Theatre studies Books

Book SynopsisThe Shakespearean International Yearbook surveys the present state of Shakespeare studies in global contexts, addressing issues that are fundamental to our interpretive encounter with Shakespeareâs work and his time. Contributions are solicited from scholars across the field and from both hemispheres of the globe who represent diverse career stages and linguistic traditions. Both new and ongoing trends are examined in comparative contexts, and emerging voices in different cultural contexts are featured alongside established scholarship. Each volume features a collection of articles that focus on a theme curated by a specialist Guest Editor, along with coverage of the current state of the field. An essential reference tool for scholars of early modern literature and culture, this annual publication captures, from year to year, current and developing thought in global Shakespeare scholarship and performance practice worldwide.

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Book SynopsisFor this updated critical edition of King Lear, Lois Potter has written a completely new introduction, taking account of recent productions and reinterpretations of the play, with particular emphasis on its afterlife in global performance and adaptation. The edition retains the Textual Analysis of the previous editor, Jay L. Halio, shortened and with a new preface by Brian Gibbons. Professor Halio, accepting that we have two versions of equal authority, the one derived from Shakespeare''s rough drafts, the other from a manuscript used in the playhouses during the seventeenth century, chooses the Folio as the text for this edition. He explains the differences between the two versions and alerts the reader to the rival claims of the quarto by means of a sampling of parallel passages in the Introduction and by an appendix which contains annotated passages unique to the quarto.Trade Review'Only Lois Potter is capable of writing an introduction like this: she combines her vast experience of performance history with her unparalleled ability to read plays dramaturgically. As a result the introduction is as penetratingly astute on theme and structure as it is stimulating and eye-opening about theatre. No mere performance history, the introduction uses moments from production choices across the centuries to illustrate precise critical points, from the play's tragic crises to its general tone, from individual character to political atmosphere. Using her encyclopaedic knowledge of drama in performance, Lois Potter provides a brilliant hands-on guide to the play and an effortless introduction to theatre history.' Professor Laurie Maguire, University of Oxford'Lois Potter combines her unparalleled knowledge of Shakespeare in theatrical performance and her scrupulously scholarly attention to detail in the NCS King Lear. Her new introduction provides up-to-the-minute accounts of the play in performance while also offering a clear historical perspective. Potter describes the way productions of King Lear have changed over the course of the centuries and especially how current efforts to create more diverse theatrical casts have valuably added further dimension to the key issues of the play. Invaluably too, she provides an account of recent developments both critical, imaginative, and political, including eco-criticism and feminist criticism, re-writings of Shakespeare, as well as Lear in the global context. This is a must-read for anyone interested in the play.' Dympna C. Callaghan, University Professor and William L. Safire Professor in Modern Letters, Syracuse University'The updated New Cambridge critical edition of The Tragedy of King Lear provides a sensitive analysis of the afterlife of the play in a brand-new Introduction written by Lois Potter. There is … plenty in this Introduction to inspire new work on Lear … Potter's Introduction brings the edition and the play into the twenty-first century, and Gibbons' preface to Halio's 'Textual Analysis' helps to translate an edition ideal for graduate students and scholars of the play into an edition that will also appeal to readers approaching textual criticism for the first time.' Emma Depledge, Shakespeare SurveyTable of ContentsIntroduction; Textual Analysis; Preface by Brian Gibbons; Textual Analysis, Part 1; A Note on the Text; List of Characters; The Play; Textual Analysis, Part 2; Appendix: Passages Unique to the First Quarto; Reading List.

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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 SynopsisJill Dolan is Annan Professor in English and Professor of Theatre at Princeton University, USA, where she is also Director of its programme in Gender and Sexuality Studies. She is the author of Utopia in Performance: Finding Hope at the Theatre and The Feminist Spectator as Critic, among other books. She writes The Feminist Spectator blog at www.feministspectator.blogspot.com.Trade ReviewThe Feminist Spectator is certainly a reader-friendly text … The Feminist Spectator will make an engaging addition to any feminist classroom or scholarly bookshelf. Reminding us of feminist hope–both in theory and practice–this book is a call to action, as well as a touchstone, for twenty-first-century feminist teachers and learners. * Corey Hickner-Johnson, Feminist Teacher, Vol. 26 (2-3) *Table of ContentsIntroduction PART I: ADVOCACY 1. Dynasty Handbag 2. The Kids are All Right 3. Dog and Pony Show 4. The Hurt Locker 5. Circumstance 6. Scandal 7. Young Adult 8. Girls and Tiny Furniture PART II: ACTIVISM 9. Mamma Mia! 10. Nurse Jackie 11. For Colored Girls 12. The Black Swan 13. The Social Network 14. The Hunger Games 15. Brave PART III: ARGUMENT 16. The Merchant of Venice 17. The Normal Heart 18. Children's Hour 19. Homeland 20. Porgy and Bess 21. Wit 22. Death of a Salesman 23. Clybourne Park 24. Tomboy PART IV: ARTISTRY 25. Friday Night Lights 26. Come Back, Little Sheba 27. Hair 28. Let Me Down Easy 29. Bridesmaids 30. Lost Lounge 31. Once 32. Jomama Jones 33. Midsummer Night's Dream 34. Your Sister's Sister PART V: HOW TO BE A FEMINIST CRITIC/SPECTATOR Suggestions for Further Reading Appendix Index.

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Book SynopsisMillie Taylor is Professor of Musical Theatre at the University of Winchester, UK. She is author of Musical Theatre, Realism and Entertainment, among other titles.Dominic Symonds is Reader in Drama at the University of Lincoln, UK. He is co-editor of the Studies in Musical Theatre journal, and author of the forthcoming We'll Have Manhattan: the Early Work of Rodgers and Hart, among other titles.Table of ContentsList of Illustrations Acknowledgements Introduction PART I: READING TEXTS 1. 'A tale as old as time': Narrative Theory 2. 'A man who can interpret could go far': Semiotics and Semiology 3. 'Razzle dazzle 'em': Reception Theory and the Epic Musical 4. 'Life is a cabaret': Cultural Materialism PART II: INTERPRETING CONTEXTS 5. 'You've got to be carefully taught': Orientalism and Musical Theatre 6. 'I wanna be a producer': Globalization, Capitalism and Consumerism 7. 'What's the buzz?' Meta-narratives and Postlinearity PART III: PERFORMING IDENTITIES 8. 'Marry the man today': Feminism and the Performance of Identity 9. 'The bitch of living': Youth Cultures, Power, and Sexuality 10. 'I am what I am': Sexuality and Queer Theory PART IV: RETHINKING RELATIONSHIPS 11. 'It's the last midnight': Playing with Time and Space 12. 'I'm just a Broadway baby': Intertextuality in Music and Lyrics 13. 'Dreamgirls will make you happy': The Pleasures of Voice and Body 14. 'Make 'em laugh': The Politics of Entertainment Bibliography Index.

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Book SynopsisJim Davis was Professor of Theatre Studies at the University of Warwick, UK. He authored numerous books and articles, among them Comic Acting and Portraiture in Late-Georgian and Regency England (2015) and Victorian Pantomime: A Collection of Critical Essays. He was also joint-author of Reflecting the Audience: London 1840-1880 (with Victor Emeljanow) which was awarded the 2001 Theatre Book Prize.

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Book Synopsis1. Viola Spolin: Games as a Means towards Flow, Empathy, and Finding One's Truer Self 2. Del Close: Improvisational Time and the Multiple Draft Modeled Mind 3. Keith Johnstone: Spontaneity, Storytelling, Status and Masks, Trance, Altered States 4. The Improvising Mind: On Stage and in the LabTrade Review"I found this work to be fascinating and, as an improviser, intuitive and affirming (which is, ultimately, one of the conclusions of the book). While there are many books on improv and many books on the 'mind/thinking/consciousness/how-humans-learn' there aren't many that link these two areas of scholarship. This book fills that gap." - Jeanne Leep, Professor of Theatre Arts, Edgewood College, USA and author of Theatrical Improvisation: Short Form, Long Form, and Sketch-Based ImprovTable of Contents1. Viola Spolin: Games as a Means towards Flow, Empathy, and Finding One's Truer Self 2. Del Close: Improvisational Time and the Multiple Draft Modeled Mind 3. Keith Johnstone: Spontaneity, Storytelling, Status and Masks, Trance, Altered States 4. The Improvising Mind: On Stage and in the Lab

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Book SynopsisEric Weitz is Associate Professor of Drama at Trinity College Dublin, Ireland. He is the author of The Cambridge Introduction to Comedy.

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Book Synopsis1. Research Theatre 2. Theorizing Ecocide: The Theatre of Eco-Cruelty 3. A Research Theatre Process: The Ecocide Project, By Fritz Ertl 4. Staging Carla and Lewis, By Ecocide Project collaborators 5. Carla and Lewis, By Shonni EnelowTable of Contents1. Research Theatre 2. Theorizing Ecocide: The Theatre of Eco-Cruelty 3. A Research Theatre Process: The Ecocide Project, By Fritz Ertl 4. Staging Carla and Lewis, By Ecocide Project collaborators 5. Carla and Lewis, By Shonni Enelow

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Book Synopsis1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie SachsenmaierPART I: PREMISES2. Contemporary Collaborations and Cautionary Tales; Simon Murray3. Collaboration, Temporality and Post-Fordism; Bojana Kunst4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham6. Ten Propositions for Research-Creation; Erin ManningPART II: WORKINGS7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull8. Collaboration as a Mode of Labour; Noyale Colin9. The Author of the Gift  -The Practice of Authorship; Tim Jeeves10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia12. Rowing to Hilversum Double Vision in Performance andTable of Contents1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie SachsenmaierPART I: PREMISES2. Contemporary Collaborations and Cautionary Tales; Simon Murray3. Collaboration, Temporality and Post-Fordism; Bojana Kunst4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham6. Ten Propositions for Research-Creation; Erin ManningPART II: WORKINGS7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull8. Collaboration as a Mode of Labour; Noyale Colin9. The Author of the Gift -The Practice of Authorship; Tim Jeeves10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia12. Rowing to Hilversum Double Vision in Performance and Architecture; Pedro de Senna, Caroline Bowditch, David Bower13. Rowing to Hilversum Double Vision in Performance and Architecture; Forster and HeighesPART III: FAILURE14. Positive Negatives or the subtle arts of compromise; Susan Melrose15. Messy Bits; Emilyn Claid16. Productive misapprehensions Artscross as a cross-cultural collaborative zone of contestation of contemporary dance practice; Stefanie SachsenmaierIndex

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Book SynopsisIntroduction: Staring at the Forbidden: Legitimising Voyeurism; George Rodosthenous PART I: VOYEURISM AND DIRECTING THE GAZE 1. Always Looking Back at the Voyeur: Jan Fabre's Extreme Acts on Stage; Laurens de Vos 2. The Dramaturgies of the Gaze: Strategies of Vision and Optical Revelations in the Theatre of Romeo Castellucci and the Socìetas Raffaello Sanzio; Eleni Papalexiou PART II: VOYEURISM IN SPACE 3. Intimacy, Immersion and the Desire to Touch: The Voyeur Within; David Shearing 4. In Between the Visible and the Hidden: Modalities of Seeing in Site-specific Performance; William McEvoy PART III: VOYEURISM AND ACTS OF WATCHING 5. The Pleasure of Looking Behind Curtains: Naked Bodies from Titian to Fabre and LeRoy; Luk Van Den Dries 6. Baring All on Stage: Active Encounters with Voyeurism, Performance Aesthetics and 'Absorbed Acts of Seeing'; Fiona Bannon PART IV: VOYEURISM AND EXHIBITING THE BODY 7. Thinking critical/Looking Sexy: a naked white male body in performance; Daniël PloegTrade Review“The volume offers rich critical engagements with this theatrical voyeur by asking what pleasures, intersubjective relations, and sensorial dynamics might emerge from such a model of spectatorship. … Theatre as Voyeurism succeeds at articulating an exciting and novel theoretical frame and is a valuable collection for any scholar interested in spectatorship, the auteur, and/or the erotics of performance.” (Matthew C. Stone, Theatre Journal, Vol. 59 (4), December, 2017)Table of ContentsIntroduction: Staring at the Forbidden: Legitimising Voyeurism; George Rodosthenous PART I: VOYEURISM AND DIRECTING THE GAZE 1. Always Looking Back at the Voyeur: Jan Fabre's Extreme Acts on Stage; Laurens de Vos 2. The Dramaturgies of the Gaze: Strategies of Vision and Optical Revelations in the Theatre of Romeo Castellucci and the Socìetas Raffaello Sanzio; Eleni Papalexiou PART II: VOYEURISM IN SPACE 3. Intimacy, Immersion and the Desire to Touch: The Voyeur Within; David Shearing 4. In Between the Visible and the Hidden: Modalities of Seeing in Site-specific Performance; William McEvoy PART III: VOYEURISM AND ACTS OF WATCHING 5. The Pleasure of Looking Behind Curtains: Naked Bodies from Titian to Fabre and LeRoy; Luk Van Den Dries 6. Baring All on Stage: Active Encounters with Voyeurism, Performance Aesthetics and 'Absorbed Acts of Seeing'; Fiona Bannon PART IV: VOYEURISM AND EXHIBITING THE BODY 7. Thinking critical/Looking Sexy: a naked white male body in performance; Daniël Ploeger 8. Viewing the Pornographic Theatre: Explicit Voyeurism, Artaud, and Ann Liv Young's Cinderella; Aaron C. Thomas PART V: VOYEURISM AND NAKED BODIES 9. 'Music for the eyes' in Hair: Tracing the history of the naked singing body on stage; Tim Stephenson 10. Outlying Islands as theatre of voyeurism: Ornithologists, naked bodies and the 'pleasure of peeping'; George Rodosthenous Index

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Book SynopsisGeneral Editors' Preface.- Introduction.- PART I:.- 1. What is Dramaturgy?.- 2. Brecht's Productive Dramaturgy: From Emblem to 'Golden Motor'.- 3. Names and Identities: Political Dramaturgies in Britain.- PART II:.- 4. The Dramaturg and the Theatre Institution.- 5. The Dramaturg and the Playwright.- 6. The Production Dramaturg.- 7. The Dramaturg and Devising: Shaping a Dramaturgy.- 8. Millennial Dramaturgies.- Afterword.- Bibliography.- Index.Table of ContentsGeneral Editors' Preface Introduction PART I: 1. What is Dramaturgy? 2. Brecht's Productive Dramaturgy: From Emblem to 'Golden Motor' 3. Names and Identities: Political Dramaturgies in Britain PART II: 4. The Dramaturg and the Theatre Institution 5. The Dramaturg and the Playwright 6. The Production Dramaturg 7. The Dramaturg and Devising: Shaping a Dramaturgy 8. Millennial Dramaturgies Afterword Bibliography Index.

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