Theatre studies Books

Book Synopsis1967. Kenneth and Sandra know the world is changing. And they want some of it.Love, Love, Love takes on the baby boomer generation as it retires, and finds it full of trouble. Smoking, drinking, affectionate and paranoid, one couple journeys forty-years from initial burst to full bloom. The play follows their idealistic teenage years in the 1960s to their stint as a married family unit before finally divorced and, although disintegrated, free from acrimony. Their children, on the other hand, bitterly rail against their parents'' irresponsibility and their relaxed, laissez-faire attitude.This play by Olivier award-winning writer Mike Bartlett questions whether the baby boomer generation is to blame for the debt-ridden and adrift generation of their children, now adults but far from stable and settled.This edition features an introduction by James Grieve, who directed Love, Love, Love at the Royal Court, London.Trade ReviewTerrific dialogue and acute observations as it takes its protagonists from falling in love in 1967 to suburban squabbles in 1990 to retirement in 2011 * The Times *

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Book SynopsisLook at us, Margaret - the press is on our side. We're heroes: the public is behind us, we're protecting our children, the party is united behind the cause. You can stand against it if you want, but you will stand alone.Margaret Thatcher, Britain's first female Prime Minister, gets lost around the streets of Soho on the eve of the vote for Section 28. Unwittingly, she finds herself quickly becoming a cabaret sensation within London's gay community.This camp political drag cabaret explores, through songs and laughter, homophobia and censorship, and how one person could have made a difference.Margaret Thatcher Queen of Soho received its world premiere at London's Theatre503 in June 2013 as part of the Thatcherwrite Festival, and was revived in a full production there in December 2013.Trade Review[This piece provides] both devilish humour and wit, but also thoughtful politicking. Get Margaret Thatcher Queen of Soho to Edinburgh or Brighton soon please. * A Younger Theatre *There has been a lot of advance talk about Jonathan Brittain's play The Wake, which won the Judges' Award for Comedy in last year's National Student Drama Festival. The talk has been worth it - as has the wait, since this is a sizzling piece of comic theatre. * Stage *Re-framing her [Thatcher's] key decisions through rainbow-tinted glasses . . . Tedford and Brittain have grasped the fact that gags drive the night * Daily Telegraph *Tedford gets the Thatcheresque head tilt just right * Evening Standard *

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Book SynopsisPaul Menzer is Professor and the Director of the Mary Baldwin College MLitt/MFA Shakespeare and Performance graduate programTable of ContentsChapter 1: Revolutionary Nostalgia Chapter 2: A Peculiar Institution Chapter 3: Bringing History to Light Chapter 4: Ready or not Chapter 5: In Others’ Words Appendices: Timelines; Performance history; Architectural History Bibliography Notes Index

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Book SynopsisEddie Paterson is a lecturer in the School of Culture and Communication, University of Melbourne, Australia.Trade ReviewEddie Paterson presents a unique take on the form. He deftly argues that the contemporary American monologue is inherently political, in form and content … As part of the Methuen Drama Engage series, The Contemporary American Monologue makes an important contribution to the discourse on solo theatre in the United States. Series editors Enoch Brater and Mark Taylor-Batty have shaped a book series that offers a wide variety of critical analyses of modern and postmodern theatre that has been largely ignored or warrants more attention. This volume will prove indispensable to solo performers, educators, and anyone with an interest in avant-garde or solo American theatre. With the contribution of Eddie Paterson’s rigorous study, the conversation on solo performance is now more extensive, while simultaneously inviting continued critical inquiry. * Journal of Dramatic Theory and Criticism *In The Contemporary American Monologue, Australian university lecturer Eddie Paterson sets out to trace the work of four distinctly American monologue artists and to place their creative work within the larger context of dramatic monologues over the past two-and-a-half millennia … In examining these artists, Paterson provides an important initial study of the form’s evolution, one sure to spark further examination and scholarship. * Studies in American Culture *In succinct but comprehensive coverage, this engaging book offers the reader new perspectives on monologue. It sets out the origins and function of the dramatic monologue from historical precedents through to contemporary developments. The ambitious and largely successful ambit of the book means that it will appeal to theatre practitioners as well as researchers. Eddie Paterson presents the accepted ideas of theatrical monologue and then, in careful, thoughtful analysis, he explores how these were expanded through solo performance from the 1980s. Importantly, The Contemporary American Monologue treats monologue as a type of performance – and therefore best illustrated with the type of solo performance that emerged out of the United States. * TEXT *Paterson’s work is a significant addition to the critical studies of these four particular artists, the historical framework that contextualizes them, and the monologue form. Those who are led by the title to expect a monologue sourcebook for actors (as I was) will encounter much more. * The Journal of American Drama and Theatre *Table of ContentsAcknowledgements List of Illustrations Foreword by Deborah R. Geis Introduction 1. Monologue in Western Drama 2. Monologue in American Performance 3. Confessional Monologue 4. Postpunk Monologue 5. Rights Monologue 6. Radical Monologue 7. Future Monologue Notes Bibliography Index Biographical Note

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Book SynopsisPeter Hall (19302017) is one of the most influential directors of Shakespeare's plays in the modern age. Under his direction, the Royal Shakespeare Company and the National Theatre rediscovered Shakespeare as a writer who could comment incisively on the modern world. Productions such as Coriolanus, The Wars of the Roses and Hamlet established his reputation as a director able to bring Shakespeare to the heart of contemporary politics. He later cemented his reputation with epic productions of Coriolanus and Antony and Cleopatra at the National. With the Peter Hall Company, Hall continued to work intensively on Shakespeare, directing plays in the UK and America.Reviewing Hall's work in its cultural and creative context, this study explores his approach to directing and rehearsal. This is the first book to analyse all of Hall's professional Shakespeare productions in a historical context, from the Suez crisis to the 9/11 attacks and beyond.Trade ReviewAn ambitious and highly readable survey which draws on detailed archival research to provide insights into Hall's artistic approach, documenting casting choices and examining Hall's rehearsal process, staging decisions, and use of design and costuming, as well as the reception of each production. * Theatre Notebook *This fascinating and richly detailed study of the Shakespeare productions of one of the greatest theatre directors of recent times excels at placing them within their social and political context. -- Sir Stanley Wells, Shakespeare Birthplace Trust, UKTable of ContentsAcknowledgements Series Preface Introduction: Speaking Shakespeare 1: Nostalgia and Politics at the Shakespeare Memorial Theatre 2: Nation, Culture and Authority at the Royal Shakespeare Company 3: Authority in Crisis at the National Theatre 4: Protest and Politics at the National Theatre 5: Death and Sexuality after the National Theatre 6: Playing Shakespeare in America 7: National Stages List of Productions References Index

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Book SynopsisWhat does it mean for a play to be political in the 21st century? Does it require explicit engagement with events and situations with the aim of bringing about change or highlighting social wrongs? Is it purely a matter of content or is it also a matter of structure?The Contemporary Political Play: Rethinking Dramaturgical Structure examines the politics of contemporary ''political'' drama. It traces the origins of the contemporary British political play to the emergence of the idea of serious drama' in the late 19th century through the work of Bernard Shaw, and argues that a Shavian version of serious drama was inextricably linked to the social and political structures of British society at the time. While political drama is still often thought of as adhering to a Shavian model in which social issues are presented through a dialectical structure, Grochala argues that the different political structures of contemporary Britain give rise to formally inventive dramaturgies that areTrade Review[Grochala's] book is at its most powerful when it engages with such divided selves and spaces, as well as the creative impulses that lie behind them. * Times Literary Supplement *The Contemporary Political Play: Rethinking Dramaturgical Structure is a valuable resource for students and academics, as well as to new and established playwrights. This book will become a staple in my arsenal as an academic, lecturer and playwright. I found the book so useful that I began using it in my teaching and lectures even before I had finished reading it. * South African Theatre Journal *Table of ContentsContents Forward Introduction 1 – Serious Drama 2 – The Politics of Structure 3 – Time 4 – Space 5 – Plot 6 – Character Conclusion Bibliography Index

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Trade Review[Wooster's] timely book Theatre in Education in Britain [is] an insightful narrative and analysis of the conditions in which TIE was created ... Wooster's attempt to trace this development of theory within the TIE movement, its internal differences and outside influences, is, for me, the strength of the book ... There is much to recommend. * Journal of the National Association of Teachers of Drama *Theatre in Education in Britain will prove to be an invaluable resource for those studying the field for years to come … Wooster chronicles with intellectual rigour and insight, the origins and development of a movement whose achievements in primary and secondary education has too-often been ignored or devalued. * Wales Arts Review *With this text, Roger Wooster brings light and specificity to the evolution of theatre in education (TIE) as a practice, as a field, and as an art form…with a close look at its global germination in the local geography and polity of Britain. The book is a worthy read to the TIE field and all its kindred theatre forms, in Britain and beyond, as it chronicles a specific history with insights and implications for broader practical and theoretical realms. Wooster’s long career as a TIE company member, academic, and witness to the evolution of TIE lends clarity and credibility. … This eminently trustworthy volume encourages readers to realize progress and legitimacy as we claim and construct a shared history. It provides a specific, thorough, and accessible account of TIE within a British context over decades from an embedded informant with a global reach. … Theatre in Education in Britain is a timely treasure for TIE and the broader field/s in which it finds itself a member. It marks a mantle passing at that moment when lived experience for one becomes history to another. Thank you, Roger Wooster, for living, making, and writing an important piece of our history. * Theatre Topics *As TIE celebrates more than 50 years of existence, Wooster, a leader and practitioner of the movement, provides the field with a great gift, a book that uncovers and analyses the history of a movement that inspired so many others … This book is vital to our understanding of the influences and conditions necessary for this method to emerge … An essential contribution for those working in the field, devoted to progressive teaching and learning or anyone who loves theatre, education and its rich history. * Journal of Applied Arts & Health *Table of ContentsIllustrations Acknowledgements Foreword by Philip Taylor (NYU, USA) Preface Part One: Roots Chapter One: Society, Theatre, Education and the first TIE experiments 1965-1966 Chapter Two: The Development of the Theatre in Education Movement 1966-1976 Chapter Three: Pedagogical Maturity 1976-1990 Chapter Four: The Education Debate and the Era of ERA Afterword by Warwick Dobson (University of Victoria, Canada) Part Two: Fruits Chapter Five: Case Study: Careless Talk Chapter Six: Case Study: When Sleeping Dogs Awake Chapter Seven: The Aesthetics of TIE Chapter Eight: Making it and Making it Work Chapter Nine: International Perspectives and Influence Afterword by Chris Vine (CUNY, USA) Part Three: Shoots Chapter Ten: The Legacy of ERA: Funding and Programme Content Chapter Eleven: The Use and Abuse of Practice in contemporary TIE Chapter Twelve: Some Contemporary International TIE Programmes Chapter Thirteen: The Survivors: Case Studies of Contemporary TIE Programmes Chapter Fourteen: Conclusion: The Last Fifty Years of TIE Afterword by Anthony Jackson (University of Manchester, UK) Endnotes Bibliography Index

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Book SynopsisEdward Braun is Emeritus Professor of Drama at the University of Bristol. He edited the pioneering English-language selection from Meyerhold's writings, Meyerhold on Theatre, in 1969, and in 1979 published his major critical assessment, The Theatre of Meyerhold. His The Director & the Stage was first published in 1982.Jonathan Pitches is Professor of Theatre and Performance and Director of Research in the School of Performance and Cultural Industries at Leeds University. He is the author and/or editor of four books, three of which relate to actor training and is the founding co-editor of the Routledge journal, Theatre Dance and Performance Training.Trade ReviewMeyerhold on Theatre is an important, many-faceted book. Meyerhold was a great director - the greatest in my experience as a playgoer . . . Braun has rendered the field of theatre knowledge an invaluable service. -- Harold Clurman * The Nation *It is rare that books can capture the spirit in which productions happen, but Edward Braun's anthology . . . does transmit not only the swiftly changing contexts in which Meyerhold worked, but the still-relevant impulses which his work embodied, and which have sown the seeds of so much that the modern theatre still grapples with. * Times Literary Supplement *... This fourth edition of a seminal work compiled by Edward Braun will present as good and wide a portrait of the great man as anyone could wish for. * British Theatre Guide *

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Book SynopsisGeorge Rodosthenous is Associate Professor in Theatre Directing at the School of Performance and Cultural Industries of the University of Leeds, UK. He is the Artistic Director of the theatre company 'Altitude North' and also works as a freelance director/composer for the theatre.Trade ReviewAs a contribution to the field, the book provides many interesting insights and departure points for further discussion ... it is gratifying to see Disney musicals attract such scholarly attention. * Studies in Musical Theatre *Table of ContentsIntroduction: George Rodosthenous (Leeds) PART A DISNEY MUSICALS: ON FILM 1. Music and the Aura of Reality in Walt Disney’s Snow White and the Seven Dwarfs – Elizabeth Randell Upton, (University of California, Los Angeles) 2. Medieval “Beauty” and Romantic “Song” in Animated Technirama: Pageantry, Tableau, and Action in Disney’s Sleeping Beauty – Raymond Knapp (University of California, Los Angeles) 3. Mary Poppins: A Precursor of the Matriarchal Musical – Tim Stephenson (University of Leeds) 4. Musicals in the Mirror: Enchanted, Self-Reflexivity, and Disney's Sudden Boldness – Paul Laird (University of Kansas) PART B DISNEY ADAPTATIONS: ON STAGE AND BEYOND 5. Disney as Broadway Auteur: The Disney Versions of Broadway Musicals for Television in the Late 1990s and Early 2000s – Geoffrey Block (University of Puget Sound) 6. The Hunchback of Notre Dame (1996): Too far “Out There”? Olaf Jubin – (Regent’s University London) 7. The Lion King: A Blockbuster Feline on Broadway and Beyond – Barbara Wallace Grossman (Tufts University) 8. Not Only on Broadway: Disney Junior Across the United States – Stacy E. Wolf (Princeton Atelier, Princeton University)? PART C DISNEY MUSICALS: GENDER AND RACE 9. Dancing toward Masculinity: Newsies and Homosocial Choreography – Aaron C. Thomas (Dartmouth College) 10. ‘We’re All in This Together:’ Being Girls and Boys in High School Musical (2006) - Dominic Symonds (University of Lincoln) 11. ‘I wanna be like you’: Negotiating race, racism and Orientalism in The Jungle Book on stage– Stefanie Jones, Donatella Galella, Catherine Young, and Emily Clark (City University of New York) 12. Ashman’s Aladdin Archive: Queer Orientalism in the Disney Renaissance – Sam Baltimore (Twoson University) 13. “For the first time in forever”: locating Frozen as a feminist Disney musical – Sarah Whitfield (University of Wolverhampton) Bibliography Index

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Book SynopsisFarah Karim-Cooper is Head of Higher Education & Research, Globe Education (Shakespeare's Globe) and Visiting Research Fellow, King's College London, UK.Trade ReviewFarah Karim-Cooper’s The Hand on the Shakespearean Stage: Gesture, Touch, and the Spectacle of Dismemberment combines its author’s expert knowledge of early modern performance with new research on the cultural history of gesture to deliver a groundbreaking account of the emotional, psychological, and social work carried out by the hand on stage. * Studies in English Literature 1500-1900 *This book augments Arden’s reputation for producing monographs which are not only accessible to the reader, but academically rigorous and centred around fascinating subjects ... [It] serves as a vital new contribution, offering a comprehensive survey of the hand in Shakespeare’s day which will be of use to students and scholars interested in conceptions of the early modern body. * Early Theatre *Farah Karim-Cooper crafts a study that is narrow in focus yet wide-ranging in breadth by casting attention upon the early modern hand … Across six chapters, Karim-Cooper reveals the capacious symbolic capacity of the hand in early modern culture and, attendantly, on the stage … even as Karim-Cooper undertakes a historicist approach, she also pulls in dramaturgy, analysis of art, a careful attention to material culture, and a keen eye toward performance practice in order to enhance her fascinating analysis of the early modern hand … Karim-Cooper makes an important, original contribution to early modern body studies whose breadth will appeal to a wide audience of Shakespearean and early modern scholars. * Comparative Drama *Karim-Cooper skillfully locates the expressive hand in an emotional and theatrical context … Karim-Cooper gives well-deserved primacy to an oft-misunderstood and overlooked expression, a topic of interest not only to the scholars who seem to be her target audience, but also to educators, actors, and directors. Her insightful analysis of the hand demonstrates the close correspondence among the scientific, philosophic, and artistic fields … her command of period plays, oratory, and anatomical sources successfully brings interdisciplinary considerations of hand gestures to bear on the works of Shakespeare and his contemporaries, and also on contemporary plays onstage and in film. * Theatre Topics *[An] excellent handbook. Within the joy of the pun rests the richness of Karim-Cooper’s achievement. her encyclopedic consideration of the hand and her specific attention to gesture as narration and to the complexities of touch do the work for those of us who will go on to play with the discoveries she offers ... The Hand on the Shakespearean Stage provides both the material for invention and further study and points us toward the potential of a hands-on approach to contemporary productions of the early modern works with a new understanding of gesture, touch, and the intimacy of palms. * Shakespeare Quarterly *Table of ContentsIntroduction Chapter One: The Idea of the Hand in Shakespeare's World Chapter Two: Manners and Beauty: The Social Hand Chapter Three: 'Lively Action': Gesture in Early Modern Performance Chapter Four: Gesture and Shakespeare's Narrative Art Chapter Five: 'Let Lips do what Hands do': Shakespeare's Sense of Touch Chapter Six: Amputation: The Spectacle of Dismemberment in Shakespeare's Theatres Epilogue -- Fingers Notes Index

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Book SynopsisWhy has memory become such an important political tool in response to the challenges of modernity? How can performance be used to probe and recuperate aspects of the past, and what are the ethical and political questions that arise when it does so? And how should the discipline of theatre studies define and deploy the term ''memory'' theoretically and in practice? Theory for Theatre Studies: Memory provides a comprehensive introduction to the intersections between contemporary theatre and performance, the field of memory studies and the politics of memory across the globe. Beginning by offering a fresh critical snapshot of the major theoretical foundations for the study of memory today, the author presents vivid theatrical examples drawn from a wide variety of cultural contexts and compellingly illustrates the centrality of memory for the theatre as well as the vital role of theatre in transmitting individual and collective memories. Featuring in-depth case studies of a range oTrade ReviewWith Theory for Theater Studies: Memory Gluhovic has succeeded in bringing together current questions and theories of memory research with theater studies considerations ... The interdisciplinary theoretical framework that Gluhovic elaborates, together with the case studies, illustrates the possibilities of theater to function as a corrective or a media dispositive. * rezens.tfm (Bloomsbury translation) *This is an excellent book that will be appreciated by theatre students, scholars, practitioners, and enthusiasts alike. A clear and lucid writer, Milija Gluhovic offers close readings of theatre and performance works that bring the theory he deftly explicates to the vibrant and global contexts of embodied practice. * Rebecca Schneider, Professor, Performance Studies, Brown University, USA *Table of ContentsAcknowledgements Series Preface INTRODUCTION SECTION ONE: Mapping Memory: Theorizing Recollection The Classical and Medieval Practice of Mnemotechnics: How Memory Works on Stage Memory and Theatre in a Global Age SECTION TWO: Searching for Common Ground: Performance, Testimony, and Small Acts of Repair Case study 1: Lola Arias’s Minefield Case study 2: Yael Ronen’s Common Ground Case study 3: Robert Lepage's The Seven Streams of the River Ota SECTION THREE: Memory and Migration Case study 1: Andrea Levy’s Small Island Case study 2: André Amálio’s Portugal is not a small country Theatre and Memory in the Age of the Anthropocene BIBLIOGRAPHY Notes Index

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Book SynopsisWole Soyinka - playwright, novelist, poet and polemical essayist - was born in Nigeria in 1934. Educated there and at Leeds University, he worked in the British theatre before returning to West Africa in 1960. In 1986 he became the first African writer to win the Nobel Prize for Literature.Trade ReviewThis rich turbulent piece, which starts as folk comedy and ends as Greek tragedy, takes on board an abundance of ideas: identity, tradition, the passage from life to death . . . Soyinka's play is as much philosophical as political. * Michael Billington, Guardian, 9.4.09 *Based on events in 1940s Nigeria, the story attains a more classically tragic power in showing two forces unable to understand each other. On one side there is the Yoruba culture, in which the death of a king is followed by the suicide of his favoured liegeman . . . on the other, the powers that be with their contrary code that suicide is illegal and to be prevented, even if it costs more lives. * Ian Shuttleworth, Financial Times, 13.4.09 *Wole Soyinka's play is one of the great creations of twentieth-century theatre: it has the fire, grandeur, cruelty and humanity of Greek tragedy, the moral cutting edge of modern political thinking, and the African writer's take on his own people's values: loving mocking, ironical and ruthlessly observant . . . Soyinka writes with the moral ambivalence and relentless questioning of Shakespeare. * John Peter, Sunday Times, 19.4.09 *

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Book SynopsisThis unique anthology presents the important historical essays on tragedy, ranging from antiquity to the present, divided into historical periods and arranged chronologically. Across its span, it traces the development of theories and philosophies of tragedy, enabling readers to consider the ways in which different varieties of environmentalist, feminist, leftist and postcolonial thought have transformed the status of tragedy, and the idea of the tragic, for recent generations of artists, critics and thinkers. Students of literature and theatre will find this collection an invaluable and accessible guide to writing from Plato and Aristotle through to Freud, Nietzsche, Schopenhauer and 21st century theorists. Ideas of tragedy and the tragic have been central to the understanding of culture for the past two millennia. Writers and thinkers from Plato through to Martha Nussbaum have analyzed the genre of tragedy to probe the most fundamental of questions about ethics, pleasure and respoTable of ContentsAcknowledgements Notes on the Texts General Introduction Chapter One: Antiquity and the Middle Ages Introduction 1.1. Plato, The Republic 1.2. Aristotle, On The Art Of Poetry 1.3. Horace, The Art of Poetry 1.4. Longinus, On the Sublime 1.5. Evanthius, “On Drama” 1.6. Augustine, “On Stage-plays” Chapter Two: The Early Modern Period Introduction 2.1. Giovan Battista Giraldi Cinthio, Discourse or Letter on the Composition of Comedies and Tragedies 2.2. Lodovico Castelvetro, The Poetics of Aristotle 2.3. Stephen Gosson, Plays Confuted in Five Actions 2.4. Philip Sidney, Defense of Poetry 2.5. Thomas Heywood, The Apology for Actors 2.6. Pierre Corneille, from Three Discourses on Dramatic Poetry 2.7. John Milton, “Of That Sort of Dramatic Poem Which is Called Tragedy” 2.8. René Rapin, Reflections on Aristotle’s Treatise of Poesie 2.9. John Dryden, “The Grounds of Criticism in Tragedy” Chapter Three: The Eighteenth Century Introduction 3.1. Joseph Addison and Richard Steele, The Spectator 3.2. George Lillo, “The Dedication” and “Prologue” to The London Merchant 3.3. David Hume, “Of Tragedy” 3.4. Edmund Burke, “Sympathy,” “Of the Effects of Tragedy” and “The Sublime” 3.5. Jean-Jacques Rousseau, Letter to M. D’Alembert On the Theatre 3.6. Samuel Johnson, “Preface to Shakespeare” 3.7. Voltaire, "Letter XVIII. On Tragedy" 3.8. Elizabeth Montagu, An Essay on the Writings and Genius of Shakespear 3.9 Joanna Baillie, “Introductory Discourse” Chapter Four: The Nineteenth Century Introduction 4.1. August Wilhelm Schlegel, A Course of Lectures on Dramatic Art and Literature 4.2. Charles Lamb, “On the Tragedies of Shakespeare Considered with Reference for Their Fitness for Stage Representation” 4.3. William Hazlitt, Characters of Shakespeare’s Plays 4.4. Percy Bysshe Shelley, A Defence of Poetry 4.5. Arthur Schopenhauer, The World as Will and Representation 4.6. G.W.F. Hegel, Aesthetics: Lectures on Fine Art 4.7. George Eliot, “The Antigone and its Moral” 4.8. Friedrich Nietzsche, The Birth of Tragedy Chapter Five: 1900 to 1968 Introduction 5.1. Sigmund Freud, from The Interpretation of Dreams 5.2. A.C. Bradley, Shakespearean Tragedy 5.3. William Butler Yeats, “The Tragic Theatre” 5.4. Virginia Woolf, “On Not Knowing Greek” 5.5. Bertolt Brecht, “A Short Organum for the Theatre” 5.6. Robert Warshow, “The Gangster as Tragic Hero” 5.7. George Steiner, Death of Tragedy 5.8. Raymond Williams, “Tragedy and Revolution” 5.9. Athol Fugard, “On A View from the Bridge” Chapter Six: Post-1968 Introduction 6.1 Augusto Boal, from The Theatre of the Oppressed 6.2. René Girard, “The Sacrificial Crisis” 6.3. Joseph Meeker, “Literary Tragedy and Ecological Catastrophe” 6.4. Catherine Belsey, The Subject of Tragedy 6.5. Biodun Jeyifo, “Tragedy, History and Ideology” 6.6. Nicole Loraux, The Rope and the Sword 6.7. Hélène Cixous, “Enter the Theatre (in between)” 6.8. Judith Butler, “Promiscuous Obedience” 6.9. Martha Nussbaum, “The ‘Morality of Pity’” 6.10. David Scott, Conscripts of Modernity Permissions Acknowledgements Supplementary Reading Index

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Book SynopsisTable of ContentsList of Illustrations Notes on Contributors Series Preface Introduction, Emily Wilson (University of Pennsylvania, USA) 1. Forms and Media, Naomi Weiss (Harvard University, USA) 2. Sites of Performance and Circulation, Rosa D'Andújar (King's College London, UK) 3. Communities of Production and Consumption, Eirene Visvardi (Wesleyan University, USA) 4. Philosophy and Social Theory, Austin Busch (College at Brockport, USA) 5. Religion, Ritual and Myth, Isabelle Torrance (Aarhus University, Denmark) 6. Politics of City and Nation, Robert Cowan (University of Sydney, Australia) 7. Society and Family, Marcel Widzicz (Southern Virginia University, USA) 8. Gender and Sexuality, Kirk Ormand (Oberlin College, USA) Notes Bibliography Index

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Book SynopsisJody Enders is Distinguished Professor of French at the University of California, Santa Barbara, USA.Theresa Coletti is Professor of English at the University of Maryland, USA.John T. Sebastian is Professor of English at Loyola Marymount University, USA.Carol Symes is Professor of History at the University of Illinois, Urbana-Champaign, USA.Table of ContentsList of Illustrations Notes on Contributors Series Preface General Editor’s Acknowledgements Introduction: Miscarriages of Justice, Jody Enders (University of California, USA) 1. Forms and Media, Carol Symes (University of Illinois, USA) 2. Sites of Performance and Circulation, Christopher Swift (City University of New York, USA) 3. Communities of Production and Consumption, John T. Sebastian (Loyola Marymount University, USA) 4. Philosophy and Social Theory, Antonio Donato (City University of New York, USA) and Erith Jaffe-Berg (University of California, USA) 5. Religion, Ritual, and Myth, John Parker (University of Virginia, USA) 6. Politics of City and Nation, Hannah Skoda (University of Oxford, UK) 7. Society and Family, Theresa Coletti (University of Maryland College Park, USA) 8. Gender and Sexuality, Karen Sullivan (Bard College, USA) Notes Bibliography Index

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Book SynopsisNaomi Conn Liebler is a Professor of English and a University Distinguished Scholar at Montclair State University, USA.Table of ContentsList of Illustrations Notes on Contributors Series Preface Introduction: Defining the Elephant, Naomi Conn Liebler (Montclair State University, USA) 1. Forms and Media, Rebecca Bushnell (University of Pennsylvania, USA) 2. Sites of Performance and Circulation, Bruce R. Smith (University of Southern California, USA) 3. Communities of Production and Consumption, András Kiséry (The City College of New York, USA) 4. Philosophy and Social Theory, Richard Wilson (Kingston University, UK and the University of Oxford, UK) 5. Religion, Ritual and Myth, Paul Innes (University of Gloucestershire, UK) 6. Politics of City and Nation, Ivan Lupic (Stanford University, USA) 7. Society and Family, Coppélia Kahn (Brown University, USA) 8. Gender and Sexuality, Goran Stanivukovic (Saint Mary’s University, Canada) Notes Bibliography Index

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Book SynopsisMitchell Greenberg is the Goldwin Smith Professor of Romance Studies at Cornell University, USA.Table of ContentsNotes on Contributors List of Illustrations List of Graphs Series Preface Introduction: Definitions and Understandings, Mitchell Greenberg (Cornell University, USA) 1. Forms and Media, Christian Biet (University of Paris Nanterre and Institut Universitaire de France, France) 2. Sites of Performance and Circulation, Jan Clarke (Durham University, UK) 3. Communities of Production and Consumption, Sylvaine Guyot (Harvard University, USA) and Clotilde Thouret (Lorraine University, France) 4. Philosophy and Social Theory, Jonathan Strauss (Miami University, USA) 5. Religion, Ritual and Myth, Juliette Cherbuliez (University of Minnesota) and Christopher Semk (Independent Scholar) 6. Politics of City and Nation, Julie Stone Peters (Columbia University, USA) 7. Society and Family, John D. Lyons (University of Virginia, USA) 8. Gender and Sexuality, Jennifer Row (University of Minnesota, USA) Notes Bibliography Index

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Book SynopsisMichael Gamer is Professor of English and Comparative Literature at the University of Pennsylvania, USA. Diego Saglia is Professor of English Literature at the University of Parma, Italy.Table of ContentsList of Illustrations Notes on Contributors Series Preface Introduction: The Nineteenth Century: ‘Tragedy in the World,’ Michael Gamer (University of Pennsylvania, USA) and Diego Saglia (University of Parma, Italy) 1. Forms and Media, Lissette Lopez Szwydky (University of Arkansas, USA) 2. Sites of Performance and Circulation, Katherine Newey (University of Exeter, UK) 3. Communities of Production and Consumption, Sharon Aronofsky Weltman (Louisiana State University, USA) 4. Philosophy and Social Theory, Jonathan Sachs (Concordia University, Canada) 5. Religion, Ritual, and Myth, Jeffrey Cox (University of Colorado Boulder, USA) 6. Politics of City and Nation, Michael Meeuwis (University of Warwick, UK) 7. Society and Family, Dana Van Kooy (Michigan Technological University, USA) 8. Gender and Sexuality, Cole Heinowitz (Bard College, USA) Notes Bibliography Index

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Book SynopsisJennifer Wallace is the author of Tragedy Since 9/11: Reading a World Out of Joint (Bloomsbury Academic, 2019) and the Director of Studies in English at Peterhouse, University of Cambridge, UK.Table of ContentsList of Illustrations Notes on Contributors Series Preface Editor's Acknowledgements Introduction: Tragedy Since 1920, Jennifer Wallace (University of Cambridge, UK) 1. Forms and Media, Ramona Mosse (Goethe University Frankfurt, Germany) 2. Sites of Performance, Drew Milne (University of Cambridge, UK) 3. Communities of Production and Consumption, Olga Taxidou (University of Edinburgh, UK) 4. Philosophy and Social Theory, David Kornhaber (The University of Texas at Austin, USA) 5. Religion, Ritual and Myth, Ben Quash (King's College London, UK) 6. Politics of City and Nation, Tony Fisher (The Royal Central School of Speech and Drama, UK) 7. Society and Family, Kélina Gotman (King's College London, UK) 8. Gender and Sexuality, P.A. Skantze (Roehampton University, UK) Notes Bibliography Index

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Book SynopsisRussian Futurist Theatre' explores is the first book to comprehensively uncover the Russian futurist theatre in all its virtuosity and diversity.

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Book SynopsisThis book covers the development of tragedy as a dramatic genre from its earliest examples in the 1560's until the closure of the theatres in 1642.

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Book SynopsisThis study explores the disturbing intrinsic connections between authors, informers, and authorities found in a wide selection of early modern metadrama.

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Book SynopsisThis book presents a new reading of Pina Bausch's dance theatre, orienting it within an international legacy of performance practice.

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Book SynopsisThis book discovers within early modern revenge tragedy the surprising shaping presence of a wide array of classical philosophies not commonly affiliated with the genre.

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Book SynopsisThis book discovers within early modern revenge tragedy the surprising shaping presence of a wide array of classical philosophies not commonly affiliated with the genre.

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Book SynopsisThis book assesses the credibility of this arresting claim in the immediate context of contemporary British theatre by investigating the place and purpose of law in a range of modern dramatic settings and writings.

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Book SynopsisFrom romantic novelist Elinor Glyn in the 1920s to Prince Harry and Meghan Markle today, this collection examines some of the history, contemporary manifestations and enduring appeal of US-UK romance across popular culture.

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Book SynopsisRussian Futurist Theatre exploresis the first book to comprehensively uncover the Russian futurist theatre in all its virtuosity and diversity.

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Book SynopsisThis book highlights that masquerade can be regarded as a distinct genre of performance activity that employs elements of the carnivalesque, circus, dance, gestural theatre and theatre of objects.Trade Review"Spanning modernism this book affords a refreshed lens on masquerade as character play, embodiment and theatricality. A timely argument for amplified attention to disguise, bodyscapes and performative aspects of the image in this chaotic and unpredictable world." -Kim Snepvangers, University of New South Wales, Sydney: Art & Design

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Book SynopsisThe first full and consistent edition of Allan Ramsay's most influential text, The Gentle Shepherd.

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Book SynopsisThis volume asks, how did theatrical practice shape the multiplying forms of conversion that emerged in early modern Europe?

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Book SynopsisLaura Sava critically engages with the filmic representation of theatre, focusing on a selection of art house and independent films which provide a sophisticated commentary on the interaction between the two media.

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Book SynopsisShakespeare and Latinidad is a collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on Latinx productions and appropriations of Shakespeare's plays.Trade Review"This book offers a unique and wonderfully broad collection of essays that introduce the reader to an important and little-known trend in Shakespeare and theatre studies. The editors have included essays by leading theatre artists, playwrights, directors, actors and scholars who celebrate Shakespeare as seen through the multiple perspectives of Latinx Shakespeares as performance, as literature and as community-building through professional and community-based theatre companies from coast to coast. " -Jorge Huerta, University of California San Diego

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Book SynopsisExplores modernism's complex relationship with contemporary theatreTrade Review"The playful spirit of modernism is alive and well in this multi-faceted consideration of that movement's aftershocks on the contemporary stage. If modernism was a provocation and a rupture, this impressive assemblage makes it clear that it is one that is with us still, as theatre artists the world over continually strive to 'make it new'." -David Kornhaber, The University of Texas at Austin

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Book Synopsis''This is the biography - truthful, sympathetic and thorough - that Coward deserves''DAILY TELEGRAPHThe voice, the dressing-gown, the cigarette in its holder, remain unmistakable. There is rarely a week when one of Private Lives, Hay Fever, and Blithe Spirit is not in production somewhere in the world. Phrases from Noël Coward''s songs - Mad About The Boy, Mad Dogs and Englishman - are forever lodged in the public consciousness. He was at one point the most highly paid author in the world. Yet some of his most striking and daring writing remains unfamiliar. As T.S. Eliot said, in 1954, there are things you can learn from Noël Coward that you won''t learn from Shakespeare.Coward wrote some fifty plays and nine musicals, as well as revues, screenplays, short stories, poetry, and a novel. He was both composer and lyricist for approximately 675 songs. Louis Mountbatten''s famous tribute argued that, while there were greater comedian

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Book Synopsis''Darkly comic, beautifully written and full of surprises''Daily Mail ''Really funny. David is a great writer'' Paula Hawkins, Good Housekeeping''A riotously good novel, witty and earnest, brimming with sharply drawn characters and creeping suspense. David Thewlis is a fabulous writer'' Anna Bailey, Sunday Times bestselling author of Tall Bones''A deliciously smart, hilarious human drama with the pace and intrigue of a gripping thriller. One of the year''s most memorable novels''B P Walter, Sunday Times bestselling author of The Dinner GuestCelebrated director Jack Drake can''t get through his latest film (his most personal yet) without his wife Martha''s support. The only problem is, she''s dead...When Jack sees Betty Dean - actress, mother, trainwreck - playing the part of a crazed nun on stage in an indie producti

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Book SynopsisA fabulous, darkly funny and ultimately devastating novel set between a London film set and a villa in the south of France - a mix of Vertigo and Jonathan Coe.Trade ReviewThis theatrical thriller by actor David Thewlis is darkly comic, beautifully written and full of surprises. -- Sara Lawrence * DAILY MAIL *A riotously good novel, witty and earnest, brimming with sharply drawn characters and creeping suspense. David Thewlis is a fabulous writer. * Anna Bailey, Sunday Times bestselling author of TALL BONES *Really funny. David is a great writer. * Paula Hawkins, Good Housekeeping *A deliciously smart, hilarious human drama with the pace and intrigue of a gripping thriller. One of the year's most memorable novels. * B P Walter, author of the Sunday Times bestseller THE DINNER GUEST *A thriller that Hitchcock fans will love. * SHEERLUXE *PRAISE FOR DAVID THEWLIS'S PREVIOUS NOVEL:'Thewlis has taken the turn-of-the-millennium London art scene and eviscerated it and the resulting gore makes for wonderful entertainment... This is a funny and successful satire of the contemporary art world, but at its core, it is a novel about the over-indulged and fragile artist's ego, about insecurity, about the darker layers of human relationships... Hilarious and horror-filled' Francesca Segal, Observer'Exquisitely written with a warm heart and a wry wit... Stunning' Elle'A fine study in character disintegration and a very funny satire on the contemporary art world' David Baddiel, The Times'A queasily entertaining carnival of art and self-destruction' FT'Thewlis has a driving, spiky prose style and a way with blackly comic scenarios' New Statesman'Thewlis has an eye for grotesque minutiae and, unsurprisingly for an esteemed actor, a real feel for dialogue and wordplay' The List'Thewlis...has successfully transferred his talents to the page, displaying a sharp ear for dialogue and a scabrously satiric prose style' Daily Mail'[Thewlis] great debut novel is a wry account of a spoilt middle-man's collapse' InStyle'This laugh-out-loud, darkly intelligent debut suggests that Thewlis might meet with considerable success should he decide to quit acting and take up the pen full-time... Readers who have mourned the end of Sue Townsend's wonderful, long-running Adrian Mole series will find solace of a sort here, as will anyone who enjoys a thought-provoking skewering of modern art by a knowledgeable writer and an inescapably doomed but appealing hero' Publishers Weekly'This is far more than an actor's vanity project: Thewlis has talent' Kirkus'David Thewlis has written an extraordinarily good novel, which is not only brilliant in its own right, but stands proudly beside his work as an actor, no mean boast' Billy Connolly'I laughed and laughed until I read my own name amongst the carnage of Thewlis's unfortunate characters. This book is a disgrace - it's mean, cruel and refreshingly cynical' Jake Chapman

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Book Synopsis''Inspiring. Emotionally charged. Ground-breaking'' BERNARDINE EVARISTO''A revelation. I am so thankful to Ntozake Shange for seeing us, reflecting us and showing us how beautiful we can be'' JESMYN WARD''Encompassing, it seems, every feeling and experience a woman has ever had'' NEW YORKERThe Lady in Red has adored her lover for 8 months, 2 wks, & a day, but now she is leaving. The Lady in Blue has an abortion, all alone. The Lady in Brown can read fifteen books in three weeks.The Lady in Purple has met a man, and is finally being real. The Lady in Yellow was a virgin, until she spent her graduation night driving around in a black Buick with boys. And the Lady in Orange has to dance to keep from crying and dying.Written in 1975 and immediately hailed as a masterwork, this ''choro-poem'' is made up of monologues detailing loss, betrayal, love and community. A passionate and fearless portrait of black womanhood in th

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Book SynopsisTeaching Hamlet in the Twenty-First Century Classroom is for both the novice and veteran teacher and offers fresh takes on teaching Shakespeare's iconic Hamlet. Its lessons push students to engage deeply and creatively. Rooted in text and performance, each chapter provides ready-to-use learning objectives, reading guides, notes on language, critical backgrounds, discussion questions, film-based strategies, and project-based culminating activities that embrace students' role in meaning-making. It is the book for teachers who want to get their students to love Hamlet.

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Book SynopsisTeaching Hamlet in the Twenty-First Century Classroom offers fresh takes on teaching Shakespeare's Hamlet. Each chapter provides learning objectives, guides, discussion questions, film-based strategies, and activities that embrace students' role in meaning-making.

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