre SurveyTable of ContentsIntroduction Part 1: Susan Glaspell Life and Politics Key Plays I: The shorter plays – genesis and criticism Key Plays II: The full-length plays – genesis and criticism Key Plays III: The Feminist Appropriation of Trifles Key Plays in Production: The Verge Part 2: Sophie Treadwell Life and Politics Key Plays I: The early plays – genesis and criticism Key Plays II: Broadway plays – genesis and criticism Key Plays in Production I: Machinal – stagings and critical response Key Plays in Production II: Intimations for Saxophone Chronology Bibliography Index
£32.90
Taylor & Francis Ltd (Sales) The Transformative Power of Performance A New Aesthetics
Traces the emergence of performance as 'an art event' in its own right. This translation of the original "A sthetik des Performativen" addresses key issues in performance art, experimental theatre and cultural performances to lay the ground for a fresh appreciation of the artistic event.
£35.14
Taylor & Francis Actor Training
Book SynopsisActor Training expands on Alison Hodge's highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included - and forty more photographs - to create a stunningly comprehensive study. The practitioners included are:Stella Adler; Eugenio Barba; Augusto Boal; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; Joseph Chaikin; Jacques Copeau; Philippe Gaulier; Jerzy Grotowski; Maria Knebel; Jacques Lecoq; Joan Littlewood; Sanford Meisner; Vsevolod Meyerhold; Ariane Mnouchkine; MonikTrade Review'This wide-ranging collection of essays, by British and American academics, compares the methods of more than 20 Western practitioners, chapter by chapter, from Stella Adler to Lee Strasberg. This edition has eight more practioners than the first version, published as Twentieth Century Actor Training a decade ago.' - Whatsonstage.com Table of ContentsPreface Introduction 1 Stanislavsky’s System: pathways for the actor SHARON MARIE CARNICKE 2 Meyerhold and Biomechanics ROBERT LEACH 3 Jacques Copeau: the quest for sincerity JOHN RUDLIN 4 Michael Chekhov on the technique of acting: ‘was Don Quixote true to life?’ FRANC CHAMBERLAIN 5 Michel Saint-Denis: Training the Complete Actor JANE BALDWIN 6 The Knebel Technique: Active Analysis in Practice SHARON MARIE CARNICKE 7 Brecht and actor training: on whose behalf do we act? PETER THOMSON 8 Joan Littlewood CLIVE BARKER 9 Strasberg, Adler and Meisner: Method acting DAVID KRASNER 10 Joseph Chaikin and aspects of actor training: possibilities rendered present DORINDA HULTON 11 Peter Brook: transparency and the invisible network LORNA MARSHALL AND DAVID WILLIAMS 12 Grotowski’s vision of the actor: the search for contact LISA WOLFORD 13 Training for play, lightness and disobedience in the pedagogies of Jacques Lecoq, Monika Pagneux and Philippe Gaulier SIMON MURRAY 14 Training with Eugenio Barba: acting principles, the pre-expressive and ‘personal temperature’ IAN WATSON 15 Ariane Mnouchkine and the Theatre du Soleil : Theatricalising history; the theatre as metaphor; the actor as signifier. HELEN E. RICHARDSON 16 Wlodzimierz Staniewski. Gardzienice: the naturalised actor ALISON HODGE 17 Creating the Moment: Anne Bogart, SITI Company and Actor training ROYD CLIMENHAGA 18 Augusto Boal and the Theatre of the Oppressed FRANCES BABBAGE
£37.99
