Theatre studies Books

Book SynopsisJosephine Machon is Senior Research Fellow in Contemporary Performance Practice at Middlesex University, London, UK. She is the author of (Syn)aesthetics: Redefining Visceral Performance (2009, 2011). Josephine is also the co-editor of Performance and Technology (2006), Sensualities/Textualities and Technologies (2010) and Identity, Performance and Technology (2012) and joint editor of the Palgrave Macmillan Series in Performance and Technology.

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Book Synopsis1. World Pictures 2. Camouflage Acts 3. Performing Ground 4. Environmental Unconscious 5. Embedded Performance 6. Epilogue: Situating the Self Notes Select Bibliography IndexTrade Review“Levin’s Performing Ground: Space, Camouflage and the Art of Blending In arguably makes the boldest moves toward reorienting the spatial analysis of performance. … Levin’s innovative use of the notions of camouflage to understand a variety of relationships between self and world will surely prove valuable to performance scholars working not just in relation to place, but also to gender, race, ecology, animal studies, scenography, photography, and visual art.” (Fiona Wilkie, Theatre Journal, Vol. 67, December, 2015)'Performing Ground asks important questions about environmental responsibilities, global and local mobilities, boundaries, subjectivities, and issues of entitlement and dispossession, while remaining sensitive to conditions of gender, nationality, class, ethnicity and more. It argues persuasively that we are never solo, but always figures in a ground, embedded in dynamic and meaningful contexts, with responsibilities to others and to our environments. It is rich, admirably ambitious and fiercely compelling.' - Jen Harvie, Queen Mary University of London, UKTable of Contents1. World Pictures 2. Camouflage Acts 3. Performing Ground 4. Environmental Unconscious 5. Embedded Performance 6. Epilogue: Situating the Self Notes Select Bibliography Index

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Book SynopsisBram Stoker, Dracula and the Victorian Gothic Stage re-appraises Stoker's key fictions in relation to his working life. It takes Stoker's work from the margins to centre stage, exploring how Victorian theatre's melodramatic and Gothic productions influenced his writing and thinking.Trade Review"Bram Stoker, Dracula and the Victorian Gothic Stage does an admirable job of placing Dracula in conversation with the literary Gothic, supernatural Gothic, and melodramatic drama on offer at Irving's Lyceum Royal Theatre. It also situates the novel in relation to the function of science, literature, and the theatre in "legitimixing brutality" towards women as a means of rehabilitating them." - Victorian Periodicals Review, 2015Table of ContentsIntroduction: Setting the Scene 1. Stoker, Melodrama and the Gothic 2. Irving's Tempters and Stoker's Vanishing Ladies: Supernatural Production, Mesmeric Influence and Magical Illusion 3. Ellen Terry and the 'Bloofer Lady': Femininity and Fallenness 4. Gothic Weddings and Performing Vampires: Geneviève Ward and The Lady of the Shroud 5. The Lyceum's Macbeth and Stoker's Dracula Conclusion

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Book SynopsisPART I: BEGINNINGS Preface; Laura Cull and Alice Lagaay PART II: WHAT IS PERFORMANCE PHILOSOPHY? 1. Performance Philosophy - Staging a New Field; Laura Cull 2. Performing the Impossible - in Philosophy; Alice Lagaay in conversation with Alice Koubova PART III: ON THE STAGE 3. The Problem of the Ground: Martin Heidegger and Site-Specific Performance; Martin Puchner 4. The Face and the Profile; Denis Guenoun PART IV: ON THE ACTOR 5. On 'Bodies of Knowledge': Conceptualizing the Art of Acting; Freddie Rokem 6. The Most Mimetic Animal: An Attempt to Deconstruct the Actor's Body; Esa Kirkkopelto PART V: ON THE BODY IN/OF PERFORMANCE PHILOSOPHY 7. The Theatre of the Virtual. How to Stage Potentialities with Merleau-Ponty; Emmanuel Alloa 8. Staging Philosophy: Toward a Performance of Immanent Expression; Arno Bohler 9. The Gymnastics of Thought: Elsa Gindler's Networks of Knowledge; Katja Rothe PART VI: ON PERFORMATIVITY AND LANGUAGE 10. Connecting Performance and Performativity. Does it workTrade Review“Encounters in Performance Philosophy covers a wide range of theorists, in a variety of methods and from different disciplinary perspectives. … Encounters in Performance Philosophy is a volume that not only records an already existing body of deeply vital and thoughtful practices. It also paves the way for forms of research able to incorporate process and novelty through an actual nomadism unencumbered by hubristic prescription.” (Nik Wakefield, Contemporary Theatre Review, Vol. 25 (4), October, 2015)Table of ContentsPART I: BEGINNINGS Preface; Laura Cull and Alice Lagaay PART II: WHAT IS PERFORMANCE PHILOSOPHY? 1. Performance Philosophy - Staging a New Field; Laura Cull 2. Performing the Impossible - in Philosophy; Alice Lagaay in conversation with Alice Koubova PART III: ON THE STAGE 3. The Problem of the Ground: Martin Heidegger and Site-Specific Performance; Martin Puchner 4. The Face and the Profile; Denis Guenoun PART IV: ON THE ACTOR 5. On 'Bodies of Knowledge': Conceptualizing the Art of Acting; Freddie Rokem 6. The Most Mimetic Animal: An Attempt to Deconstruct the Actor's Body; Esa Kirkkopelto PART V: ON THE BODY IN/OF PERFORMANCE PHILOSOPHY 7. The Theatre of the Virtual. How to Stage Potentialities with Merleau-Ponty; Emmanuel Alloa 8. Staging Philosophy: Toward a Performance of Immanent Expression; Arno Bohler 9. The Gymnastics of Thought: Elsa Gindler's Networks of Knowledge; Katja Rothe PART VI: ON PERFORMATIVITY AND LANGUAGE 10. Connecting Performance and Performativity. Does it work?; Sybille Kramer 11. Downscaling Lamentation: On Trope and Fratricide; Nimrod reitman PART VII: ON TRAGEDY 12. Thinking About Philosophy and Drama Today: Three Proposals; Paul A. Kottman 13. After Tragedy; Jean-Luc Nancy PART VIII: ENDINGS 14. The Last Human Venue - Closing Time; Alan Read

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Book SynopsisAlan Read is Professor of Theatre at Kings College London, UK. He was the founding consultant editor of the journal Performance Research and is the author of Theatre & Everyday Life: An Ethics of Performance and Theatre, Intimacy & Engagement: The Last Human Venue, amongst numerous other publications.Table of ContentsPart I Within the Law: Ten Rules of Engagement Part II Before the Law: The Life and Death of Homo Juridicus Part III Beyond the Law: Extraordinary Rendition Further Reading.

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

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Book SynopsisThis volume speaks to students, scholars and artists working within contemporary theatre and performance, Irish and British studies, memory and trauma studies, feminisms, performance studies, affect and reception studies, as well as the medical humanities.Trade Review“Staging Trauma proves itself to be a particularly useful and important introduction for students and scholars seeking to immerse themselves in this interdisciplinary field of enquiry. … this monograph is a vital contribution to the fields of trauma studies and theatre and performance studies.” (Milija Gluhovic, Modern Drama, Vol. 62 (4), 2019)“Staging Trauma is an exceptionally interdisciplinary, multifaceted, and reflective work of scholarship that examines the significance of the theatrical performance of trauma in individual and societal terms. It is recommended for students and scholars of many different interests including critical studies of theater and performance, trauma studies, and feminist theory. … Finally, it is undoubtedly relevant for theater professionals … .” (Eve Polley, The Harold Pinter Review, Vol. 3 (1), 2019)“Staging Trauma is a work of great scholarly, personal and political care. Haughton’s own commitment to social justice resonates throughout and serves to produce a volume that is both compelling and finely detailed, and that makes an excellent contribution to the fields of theatre studies and trauma studies.” (Emma Willis, Irish University Review, Vol. 49 (1), May, 2019)“Haughton’s timely and significant book is positioned at the intersection of trauma studies with contemporary theatre and performance, and sets out to investigate theatrical interventions into the suppressed histories of forgotten populations. Written in a clear and readable style, it is suitable for final-year undergraduates onwards. It offers four detailed case studies, each addressing a different key concern: sexual violence, terminal illness, imprisonment, and asylum.” (lisa Fitzpatrick, New Theatre Quarterly, Vol. 34 (04), November, 2018)Table of Contents1. Introduction: Staging the Unknowable, the Unspeakable, the Unrepresentable.2. VIOLATION: On Raftery’s Hill (2001) by Marina Carr.3. LOSS: Colder Than Here (2005) by Laura Wade.4. CONTAINMENT: Laundry (2011) directed by Louise Lowe, ANU Productions.- 5. EXILE: Sanctuary(2013) directed by Teya Sepinuck for Derry Playhouse ‘Theatre of Witness’.6. Conclusion: Relationality.

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Book SynopsisFocusing on contemporary English theatre, this book asks a series of questions: How has theatre contributed to understandings of the North-South divide?Table of Contents1. ​Introduction - A Divided Nation: Theatre and Social Abjection.- 2. Chapter One - ‘Anti-Northern Prejudice’: Representing the Northern Subaltern.- 3. Chapter Two - ‘You’re All the Same, Lads with Bricks’: Riots and Rioters.- 4. Chapter Three - Blighting these Green and Pleasant Lands: Gypsies and Travellers.- 5. Chapter Four - ‘The Beast that Lies Dormant in the Belly of Our Country’: Race, Nation and Belonging.-

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Book SynopsisCostume Craftwork on a Budget demonstrates how to use inexpensive materials to create durable costumes and props in a short amount of time. Fully illustrated step-by-step instructions teach readers how to use 3-D makeup and create teeth, wigs, masks, hats, nonhuman costumes, leather products, and other accessories. This new edition features updated introductions for each chapter and project, expanded chapters on 3-D Makeup, Wigs, Masks, Headdresses, and Animal Costumes, and projects from shows such as Shrek the Musical (latex ears), Orphie & the Book of Heroes (headdresses), and Side Show (a lizard costume). From creating armor out of laundry baskets to detailed tricks for creating a witch's prosthetic nose, this book equips aspiring costume designers with the techniques needed to produce costumes and props that are beautiful, economical, and safe.Trade ReviewPraise for the first edition:"Tan Huaixiang is a truly gifted artist; in this book she guides us through many complex theatrical projects that are inspiring, clever, and budget sensible. Her many samples offer excellent tips regarding the use of materials and her choice of graphics illustrates processes clearly. She has created something truly versatile. This book can be used as a textbook in a stagecraft class and it can also be a beautiful reference book in a designer/technician’s library. This is a must for all costume designers and technicians." Rafael Jaen, author of Show Case and Digital Costume Design and Collaboration"This book is an excellent review of unique and economical approaches to common costume technology issues with stunning visuals. It is a cookbook of theatrical craftwork." Linda Pisano, Professor of Costume Design at Indiana University, Department of Theatre and DramaTable of ContentsSECTION 1. 3-D MAKEUP, TEETH, WIGS, AND BEARDS Chapter 1. 3-D Makeup Chapter 2. Teeth Chapter 3. Wigs Chapter 4. Beards SECTION 2. MASKS Chapter 5. Rubber Masks Chapter 6. Varaform and Wonderflex Masks Chapter 7. Mixed-Materials Masks SECTION 3. HATS AND HEADDRESSES Chapter 8. Variety Hats Chapter 9. Straw and Horsehair Hats Chapter 10. Crowns Chapter 11. Turbans and Hoods Chapter 12. Headdresses SECTION 4. ANIMAL HEADDRESSES AND NONHUMAN COSTUMES Chapter 13. Rubber Outfit Chapter 14. Fabric Outfits Chapter 15. Wired-framed Headdresses Chapter 16. Foam Headdresses and Costumes SECTION 5. ARMOR Chapter 17. War Helmets from Household Items Chapter 18. Body Armor SECTION 6. LEATHER PRODUCTS Chapter 19. Suede Leather Shoes and Boots Chapter 20. Leather Apron and Jacket SECTION 7. ACCESSORIES Chapter 21. Jewelry and Mittens SECTION 8. CHANGING CHEAP CLOTHING INTO ELEGANT GARMENTS Chapter 22. Altering Women’s Dresses Chapter 23. Altering Men’s Jackets SECTION 9. MAKING NEW GARMENTS OLD Chapter 24. Aging and Distressing Costumes SECTION 10. SOURCES AND SAFETY Chapter 25. Supply Sources and Safety Tips

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Book SynopsisMary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and special effects such as tremolo and harmonics. Part IV introduces four composer profiles that examine peTrade Review'Careful consideration of the intersection of written and unwritten music is of the utmost importance to all musicians, but particularly to those whose chosen repertory was born in years long before audio recordings were possible. French music composed between 1680 and 1760 presents stylistic and aesthetic challenges into which viol players in particular have been given insights by player-composers of the time. Mary Cyr generously shares not only her knowledge as a performer, but also her expertise as a musicologist researching seventeenth- and eighteenth-century music in a rigorous scholarly examination of the bowed strings and their techniques and repertory. This book is essential reading, not only for bowed string instrument players, but for anyone who wishes to perform the glorious music of the French Baroque.' Wendy Gillespie, Professor of Music, Indiana University, USA 'This is a beautifully-written account of string instruments, technique, style and repertoire in France during the Baroque era. Mary Cyr knows her sources intimately and discusses them with a fine musical intelligence. This volume is a welcome addition to the literature on historical performance practice.' Peter Walls, Emeritus Professor of Music, Victoria University of Wellington, New Zealand 'Mary Cyr’s work is a welcome and much needed addition to the gambist’s library... The value of this work is unquestionable, especially for musicians who may be taking their first steps with a baroque string instrument or historical performance practice. More experienced early music performers and musicologists may find this work an eye opener to repertoires or techniques with which they are less familiar.' Viola da Gamba Society Journal 'Cyr's handbook on French style neatly fills a gap in the literature, bringing together a wealth of primary source material in a way that performers will find easy to use... Her organized, lucid approach will pique interest in the topic and inspire the curious readeTable of ContentsPart I Sources and Style in French Baroque Music; Chapter 1 Historical Context, Musical Works, and Performance; Chapter 2 French and Italian Musical Style: The Great Divide; Part II Bowed String Instruments in French Ensembles; Chapter 3 Strings in French Ensembles; Chapter 4 Bass Instruments of the Violin and Viol Families in Solo and Ensemble Roles; Part III Interpretation and Style in French Music for String Players; Chapter 5 Articulation; Chapter 6 Tempo, Character, and Inequality; Chapter 7 Ornamentation and Special Effects; Chapter 8 Basse Continue, Pitch, and Temperament; Part IV Composer Profiles; Chapter 9 Marin Marais: Viol Player, Composer, and Teacher extraordinaire; Chapter 10 Élisabeth Jacquet de La Guerre's Violin Sonatas: What the Sources Do (and Do Not) Tell Us; Chapter 11 Jean-Baptiste Barrière, Virtuoso French Cellist and Composer; Chapter 12 Forqueray's Pieces de viole avec la Basse Continuë: Authorship and Performance Issues;

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Book SynopsisQuestioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate''s History of King Lear (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society. In identifying and relocating different adaptive gestures within this historical framework, Bradley explores the link between the critical and the creative in the history of Shakespearean adaptation. Focusing on works such as Gordon Bottomley''s King Lear''s Wife (1913), Edward Bond''s Lear (1971), Howard Barker''s Seven Lears (1989), and the Women''s Theatre Group''s Lear''Trade Review'To historicize adaptations of Shakespeare by using character as a bridge (theoretically and pragmatically) between adapted text and adaptation allows Bradley to show well what happens when what she calls the "ironic double gesture" is invoked in order to both use and yet challenge the Bard. The shift from Bardolatry to feminist contestation is presented and enacted here with clarity and a certain brio.' Linda Hutcheon, University of Toronto, Canada '... [Bradley’s] analysis of the distinct variations in twentieth-century adaptations is fascinating... Bradley’s book ultimately becomes a solid defence of the unique value of adaptation as a way to navigate a problematic cultural heritage while evolving within it an expression for our particular cultural moment.' Restoration and Eighteenth-Century Theatre ResearchTable of ContentsContents: Introduction; 'Why this is not Lear': adaptations before the 20th century; 'Other accents borrow': Bottomley, Baring, and a new approach to adaptation; 'Only we shall retain the name': Bond's Lear and Barker's Seven Lears; 'Re-vision' of the kingdom: feminist adaptations of King Lear; Conclusion: 'The promised end'?; Bibliography; Index.

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Book SynopsisA design tech portfolio showcases a theatre designer/technician''s most prized accomplishments in stage design, lighting, costuming, or makeup. The ability to make a winning portfolio is essential to getting into choice colleges, obtaining scholarships, and getting new jobs in the field. Unfortunately the process can become time consuming and challenging if you don''t know where to start. Show Case offers students, teachers, and aspiring professionals the information they need to know to create, maintain, and show off their portfolio.This fully revised second edition features new and expanded chapters that explore current and innovative approaches to creating a design-tech portfolio, including branding, social networking, and traditional and interactive e-portfolios. This comprehensive guide also covers planning and developing details such as page layout, content variety, aesthetic sequencing, marketing, personal presentation, and next steps. Each chapter features introductions, sampleTrade Review"Jaen helps readers assess the success of their portfolios and interview abilities, in order to further refine their materials, a great reminder that our portfolios are never done. I will return to this book with frequency as I update my own portfolio, encourage my students to own a copy, and use it in my classes. Show Case is an outstanding resource."--Theatre Design & Technology

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Book SynopsisAs practitioner-researchers, how do we discuss and analyse our work without losing the creative drive that inspired us in the first place?Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one's own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right.Finding ways to make the intangible nature of much of our work count' under assessment has become increasingly important in the Academy and beyond. The Creative Critic offers an inspiring and useful sourcebook for students and practitioner-researchers navigating this area.Please see the companion site to the book, http://wwwTable of ContentsForeword Jane Rendell; Introduction Orley and Hilevaara; Section One: Manifesto (How); I Am for an Art Writing Susannah Thompson; Lyric Theory PA Skantze; Notitia, Trust, and Creative Research Iain Biggs; Writing Without Writing: Conversation as Material Emma Cocker; The Distracted Cyclist G D White; Footnoting Performance Mike Pearson; An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo; Same Difference Nic Conibere; Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin; A Conjuring Act in The Form of an Interview Augusto Corrieri; Yoko Ono Fanfiction owko69 (Owen G. Parry); A Fugue State of Theatre Joe Kelleher; Writing with fungi, contagious Taru Elfving; Middleword One Peter Jaeger; Section Two: Position (Where); The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo; Writing about the Sound of Unicorns Salome Voegelin; Far Stretch – Listening to Sound Happening Ella Finer; Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot; Thirteen Points, Expanded Kristen Kreider and James O’Leary; Returning in the House of Democracy Brigid McLeer; Dancing Architecture: Architect-Walking Cathy Turner; Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith; It Moves: reflections on walking as a practice of writing Mary Paterson; In departures, not departing Tim Etchells; Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode; Elfie und Elsinore (fur Heidi) Hayley Newman; Marking a Life Mitch Rose; Middleword Two Maria Fusco; Section Three: Beside-ness (Whom); Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki; An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner; 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish; Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna; A Series of Continuous Accidents Rajni Shah; The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller; The Path on the Floor and Other Uses of Hand-drawing Karen Christopher; Searching for the ‘bandaged place’ Louise Tondeur; The Catalogue for the Public Library of Private Acts Johanna Linsley; Field Notes from a Choreographic Practice Lucy Cash; K.Bae.Tré Douglas Kearney; Middleword Three Timothy Matthews; Afterword Jane Rendell

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Book SynopsisThe Costumes of Burlesque: 1866-2018 is the first volume to inclusively document burlesque costume from its birth in the 1860's through the global burlesque movement in 2018. This lushly illustrated book presents the history and development of this American art form by documenting the origins, influencers, and genuine articles that created its aesthetic. Showcases of legendary performers, including Lydia Thompson, Gypsy Rose Lee, Sally Rand, Bettie Page, Kitten Natividad, and Dita Von Teese, demonstrate costume styles through the years. This guide gives readers a clear view of how burlesque costume looked and why. It teaches collectors, burlesque performers, and fans alike to recognize vintage pieces for what they are and to design their own costumes with inspiration from the originals. By including detailed costume documentation, over 400 images, and interviews with prominent costume designers such as Catherine D'Lish and Garo Sparo, Trade Review"The Costumes of Burlesque: 1866-2018 by Coleen Scott is an exquisite book that fills a long-empty gap in the costume history library….General readers will devour this book for its details and beautiful illustrations. Scholars will appreciate the comprehensive bibliography that will lead burlesque enthusiasts and researchers alike to deepen their knowledge of this American art form."-Laurie Kurutz, Theatre Design & Technology Fall 2019"Scott’s text offers a visually and materially exciting overview of the costumes for burlesque; her use of images of extant costume and interviews with performers, designers, and makers of burlesque costume reiterates the significance of costume to cultural studies and performance studies. As such, The Costumes of Burlesque, 1866–2018 offers a valuable contribution to the emergent field of costume studies. Specifically, the book provides a significant visual record for costume makers, who are all too often left in the margins of the field of costume studies."-Louise Elizabeth Penn Chapman, The Journal of Dress History, Volume 5, Issue 4, Early Autumn 2021Table of ContentsForeword by Leslie Zemeckis Introduction 1- The Birth of Burlesque 1868-19teens 2- Flappers and Film Stars 1920s-1930s 3- "The Golden Age" 1940s-1950s 4- The Death of Burlesque 1960s-1970s 5- The Strip Club meets Neo Burlesque 1980s-2001 6- Modern Burlesque Costume Design - Epilogue

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Book SynopsisThe Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers and practitioners. This is the follow-on text from The Twentieth-Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century's leading practitioners through the voices of over 140 individuals. The contributors in this volume reflect the diverse and eclectic culture of practices that now make up the expanded field of performance, and their stories, reflections and working processes collectively offer a snapshot of contemporarTable of ContentsAcknowledgementsIn Dialogue...Introduction Action Hero WHAT’S LOVE GOT TO DO WITH IT? GEMMA AND JAMES AND ACTION HERO Mohammad Aghebati INTERVIEW Patricia ArizaINTERVIEW Back to Back Theatre ON MAKING THEATRE Brett Bailey INTERVIEW Dalia Basiouny PERFORMANCE THROUGH THE EGYPTIAN REVOLUTION: STORIES FROM TAHRIR Jérôme Bel INTERVIEW Blast Theory ULRIKE AND EAMON COMPLIANT: ARTISTS’ STATEMENT Tammy Brennan CONFINED: STAGING/IMAGE MOMENTS Tania Bruguera INTERVIEW Builders Association MARIANNE WEEMS IN CONVERSATION WITH ELEANOR BISHOP Liu Chengrui A SELECTION OF ACTIONS Padmini ChetturSOME THOUGHTS FOR THE FUTURE Constantin Chiriac INTERVIEW David Chisholm THE MEMORY OF REMEMBERING: EXOMOLOGESIS AND EXAGOREUSIS IN THE EXPERIMENT Clod Ensemble CLOD ENSEMBLE: PERFORMING MEDICINE María José Contreras THE BODY OF MEMORY: MARIA JOSE CONTRERAS’ PERFORMANCE PRACTICES IN THE CHILEAN TRANSITION Augusto Corriere A CONJURING ACT IN THE FORM OF AN INTERVIEW Tim Crouch INTERVIEW Dah Theatre SOME THOUGHTS ON THE QUALITY OF ATTENTION Tess de Quincey A FUTURE BODY Derevo ENDLESS DEATH SHOW Dood Paard ABOUT US Every House Has A Door FROM ONE MEANING TO ANOTHER Eleonora Fabião THINGS THAT MUST BE DONE SERIES Oliver Frljić INTERVIEW Gecko AN ORGANIC JOURNEY GETINTHEBACKOFTHEVAN MAKING THINGS WORSE Gibson/Martelli THE FIFTH WALL Gob Squad ON PARTICIPATION Heiner Goebbels AESTHETIC OF ABSENCE: HOW IT ALL BEGAN Chris Goode THE CAT TEST Shirotama Hitsujiya INTERVIEW Hotel Pro Forma PERFORMANCE AS AN INVESTIGATION OF THE WORLD Wendy Houstoun SOME BODY AND NO BODY: THE BODY OF A PERFORMER Imitating The Dog THEATRICALISING CINEMA/SCREENING THEATRE Hiwa KINTERVIEW La Fura dels Baus INTERVIEW Lone Twin INTERVIEW Silvia Mercuriali INTERVIEW Monster Truck BUT THE WHORES ALWAYS LOVED ME NeedcompanyINTERVIEW New Art Club HOW WE SET OUT TO MAKE A PIECE ABOUT CONTROVERSIAL WORKS OF ART AND ENDED UP GETTING NAKED AND TALKING ABOUT HOW WE FEEL ABOUT OUR BODIES Kira O’Reilly THE ART OF KIRA O’REILLY Oblivia TIME STOPPER Toshiki Okada INTERVIEW Ontroerend Goed PERSONAL TRILOGY: THE SMILE OFF YOUR FACE, INTERNAL & GAME OF YOU Mike Pearson BUBBLING TOM Michael Pinchbeck THIS IS A LOVE LETTER Punchdrunk INTERVIEW Silviu Purcārete WHERE ARE YOUR TRAINING GROUNDS? Quarantine A SHOW OF HANDS Reckless Sleepers "MIDDLES" & "PHYSICS" Ridiculusmus A CHAT ABOUT COMEDY Rimini Protokoll INTERVIEW Farah Saleh INTERVIEW Peter SellarsINTERVIEW Shunt A PERFORMANCE COLLECTIVE Agata Siniarska DO IT TO ME LIKE IN A REAL MOVIE: LECTURE PERFORMANCE Deepan Sivaraman INTERVIEW Sleepwalk Collective LOST IN THE FUNHOUSE, OR ALL YOU NEED TO MAKE A SHOW IS A GIRL AND A MICROPHONE Andy Smith THIS IS IT: NOTES ON A DEMATERIALISED THEATRE Socìetas Raffaello Sanzio THE THEATRE IS NOT OUR HOME: A CONVERSATION ABOUT SPACE, STAGE AND AUDIENCE Junnosuke TadaINTERVIEW Third AngelTESTING THE HYPOTHESIS Ultima Vez INTERVIEW UnlimitedAM I DEAD YET? Sankar VenkateswaranTHEATRE OF THE MIND Dries VerhoevenINTERVIEW Vincent Dance TheatreTHE ART OF NOT LOOKING BACK / MOTHERLAND Aaron WilliamsonDEMONSTRATING THE WORLD – A PUBLIC INTERVENTION PERFORMANCE Xing XinINTERVIEW Andriy ZholdakTHEORY / LECTURES OF ANDRIY ZHOLDAK Index

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Book SynopsisTragedy: The Basics is an accessible and up-to-date introduction to dramatic tragedy. A comprehensive guide for anyone undertaking a study of the genre, it provides a chronological overview and history of tragic theory. Covering tragedy from the classics to the present day, it explains the contextual and theoretical issues which affect the interpretation of tragedy, examining popularly studied key plays in order to show historical change. Including a glossary of key terms and suggestions for further reading, Tragedy: The Basics is an ideal starting point for anyone studying tragedy in literature or theatre studies.Table of ContentsIntroduction 1. Greeks and Romans: Classical Tragedy Contexts: The Festival of Dionysus at Athens Aeschylus, The Oresteia Sophocles, Oedipus the King Sophocles, Antigone Euripides, Medea Euripides, Bacchae Contexts: Seneca and Roman Tragedy Seneca, Phaedra 2. ‘When the bad bleed’ ? Early Modern English Tragedy Contexts: Elizabethan Tragedy Thomas Kyd, The Spanish Tragedy and Revenge Tragedy Christopher Marlowe, Dr Faustus William Shakespeare, Hamlet Contexts: Jacobean Tragedy William Shakespeare, Othello William Shakespeare, King Lear William Shakespeare, Antony and Cleopatra John Webster, The Duchess of Malfi 3. Neo-Classicism, Restoration Tragedy and Sentimentality Contexts Jean Racine, Phaedra John Dryden, All for Love Thomas Otway, Venice Preserv’d 4. ‘From Hero to Victim’: Romantic Tragedy and After Contexts Heinrich von Kleist, The Prince of Homburg Georg Büchner, Woyzeck Henrik Ibsen, Hedda Gabler 5. Modernism and Tragedy Contexts Anton Chekhov, The Cherry Orchard Eugene O’Neill, Mourning Becomes Electra Federico Garcia Lorca, Blood Wedding Bertolt Brecht, Mother Courage and her Children Tennessee Williams, A Streetcar Named Desire Arthur Miller, Death of a Salesman Samuel Beckett, Waiting for Godot 6. The Survival of Tragedy Contexts Edward Bond, Lear Howard Barker, Victory Tony Kushner, Angels in America Caryl Churchill, The Skriker Sarah Kane, Blasted.Conclusion Glossary References Index

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Book SynopsisWorld Theatre: The Basics presents a well-rounded introduction to non-Western theatre, exploring the history and current practice of theatrical traditions in Asia, Africa, the Middle East, Oceania, the Caribbean, and the non-English-speaking cultures of the Americas. Featuring a selection of case studies and examples from each region, it helps the reader to understand the key issues surrounding world theatre scholarship and global, postcolonial, and transnational performance practices. An essential read for anyone seeking to learn more about world theatre, World Theatre: The Basics provides a clear, accessible roadmap for approaching non-Western theatre. Table of ContentsPreface and acknowledgments Introduction: what is world theatre? 1 The Middle East 2 South and Southeast Asia 3 East Asia 4 Oceania 5 Sub-Saharan Africa 6 The Caribbean islands 7 The Americas 8 Collaborations Conclusion: the undiscovered country Glossary Bibliography Index

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Book SynopsisScenic automation has earned a reputation of being complicated and cantankerous, a craft best left to the elite of our industry. Not sure of the difference between a VFD, PLC, or PID? If you have dreamed of choreographing scene changes with computerized machinery, but get lost in the technical jargon the Scenic Automation Handbook will guide you along the road to elegant automation.Adopting a pragmatic approach, this book breaks down any automation system into five points, known as the Pentagon of Power. Breaking down a dauntingly complex system into bite- size pieces makes it easy to understand how components function, connect, and communicate to form a complete system.Presenting the fundamental behaviors and functions of Machinery, Feedback Sensors, Amplifiers, Controls, and Operator Interfaces, the Scenic Automation Handbook demystifies automation, reinforcing each concept with practical examples that can be used for experimentation. Automation is acceTable of Contents Moving Stuff on Stage Pentagon of Power: Breaking up Automation into 5 Parts Meet the Machines - A Survey of Common Theatrical Machines Motivating a Machine Powering Motors and Actuators Sensing and Measuring Motion Simple Control Programmable Logic Controllers (PLC's) Motion Control with a PID Loop Safety Operator Interface Networks Integrating with other Systems Implementation Resource for Learning More

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Book SynopsisThe Music Industry Handbook, Second edition is an expert resource and guide for all those seeking an authoritative and user-friendly overview of the music industry today. The new edition includes coverage of the latest developments in music streaming, including new business models created by the streaming service sector. There is also expanded exploration of the music industry in different regions of the UK and in other areas of Europe, and coverage of new debates within the music industry, including the impact of copyright extensions on the UK music industry and the business protocols involved when music is used in film and advertising.The Music Industry Handbook, Second edition also includes: in-depth explorations of different elements of the music industry, including the live music sector, the recording industry and the classical music business analysis of business practices across all areas of the industrTrade Review‘Succinctly unpacks and explains the music industries component parts. Provides excellent interviews, introduces business strategies, explains multiple revenue streams, and cover various legal perspectives. A really strong ‘all rounder’ title.’ – Mark Mynett, Music Technology and Production, University of Huddersfield, UK ‘Excellent overview of the different sectors of the music industry… The case studies such as the one on Gatekeepers is a very helpful guide to the academic literature on the subject.’ – Paul Harkins, Music, Edinburgh Napier University, UK ‘Loads of useful resources… It has some useful material for aiding the preparation of portfolios.’ – Charles daCosta, Film and Animation, Swinburne University of Technology, Australia “This handy book (first edition, 2011) is intended for those needing a guide to all facets of an industry that has undergone radical change in the past two decades. Rutter (Southampton Solent Univ., UK) keeps discussion of the history and evolution of the industry to a minimum and focuses on its current state … Topics covered include the transformation of the industry, live performance, copyright and publishing, record company deals, management and promotion, and synchronization ... Each chapter includes references to written and online resources, and there is a helpful glossary of terminology. Several chapters include case studies and individual profiles. A useful book for those who are new to the subject or seeking a comprehensive reference.” - R. J. Phillips, Colorado State University Table of Contents1 Introduction 2 Music into industry 3 The live music industry sector 4 Music ownership into copyright 5 Music publishing 6 The recorded music industry sector 7 Managing music 8 Promoting music 9 Music synchronisation and non-music brand relationships 10 The classical music business 11 Music venture strategies 12 Trading in the music industry 13 Into the future: the nascent music industries

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Book SynopsisUsing a performance studies lens, this book is a study of performance in the post-9/11 context of the so-called war on terror. It analyzes conventional theatre, political protest, performance art and other sites of performance to unpack the ways in which meaning has been made in the contemporary global sociopolitical environment.Trade Review' Brady's wide-ranging discussions of anti-war performance, of virtual warfare and military training, and of the Bush and Obama administrations are excellent examples of the kind of politically engaged, comparative scholarship that performance studies can offer.' Eero Lane, University of New York, USATable of ContentsAcknowledgements Bushismo Protest: Visible and Invisible War the Video Game Torture: Simulated and Real Obamania Bibliography Index

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Book SynopsisExploring the themes of the event, ephemerality and democracy that mark the encounter between performance and philosophy, this original study elaborates fresh perspectives on the experiences of undoing, fiasco and disaster that shadow both the both stage and everyday life.Trade Review'A book that asks the questions about performance that come before the commonly asked is a book that approaches a theatre philosophy. If such a thing were not a contradiction in terms Simon Bayly's A Pathognomy of Performance would provide us with the exemplary exception we have been waiting for.' - Alan Read, Professor of Theatre, King's College London, UK 'What this book offers on the study of the fleeting and transcendent is ultimately highly substantial, as well as provocative and wholly scholarly...' -Journal of Theatre Research InternationalTable of ContentsList of Illustrations Acknowledgements Introduction Strains of Thought Points of Suspension Instants of Affection Anomalous Appearances The Borrowed Masks of Being Logics of Expression Wrinkles, Furrows and Folds The Tonic of the Sonic Deleted Expletives Peals of Appeal Bibliography Index

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Book SynopsisThis book examines experimental Irish theatre that ran counter to the naturalistic ''peasant'' drama synonymous with Irish playwriting. Focusing on four marginalised playwrights after Yeats, it charts a tradition linking the experimentation of the early Irish theatre movement with the innovation of contemporary Irish and international drama.Trade Review"This is an important study of Irish theatre for its sophisticated dramaturgic analysis and for its demythologising of received views of Irish theatre. In this [Walsh] very much is true to the radical spirit of the playwrights he champions." - Anthony Roche, Irish Studies ReviewTable of ContentsIntroduction Acknowledgements An Irish Theatre Laboratory: Experimental Contexts Experiments in Representation: Jack B. Yeats Experiments in Gender: Elizabeth Connor Experiments in Verse: Donagh MacDonagh Experiments in Theatre: Maurice Meldon Continuing Experimentation Notes Select Bibliography Index

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Book SynopsisIntroduction: Transatlantic Broadway: The Infrastructural Politics of Global Performance 1. Networking the Waves: Ocean Liners, Impresarios, and Broadway's Atlantic Expansion 2. Along the Wires: Telegraphic Performances and the Wiring of Broadway 3. White Collar Broadway: Performing the Modern Office 4. ''My Word! How He is Kissing Her': The Material Culture of Theatrical Promotion 5. Epilogue: Transatlantic (re)Crossings Endnotes Bibliography IndexTrade Review“Transatlantic Broadway makes an important contribution to theatre and performance studies, American cultural history, histories of capitalism, and studies of print and material culture. … Essential for scholars and teachers of theatre history, Schweitzer’s study prompts readers to envision historiography as competing and overlapping threads or networks. … Transatlantic Broadway attends to performers, spaces, and archives that have been neglected in previous studies of the theatre, thus encouraging scholars to rethink the literal and disciplinary borders of US theatre history.” (Nicole Berkin, Theatre Survey, Vol. 58 (1), January, 2017)“This finely wrought book significantly expands the fields of US theatre history and performance studies by mapping a new historiographical framework for understanding Broadway’s formation. … Schweitzer’s combined application of ANT and ‘scriptive thing’ theory to transatlantic Broadway offers an inspiring historiographical model for performance scholars.” (Kim Marra, Theatre Journal, Vol. 68 (4), December, 2016) “Transatlantic Broadway examines a wide range of theatrical media, tracing their circuits through Europe and the United States and considering the ways that they establish communities. … Though the book will be most immediately valuable to scholars of performance and mobility, it will also be useful to mobility studies scholars interested in media, business, and urban geography.” (Sunny Stalter-Pace, Transfers Review, Vol. 5 (3), Winter, 2015)Table of ContentsIntroduction: Transatlantic Broadway: The Infrastructural Politics of Global Performance 1. Networking the Waves: Ocean Liners, Impresarios, and Broadway's Atlantic Expansion 2. Along the Wires: Telegraphic Performances and the Wiring of Broadway 3. White Collar Broadway: Performing the Modern Office 4. ''My Word! How He is Kissing Her': The Material Culture of Theatrical Promotion 5. Epilogue: Transatlantic (re)Crossings Endnotes Bibliography Index

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Book SynopsisFrom the early Cat on a Hot Tin Roof and one-act Auto-da-Fé , through The Two-Character Play and Something Cloudy, Something Clear , Paller's book investigates how Williams's earliest critics marginalized or ignored his gay characters and why, beginning in the 1970s, many gay liberationists reviled them.Trade Review'Like a great actor inhabiting one of Tennessee Williams' characters, Michael Paller brings intelligence, nuance and considerable artistry to the complex figure of the man himself. He shatters the mythology surrounding Williams - that he was an innately tragic, self-loathing homosexual - and bravely recontextualizes him not only as an incomparable artist, but as a ground-breaking social pioneer. His book is a welcome re-evaluation of one of our most revered and misunderstood American originals.' - Doug Wright, Pulitzer Prize winning author of I Am My Own Wife 'Tennessee Williams was America's most original dramatic talent. He was also gay. The significance of this fact is explored by Michael Paller in a book full of striking insights into the man, the plays, and the theatre of which he was a part. What emerges from this study is a familiar figure seen in a new complexity. What also emerges is an America whose oppressive laws and casual cruelties toward those who shared his sexuality in part created the pressures that created the context, if not always the subject, of his art.' - Christopher Bigsby, Professor of American Studies at the University of East Anglia and Director of the Arthur Miller Centre 'Gentlemen Callers and Michael Paller look at the writing of Tennessee Williams through a gay perspective that is insightful and blessedly free from many of the distortions and exaggerations that previous studies have indulged in. It will be of interest to theatre goers and practitioners alike.' - Michael Kahn, Artistic Director, The Shakespeare Theatre 'Michael Paller's Gentleman Callers offers an innovative, perceptive, and very readable examination of the works Tennessee Williams produced in his long and productive career...Paller reveals the extent to which misguided 'political correctness' among some recent critics has prevented a judicious reading of the works. This sensitive and informed analysis is destined to become a major addition to Williams scholarship, offering insights to both long-time Williams fans and scholars and to those unfamiliar with his work.' - Kenneth Holditch, author of Tennessee Williams and the South and founding editor of The Tennessee Williams Journal '...an insightful debunking of the conventional wisdom characterizing the theatre icon as a tragic figure, a self-hating homosexual inherently incapable of true happiness. Instead, in Paller's thoughtful and convincing re-evaluation of both the playwright and his plays, William's emerges a ground-breaking figure on both personal and professional grounds, an ironically happy ending for an envelope-pusher who freed the stage from that very same convention.' - ELLE MagazineTable of ContentsAcknowledgments Introduction The Signs are Interior Blue as My First Lover's Eyes The Time and World That I Live In Something Kept on Ice A True Story of Our Time Almost Wilfully Out of Contact with the World Before My Clean Heart Has Grown Dirty Bibliography Index

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Book SynopsisPlease note this is a 'Palgrave to Order' title (PTO). This study rediscovers the lives and notable accomplishments of five prominent, yet historically neglected women dramatists of the Progressive Era: Martha Morton, Madeleine Lucette Ryley, Evelyn Greenleaf Sutherland, Beulah Marie Dix, and Rida Johnson Young.Trade Review"This book provides a detailed account of the lives of five American women playwrights who were highly successful in their times but whose work remains largely unexplored and neglected. It adds an exploration of the area of theatre to our understanding of the opportunities available to the professional woman writer at the time. The greatest strength of the project is in the enormous amount of contemporary material Engle has discovered and drawn on in her accounts. A lucid and engaging study." - Susan Croft, former Senior Curator at the Theater Museum; Author of She Also Wrote Plays: an International Guide to Women Playwrights "Thorough and carefully documented...Engle places [these women's] dramas in the context of early twentieth-century Broadway theatre, demonstrating how these women fulfilled, perpetuated, and in a few cases transcended audiences' expectations" - Theatre SurveyTable of ContentsThe proliferation of women dramatists during America's Progressive Era Dean of women dramatists, Martha Morton, 1865-1925 : Plays of Martha Morton English-American Success, Madeleine Lucette Ryley, 1858-1934 Plays of Madeleine Lucette Ryley Collaborators extraordinaire, Evelyn Greenleaf Sutherland, 1855-1908, and Beulah Marie Dix, 1875-1970: Plays of Evelyn Greenleaf Sutherland and Beulah Marie Dix Dramatist, songwriter, and lyricist, Rida Johnson Young, 1875-1926: Plays and musicals of Rida Johnson Young Early feminists: setting examples for future generations

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Book SynopsisBarker has been acclaimed as 'England's greatest living dramatist' in The Times and as 'the Shakespeare of our age' by Sarah Kane. His uniquely stylish work brings together startlingly original forms of classical discipline, moral ruthlessness and catastrophic eroticism. This study considers the full range of his theatrical achievements.Trade Review'The range of coverage is a principle strength; the study includes pieces that have been neither produced nor published, thus giving a perspective on the full range of Barker's dramatic writing (the chronology in the appendices is also particularly helpful)... Rabey's book, then, is a welcome addition to the growing body of critical work on one of Britain's most challenging contemporary playwrights.' - Rachel Clements, Royal Holloway, University of London 'Following on from his earlier book...Ecstasy and Death meticulously maps not only Barker's plays and productions of the last twenty years, but also his theoretical and self-conscious performative development as a practitioner...it evolves and offers the reader an insightful distillation of critical approaches via a play-based chronology...Through a careful weaving of chronology and critique, it offers a structured series of provocations that invite the reader to examine the last twenty years of Barker's plays and their production...It's pinpoint focus invites wider moments of reflection and challenges the reader not to fix Barker to one play, one aspect of the work or even one decade, but rather to engagae with Barker over more time and to see his work as an ongoing evolution of language, aesthetics and theory.' - Sarah Goldingay, Studies in Theatre and Performance 'Rabey's criticism in these books offers a meditation, a critical and lyrical vision, not merely of Barker's theatre but of theatre's place in a 21st-century culture' - George Hunka, Superfluities: A JournalTable of ContentsContents Acknowledgements Abbreviations and References PART I: A STYLE AND ITS CONTEXTS Gifts of Loss: An Introduction to Barker's Writing and Theatre 'The Ecstasy of Vanishing Meaning': Arguments for a Theatre; Death, The One and The Art of Theatre PART II: PLAYS AND PRODUCTIONS Intimacy with the Unforgivable: The Last Supper, The Early Hours of a Reviled Man, Golgo, Judith, Rome, Ten Dilemmas Cultural Re-Fashionings and Shakespearean Negotiations: Brutopia, Seven Lears, (Uncle) Vanya, Minna Separation, Sacrifice and Sainthood: A Hard Heart, Terrible Mouth, Hated Nightfall, Ego in Arcadia, The Brilliance of the Servant, The Gaoler's Ache, Twelve Encounters with a Prodigy, Ursula Facing the Wound: Wounds to the Face, Und, He Stumbled, House of Correction Infinite Reversibility: All He Fears, The Swing at Night, Albertina, Knowledge and a Girl, The Twelfth Battle of Isonzo, Animals in Paradise, The Ecstatic Bible, Found in the Ground Wrestling with God: Defilo, All This Joseph, Five Names, N/A (Sad Kissing), Gertrude - The Cry, The Seduction of Almighty God, The Moving and the Still, Two Skulls, Acts (Chapter One) Servitude and Servility: An Eloquence, The Blood of a Wife, A Rich Woman's Poetry, Stalingrad, Thirteen Objects, The Dying of Today, Dead Hands, Christ's Dog The Boundary and Beyond: The Fence, Heroica, Adorations Chapter 1, Dead, Dead and Very Dead, The Road, The House, The Road, Let Me, A Wounded Knife, Lot and his God, The Forty (Few Words), I Saw Myself Inconclusion: Consolations in Extremity: Howard Barker: A Style and its Origins Appendix One: Testimonies by Barker Actors: Julia Tarnoky, Justin Avoth, Edward Petherbridge, Melanie Jessop, Gerrard McArthur Appendix Two: Howard Barker: A Chronology Selected Further Reading Index

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Book SynopsisIn Beckett, Literature and the Ethics of Alterity Weller argues through an analysis of the interrelated topics of translation, comedy, and gender that to read Beckett in this way is to miss the strangely 'anethical' nature of his work, as opposed to the notion that the literary event constitutes the affirmation of an alterity.Trade Review'The book offers a challenge to the deconstructive readings of Benjaminian translation, an exhaustive account of the ethics of comedy, and an insightful survey and analysis of 'feminine alterities', with useful readings of Irigaray, Cixous, and Kristeva. Weller's performance of the anethical throughout the text produces an argument that will come as a surprise to many Beckett critics - a surprise because it maintains a critical reading that is neatly positioned 'between' the conventional approaches to Beckett and ethics. I strongly recommend this book.' - Professor Richard J. Lane, Malaspina University-College, Canada 'This is an extremely well-researched and thought-out work of Beckett criticism. The chapter organization in which each of the three chosen themes is treated first from a theoretical perspective, followed by specific examples taken from Beckett, is limpid and the argument always clearly signposted. This makes the book accessible even to the reader unfamiliar with the vast array of Western thought Shane Weller summons effortlessly.' - Helen Penet-Astbury, Études irlandaisesTable of ContentsPreface Introduction: Literature and Alterity PART I: IN OTHER WORDS - ON THE ETHICS OF TRANSLATION Translation and Difference: Dispatching Benjamin Translation and Negation: Beckett and the Bilingual Oeuvre PART II: THE LAUGH OF THE OTHER - ON THE ETHICS OF COMEDY Pratfalls into Alterity: Laughter from Baudelaire to Freud and Beyond Last Laughs: Beckett and the ' risus purus ' PART III: THE DIFFERENCE A WOMAN MAKES - ON THE ETHICS OF GENDER Feminine Alterities: From Psychoanalysis to Gender Studies 'As If the Sex Mattered': Beckett's Degenderations Conclusion: Beckett and the Anethical Notes Bibliography Index

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Book SynopsisLasting Starsexamines the issue of stardom and longevity and investigates the many reasons for the persistence or disappearance of different star personas. Through a selection of chapters that look at issues such as inappropriate ageing, national identity and physical characteristics, this book will be the first volume to consider in depth and breadth the factors that affect the longevity of film stardom. The range of stars includes popular stars who are approached from fresh angles (Brando, Loren), less popular stars whose lower-profiles than their peers may be surprising (Taylor, Shearer) and stars whose national identity is integral to their perception as they age (Riva, Bachchan, Pavor). There are stars from the beginning of Hollywood (Valentino, Reid) to the present day (Jolie), and those who made uneasy transitions between countries (Mason), ages (Ringwald) and industrial eras (Keaton). The book examines the range of factors that affect how star images endure, including approprTable of ContentsAcknowledgements.- List of Illustrations.- Foreword by Sue Harris.- Introduction.- Section 1: Lasting Stardom.- 1. Aparna Sharma, 'From Angry Young Men to Brand Bachchan — Extra-cinematic Strategies that make India’s lasting Super-Star’.- 2. Antonella Palmieri, ‘Sophia Loren and the Healing Power of Female Italian Ethnicity in Grumpier Old Men’.- 3. Gabor Gergely, ‘Cutting a Dash in Interwar Hungry: The Enduring Stardom of Pál Jávor’.- 4. Julie Lobalzo Wright, ‘From Boy N the Hood to Hollywood Mogul: Ice Cube’s Lasting Stardom in Contemporary Hollywood’.- Section 2: Faded Stardom.- 5. Lies Lanckman, ‘The Queen’s Household: Norma Shearer, Stardom and Domesticity’.- 6. Gillian Kelly, ‘Robert Taylor: The “Lost” Star With the Long Career’.- 7. Lucy Bolton, ‘Melanie Griffith: Wild Child and Working Woman’.- Section 3: Ageing.- 8. Fiona Handyside, ‘The Ageing Stars of European Art-House Cinema: Jean-Louis Trintignant and Emmanuelle Riva in Amour’.- 9. Paul Flaig, ‘The Great Stoneface Ruined: From The Buster Keaton Story to Film’.- 10. Adrian Garvey, ‘Masculinity and Ageing in the Films of James Mason’.- Section 4: Posthumous Stardom.- 11. Lisa Bode, ‘The Afterlives of Rudolph Valentino and Wallace Reid in the 1920s and 1930s’.- 12. Hannah Graves, ‘Beyond the Bounds of Criticism: Preserving Spencer Tracy as a Liberal Hero’.- 13. Lisa Patti, ‘Everybody’s All-American: The Posthumous Rebranding of Marlon Brando’.- Section 5: Characters, Series and Types.- 14. Claire Mortimer, ‘Mrs. John Bull: The Later Life Stardom of Margaret Rutherford’.- 15. Japp Verheul, ‘¬¬This Never Happened to the Other Fellow: The Fluctuating Stardom of James Bond and George Lazenby’.- 16. Frances Smith, ‘Don’t You Forget About Me: Molly Ringwald, Nostalgia and Teen Girl Stardom’.- 17. Glen Donnar, ‘Redundancy and Ageing: Sylvester Stallone’s Enduring Action Star Image’.- Section 6: Reflections Beyond the Screen.- 18. Linda Marchant, ‘Still Famous: Fixing the Star Image of Diana Dors in the Photography of Cornel Lucas’.- 19. Joshua Gulam, ‘From Action Babe to Mature Actress: The Place of Humanitarianism in Angelina Jolie’s Lasting Screen Career’.- 20. Dorothy Wai-sim Lau, ‘Rearticulating Bruce Lee and his “Hip-Hop Fury” in Fan Made Videos’.- List of Contributors.- Index

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Book SynopsisThis study explores the ways in which playtexts have evolved in relation to the sociocultural and cognitive conditions of a mediatized age, and how they, in form and content, respond to this environment and open up new critical possibilities in text and performance. The study combines theatre and media theory through the innovative concept of mediatized dramaturgy' and offers conceptual reflections on the ways in which a playtext negotiates the new reality of contemporary culture. The book scrutinizes the form of playtexts and works through the exchange between text and performance by exploring contemporary works such as Simon Stephens's Pornography, Caryl Churchill's Love and Information, and David Greig's The Yes/No Plays, and their selected productions. Offering a pioneering intervention that expands discussions about the mediatization of theatre, and new playwriting, Mediatized Dramaturgyproposes areas for discussion that appeal to researchers, audiencesTrade ReviewIlter offers a compelling argument for understanding new playtexts through the lens of mediatized rather than theatrical dramaturgy. This cogently written intervention into considerations of character, plot, language, and platform is thoughtful, insightful, and astutely observed. Mediatized Dramaturgy offers the concepts and vocabulary for twenty-first century dramaturgy. * Dr. Bernadette Cochrane, The University of Queensland, Australia *Table of ContentsList of Illustrations Acknowledgements Preface: What can plays do? Introduction: Theatre in a mediatized age: A brief overview Chapter 1: Theorizing mediatized dramaturgy Chapter 2: Plays of discord: Mediatized thematics and traditional dramatic form Chapter 3: Dramaturgy of Language: Tracing Mediatized Culture in Words Chapter 4: ‘Characterizing’ the Mediatized Subject Chapter 5: New Designs for the Mediatized World: Plot Structure Chapter 6: Mediaturgical Plays: Writing for Theatre through Media Conclusion: Mediatized Dramaturgy and Beyond: Texts in Progress Endnotes Bibliography Index

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Book SynopsisThis foundational study offers an accessible introduction to Native American and First Nations theatre by drawing on critical Indigenous and dramaturgical frameworks. It is the first major survey book to introduce Native artists, plays, and theatres within their cultural, aesthetic, spiritual, and socio-political contexts. Native American and First Nations theatre weaves the spiritual and aesthetic traditions of Native cultures into diverse, dynamic, contemporary plays that enact Indigenous human rights through the plays' visionary styles of dramaturgy and performance. The book begins by introducing readers to historical and cultural contexts helpful for reading Native American and First Nations drama, followed by an overview of Indigenous plays and theatre artists from across the century. Finally, it points forward to the ways in which Native American and First Nations theatre artists are continuing to create works that advocate for human rights through transformative Native performTrade ReviewThis volume is the newest, and in many ways, most impressive, achievement in the scholarly field of American Indian theatre critical studies and research. The overall approach the authors have taken, one that emphasizes Native critical and dramaturgical frameworks rather than the western notions of theatre and performance that have long been imposed on scholarly readings of Native theatre, enlarges and, in my view, enriches the body of scholarship available for use by college students, academics, theatre artists and tribal educators and community builders. * Hanay Geiogamah, Professor of Theatre, UCLA School of Theatre, Film and Television, USA *Table of ContentsList of Illustrations Foreword Acknowledgements Part One: Setting the Stage 1. The Circle of Indigenous Spaces 2. Incursions into Performance Cultures Part Two: Reclaiming the Stage 3. Culture Bearers: The Grandmothers of Native Theatre and Performance 4. Homeland Yearnings Across Settings Part Three: Revolutionizing the Stage 5. Activating the Stage 6. Advancing the Stage 7. The Heart of the Matter: Indigenous Performance and Community Part Four: Transforming the Stage8. Transforming Production Process 9. Being and Becoming 10. Expanding the Circle with Future Generations Bibliography Notes Index

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Book SynopsisGrzegorz Niziolek's The Polish Theatre of the Holocaust is a pioneering analysis of the impact and legacy of the Holocaust on Polish theatre and society from 1945 to the present. It reveals the role of theatre as a crucial medium of collective memory and collective forgetting of the trauma of the Holocaust carried out by the Nazis on Polish soil. The period gave rise to two of the most radical and influential theatrical ideas during work on productions that addressed the subject of the Holocaust, Grotowski's Poor Theatre and Kantor's Theatre of Death, but the author examines a deeper impact in the role that theatre played in the processes of collective disavowal to being a witness to others' suffering. In the first part, the author examines six decades of Polish theatre shaped by the perspective of the Holocaust in which its presence is variously visible or displaced. Particular attention is paid to the various types of distortion and the effect of wrTrade ReviewNiziolek’s book prompts its readers to profoundly question and engage with the issue of agency, from an ethical as well as a theatrical standpoint ... This book provides a rich and highly thought-provoking reading experience. * Pamietnik Teatralny *Table of ContentsList of Illustrations Acknowledgements Introduction Part I The Holocaust and the Theatre 1. A Theatre of Gapers 2. Who was not in Auschwitz? 3. Playing the Jew 4. Wrongly Seen 5. Without Mourning Part II The Theatre and the Holocaust 6. This Shameful Jewish War 7. What is Unthinkable in Poland 8. A Crushed Audience 9. Archive of the Missing Image 10. Duplicitous Spectator, Helpless Spectator Notes Bibliography

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Book SynopsisShakespeare and Adaptation Theory reconsiders, after 20 years of intense critical and creative activity, the theory and practice of adapting Shakespeare to different genres and media. Organized around clusters of key metaphors, the book explicates the principal theories informing the field of Shakespearean adaptation and surveys the growing field of case studies by Shakespeare scholars. Each chapter also looks anew at a specific Shakespeare play from the perspective of a prevailing set of theories and metaphors. Having identified the key critics responsible for developing these metaphors and for framing the discussion in this way, Iyengar moves on to analyze afresh the implications of these critical frames for adaptation studies as a whole and for particular Shakespeare plays. Focusing each chapter around a different play, the book contrasts comic, tragic, and tragicomic modes in Shakespeare''s oeuvre and within the major genres of adaptation (e.g., film, stage-production, novelTable of ContentsList of Figures List of Tables Acknowledgements Note on Texts and Sources Used Introduction: Much Ado About Adaptation What or Whom are we Adapting? Metaphors We Adapt By Adaptation as Annotation in Much Ado 1. Plants, Off-shoots, Genes: Rhizomes Plants Off-shoots Genes Rhizomes: Plantation in some Tempests 2. Art, Property, Theft: Appropriation Art Property Theft Appropriation as Revisioning: Othello without Othello (and Desdemona) 3. Fidelity, Families, Ethics: Derivatives Fidelity Families: Lear among the Editors Ethics and Editing Derivatives: Lear’s Progeny 4. Transfer, Remediation, Broadcast: Intermedia Transfer Remediation Broadcast and Podcast Intermedia: Audio Hamlets 5. Memes, Networks, Fans: Transformations Memes Networks Fans Transformations: A Gender-Agenda in Twelfth Night 6. Relocation, Translation, Hybridization: Tradaptation Relocation Translation Hybridization Tradaptation: The Peregrinations of Pericles 7. Accidents, Remains, Traces: Accommodations Accidents Remains Traces Accommodations: Romeo and Juliet Glossary of Selected Terms, Philip Gilreath with Sujata Iyengar Notes References Index

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Book SynopsisLysistrata is the most notorious of Aristophanes' comedies. First staged in 411 BCE, its action famously revolves around a sex strike launched by the women of Greece in an attempt to force their husbands to end the war. With its risqué humour, vibrant battle of the sexes, and themes of war and peace, Lysistrata remains as daring and thought-provoking today as it would have been for its original audience in Classical Athens. Aristophanes: Lysistrata is a lively and engaging introduction to this play aimed at students and scholars of classical drama alike. It sets Lysistrata in its social and historical context, looking at key themes such as politics, religion and its provocative portrayal of women, as well as the play's language, humour and personalities, including the formidable and trailblazing Lysistrata herself. Lysistrata has often been translated, adapted and performed in the modern era and this book also traces the ways in which it has been re-Trade ReviewRobson succeeds throughout in combining infectious enthusiasm and dispassionate discussion with a lightness of touch and lucidity that should appeal to students, lay readers and scholars alike. A quiet relish comes across not only in his lively discussion of sexual language, and of the ins and outs of the play’s censorship history, but also in the warmth and humour of his translations of the Greek. * Times Literary Supplement *James Robson has written a richly informative and reliable guide to one of Aristophanes’ most lively and durable comedies and, in my view, accomplished his stated goal of keeping the material at a consistently high level that is both challenging and accessible to a wide range of readers. * Bryn Mawr Classical Review *Table of ContentsList of Illustrations List of Maps Timeline of Ancient Events Introduction 1 Lysistrata in Context: Old Comedy and Athens in 411 BCE 2 The Action of the Play 3 People, Places and Politics 4 Laughter, Language and Logic 5 Lysistrata in the Modern World Notes Further Reading and Works Cited Index

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Book SynopsisShortlisted for the STR Theatre Book Prize 2023With an exclusive focus on text-based theatre-making, Inside the Rehearsal Room is both an instructional and conceptual examination of the rehearsal process. Drawing on professional practice and underpinned by theory, this book moves through each stage of rehearsals, considering the inter-connectivity between the actor, director, designers and the backstage team, and how the cumulative effect of the weeks in rehearsal influences the final production.The text also includes: - Auto-ethnographic and fully ethno-graphic case study approaches to different rehearsal rooms- Interviews with directors, actors, designers and actor trainers- A consideration of the ethics of the rehearsal room and material selected for production- Practical exercises on how to creatively read a text from an acting and directing perspectiveInformed by over 20 years of directing experience in the UK and Europe, Robert Marsden''s book offers a practical guiTable of Contents1. Introduction 2. The Rehearsal Process – An Historical Overview and Current Challenges and Opportunities 3. Documenting the Process – How have rehearsals been captured by directors, actors and academics. 4. Pre-rehearsal: Early Decisions. 5. The Rehearsal Room: First Steps. 6. The Rehearsal Room: Delving Deeper 7. The Rehearsal Room: Final Stages and the Emergence of the ‘Form’ 8. Technical and Dress: A Unification. 9. Previews and the Production Run: Choices and Impact of a ‘Live’ Medium. 10. Next Stages: How Should Rehearsal Rooms Operate in the 21st Century?

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Book SynopsisShakespeare's Globe Theatre is recognised worldwide as both a monument to and significant producer of the dramatic art of Shakespeare and his contemporaries. But it has established a reputation too for commissioning innovative and distinctive new plays that respond to the unique characteristics and identity of the theatre. This is the first book to focus on the new drama commissioned and produced at the Globe, to analyse how the specific qualities of the venue have shaped those works and to assess the influences of both past and present in the work staged.The author argues that far from being simply a monument to the past, the reconstructed theatre fosters creativity in the present, creativity that must respond to the theatre''s characteristic architecture, the complex set of cultural references it carries and the heterogeneous audience it attracts. Just like the reconstructed wooden O', the Globe's new plays highlight the relevance of the past for the present and give the spectators aTable of ContentsIntroduction Part I – The new Globe plays 1 - Something old, something new 1.1 - A reconstructed theatre 1.2 - Specially constructed plays 2 - Presenting the past 2.1 - Multiple time-planes 2.2 - Shakespeare’s ghost 2.3 – Language centre stage 2.4 - Laughing matter 2.5 - Founding narratives 2.6 - Topicality 2.7 - Come all ye... 3 - The spectacle of spectators 3.1 - Spectators as participants 3.2 - Spectators as a challenge 3.3 - Spectators as interlocutors 3.4 - Spectators as supernumeraries 3.5 - Spectators as subject matter Part II – Brenton’s Globe 4 - The weight of the past 4.1 - Virtuoso meets Steinway 4.2 - History plays for now 4.3 - A British epic theatre 4.4 - Perverse saints 4.5 - Historiographic metatheatre 5 - Playing to the crowd 5.1 - Aiming at an audience 5.2 - Attracting the audience 5.3 - Addressing the audience 5.4 - Admonishing the audience Conclusions Notes Bibliography Index

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Book SynopsisYou can''t just walk into dis bad man t''ing, you gotta learn the whole science of it. You step into that arena and you better be able to dance wid death til it mek you dizzy. Kwame Kwei-Armah's ground-breaking play about British black male identity and gang culture premiered at the National Theatre in 2003 to unanimous critical praise. It later transferred to the West End, making Kwei-Armah only the second black British playwright to have a play staged there and the winner of the Evening Standard's Most Promising Playwright Award. On Hackney's Murder Mile, Deli is trying to make a living as an honest man and revive the fortunes of his mother''s West Indian takeaway. His 19-year-old son Ashley has different plans and longs to follow in the footsteps of family friend and local gangster Digger. As Deli finds himself and his business pulled further into the world he so desperately wants to leave behind questions of family and gang loyalty rise to the surface, leading to a shTrade Review'This is an angry, provocative, vital play, one that demands change in society while recognising that there are no easy solutions, and is passionately political while understating that the best way to communicate with people is to keep them entertained. It is thrilling to see it at the National - and will be even more thrilling if it inspires other black playwrights to follow its lead * The Guardian *Elmina's Kitchen does just what the best contemporary theatre should. It urges people with half closed minds and averted eyes to confront the ignored and evaded problems of our time. * Evening Standard *A scorching drama about the black experience in Britain's inner cities . . . there's no mistaking its raw power, humanity and urgent concern. * Daily Telegraph *Set in London's contemporary East End, this is an assured, humorous, ultimately grim drama . . . a revenge tragedy for our times, with violent retribution tied in with today's complicated black culture of "respect" * Independent *Table of ContentsForeword by Paterson Joseph The Play

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Book SynopsisWhat were the origins of commedia dell'arte and how did it evolve as a dramatic form over time and as it spread from Italy? How did its relationship to the ruling ideology of the day change during the Enlightenment? What is its legacy today? These are just some of the questions addressed in this authoritative overview of the dramatic, ideological and aesthetic form of commedia dell'arte. The book's 3 sections examine the changing role of performers and playwrights, improvisatory scenarios and scripted performance, and its function as a vehicle for social criticism, to offer readers a clear understanding of commedia dell'arte's evolution in Renaissance Italy and beyond. This study throws new light on the role of women performers; on the changing ideological discourse of commedia dell'arte, which included social reform and, later, conservatism as well as the alienation of ethnic minorities in complicity with its audience; and on its later adaptation into hybrid forms including grotesqueTrade ReviewIn this fascinating study, Domenico Pietropaolo enriches and deepens our knowledge of the commedia dell’arte throughout its early history and golden age in Italy (1560 to 1630s). His highly readable text engages the reader with its masterful weaving of theory and practice as he carefully lays out the dramaturgical and aesthetic features which defined the commedia dell’arte during its historical evolution in both north and south Italy, and beyond. Building on this comprehensive foundation, Pietropaolo offers brilliant readings of 18th-century play texts and performances by such genius playwrights as Goldoni and Gozzi whose opposing reforms teased out the complex relationships between improvised and scripted forms. The final section pays tribute to the commedia dell’arte’s enduring legacy by referencing some of its adapted dramatic forms, such as Lambranzi’s grotesque dance, the Neapolitan Pulcinellata, the English Harlequinade, and the Opera. The inclusion of key 20th-century performers and companies dedicated to keeping arte traditions alive attest to its ongoing presence. Pietropaolo’s The Commedia dell’Arte is essential reading for theatre scholars and theatre lovers alike. * Rosalind Kerr, University of Alberta, Canada *Table of ContentsList of Figures Series Preface Acknowledgements Introduction Part 1: Form, Dramaturgy and Content of Early Commedia dell’Arte 1. The First Professionals 2. Elements of Form: Characters and Dramatic Actions 3. Elements of Form: The Scenario, Lazzi, Improvisation 4. Commedia dell'Arte and Ottonelli's Theology Part 2: Innovations in the 18th Century 5. From Scenario to Script: Riccoboni and Goldoni 6. Riccoboni's Commedia of Civic Responsibility 7. The Commedia dell'Arte in Goldoni's Reform 8. Gozzi's Fable Form: A New Horizon of Expectations Part 3: Adaptations and Revivals 9. Commedia dell'Arte and Grotesque Dance: Gregorio Lambranzi 10. Pulcinellate and Harlequinades 11. Commedia dell'Arte in the Opera Libretto 12. Continuity and Transformation in the 20th Century References Index

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