Theatre studies Books

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Book Synopsis

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Book Synopsis

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Book SynopsisThis volume deals with the architectural history of the theatre in Roman Palestine and Provincia Arabia. The first part provides the historical-cultural background and seeks to explain the significance of theatres in a region which had no classical roots. Part two contains a comprehensive architectural analysis, richly illustrated, of each of the thirty theatres so far uncovered in the area.Trade Review'Segal's architectural analysis is an important contribution to the archaeology of Roman Palestine.' L.L. Grabbe, Society for Old Testament Study, 1995. 'This book provides a very useful survey of the thirty Roman theatres that have thus far been found in Roman Palestine and the Province of Arabia. The descriptions are careful and thorough, the tables of comparative data useful, and the photographic plates an excellent resource. ...the book is one to which archaeologists and cultural historians will want ready access.' Thomas R.W. Longstaff, Religious Studies Review, 1995. 'His presentation of the material is generally excellent and his generous combination of photographs and line drawings brings clarity to his written account. The wealth of new material that is presented in this book amply demonstrates the rewards to be had studying from studying sites off the beaten track.' David M. Jacobson, Bulletin of the Anglo-Israel Archaeological Society, 1994. '...well documented...' Architectural Science Review, 1997.

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Book SynopsisThis well-illustrated work is the first attempt to bridge the gap between several specialized discourses concerning Japanese theatre. Central are problems of scholarly and practical reception of Japanese theatre forms in the West. The essays by a careful selection of internationally well-reputed scholars range widely through Japanese theatre, from the ancient to the postmodern, or, one might say, from kagura to angura. It deals with reception of Japanese theatre in the West, the treatment of the body in stage art and drama, Western influence, the impact of Japanese theatre practice and theory upon the actor’s training, and stage directing in the West. Readers will come across a wide variety of intriguing topics, such as lion dances, kabuki, nôh, folk theatre, taishu engeki, and several important modern playwrights, etc. This book truly promises to intensify future dialogue between the many disciplines concerned with Japanese theatre.

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Book SynopsisThe Allure of the Ancient investigates how the ancient Middle East was imagined and appropriated for artistic, scholarly, and political purposes in the seventeenth and eighteenth centuries. Bringing together scholars of the ancient and early modern worlds, the volume approaches reception history from an interdisciplinary perspective, asking how early modern artists and scholars interpreted ancient Middle Eastern civilizations—such as Egypt, Babylonia, and Persia—and how their interpretations were shaped by early modern contexts and concerns. The volume’s chapters cross disciplinary boundaries in their explorations of art, philosophy, science, and literature, as well as geographical boundaries, spanning from Europe to the Caribbean to Latin America. Contributors are: Elisa Boeri, Mark Darlow, Nirit Ben-Aryeh Debby, Florian Ebeling, Margaret Geoga, Diane Greco Josefowicz, Andrea L. Middleton, Julia Prest, Felipe Rojas Silva, Maryam Sanjabi, Michael Seymour, John Steele, and Daniel Stolzenberg.Table of ContentsEditors’ Acknowledgements List of Illustrations Notes on the Editors Notes on the Contributors 1 Introduction  Margaret Geoga and John Steele 2 Images of Babylon in Early Modern Europe  Michael Seymour 3 Between Babylon and Rome: The Panorama of Constantinople (1662)  Nirit Ben-Aryeh Debby 4 Collapsing Identities of Ptolemaic Queens in Early Modern Rome  Andrea L. Middleton 5 Reading the East: From the Enlightenment to the Utopic Projects of the Revolutionary Architects  Elisa Boeri 6 Freemasons and Platonism: The Allure of Egypt between Big Ideas and Small Details  Florian Ebeling 7 Zoroaster’s French Moment  Maryam Sanjabi 8 Ancient and Modern: Citational Practices and the Status of Ancient Egypt in Jean Terrasson’s Séthos  Margaret Geoga 9 Representing Egypt in French Enlightenment Musical Theatre: From Gherardi to the Opéra national  Mark Darlow 10 From Tragic Hero to Creole Businesswoman: Voltaire’s Semiramis and Her Parodies in 18th-Century France and Saint-Domingue  Julia Prest 11 Babylonians in Sixteenth-Century Mexico: Comparative Antiquarianism in the Work of Sahagún  Felipe Rojas Silva 12 Egypt and Babylon in Eighteenth-Century European Histories of Astronomy  John Steele 13 What Was Oriental Studies in Early Modern Europe? “Oriental Languages” and the Making of a Discipline  Daniel Stolzenberg 14 On Religious Systems: An Early Essay by Jean-François Champollion  Diane Greco Josefowicz Index Nominum

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Book SynopsisJoost van den Vondel (1587-1679) was the most prolific poet and playwright of his age. During his long life, roughly coinciding with the Dutch Golden Age, he wrote over thirty tragedies. He was a famous figure in political and artistic circles of Amsterdam, a contemporary and acquaintance of Grotius and Rembrandt, and in general well acquainted with Latin humanists, Dutch scholars, authors and Amsterdam burgomasters. He fuelled literary, religious and political debates. His tragedy 'Gysbreght van Aemstel', which was played on the occasion of the opening of the stone city theatre in 1638, was to become the most famous play in Dutch history, and can probably boast holding the record for the longest tradition of annual performance in Europe. In general, Vondel’s texts are literary works in the full sense of the word, complex and inexhaustive; attracting attention throughout the centuries. Contributors include: Eddy Grootes, Riet Schenkeveld-van der Dussen, Mieke B. Smits-Veldt, Marijke Spies, Judith Pollmann, Bettina Noak, Louis Peter Grijp, Guillaume van Gemert, Jürgen Pieters, Nina Geerdink, Madeleine Kasten, Marco Prandoni, Peter Eversmann, Mieke Bal, Maaike Bleeker, Bennett Carpenter, James A. Parente, Jr., Stefan van der Lecq, Jan Frans van Dijkhuizen, Helmer Helmers, Kristine Steenbergh, Yasco Horsman, Jeanne Gaakeer, and Wiep van Bunge.Trade Review“[This book] serves a dual purpose. It is the first comprehensive discussion of Vondel’s drama in English, and it offers a sampling of both more traditional and novel approaches. […] It brings Vondel’s large theatrical output to the attention of Anglophone readers, but does much more than that: by letting the light of theory shine on these plays, the book demonstrates just how rich, fresh, and valuable a writer Vondel remains.” Theo Hermans, University College London. In: Renaissance Quarterly, Vol. 66, No. 1 (Spring 2013), pp. 345-347. “this volume manages to present Vondel’s dramatic oeuvre in all its breadth for an international audience. It is a work of reference on the one hand and a research laboratory and forum for debate on the other. To its credit, this volume features the whole spectrum of past and present research on Vondel’s plays and integrates representatives of different methodological and theoretical provenance.” Maria-Theresia Leuker, University of Cologne. In: Journal of Dutch Literature, Vol. 4, No. 2 (December 2013), pp. 92-102.Table of ContentsIntroduction Chapter 1 Vondel’s Dramas: A Chronological Survey Eddy Grootes and Riet Schenkeveld-van der Dussen Chapter 2 Vondel’s Works for the Stage Read and Studied Over the Centuries Riet Schenkeveld-van der Dussen Chapter 3 Vondel’s Dramas: Ways of Relating Present and Past Frans-Willem Korsten Part I – Vondel’s Life, Works and Times Chapter 4 Vondel’s Life Mieke B. Smits-Veldt and Marijke Spies Chapter 5 Vondel’s Religion Judith Pollmann Chapter 6 Vondel and Amsterdam Eddy Grootes Chapter 7 Vondel as a Dramatist: The Representation of Language and Body Bettina Noak Chapter 8 Vondel’s Theatre and Music Louis Peter Grijp and Jan Bloemendal Chapter 9 Vondel’s Dramas: Their Afterlife in Performance Mieke B. Smits-Veldt Chapter 10 Vondel’s Reception Abroad Guillaume van Gemert Part II – Approaches and Dramas Chapter 11 New Historicism – Hierusalem verwoest (1620) and the Jewish Question Jürgen Pieters Chapter 12 Politics and Aesthetics – Decoding Allegory in Palamedes (1625) Nina Geerdink Chapter 13 Translation Studies – Vondel’s Appropriation of Grotius’s Sophompaneas (1635) Madeleine Kasten Chapter 14 Intertextuality – Gysbreght van Aemstel (1637) Marco Prandoni Chapter 15 Dramaturgy – Staging Problems in Gysbreght van Aemstel (1637) Peter G.F. Eversmann Chapter 16 Cultural Analysis – Joseph Plays (1640) Mieke Bal, Maaike Bleeker, Bennett Carpenter and Frans-Willem Korsten Chapter 17 The Humanist Tradition – Maria Stuart (1646) James A. Parente Jr. and Jan Bloemendal Chapter 18 Deconstruction – Unsettling Peace in Leeuwendalers (1647) Stefan van der Lecq Chapter 19 Religion and Politics – Lucifer (1654) and Milton’s Paradise Lost (1674) Jan Frans van Dijkhuizen and Helmer Helmers Chapter 20 Gender Studies – Emotions in Jeptha (1659) Kristine Steenbergh Chapter 21 Close Reading and Theory – The David Plays (1660) Frans-Willem Korsten Chapter 22 Psychoanalysis – Law, Theatre and Violence in Samson (1660) Yasco Horsman Chapter 23 Law and Literature – Batavische gebroeders (1663) Jeanne Gaakeer Chapter 24 New Philology – Variants in Adam in ballingschap (1664) Jan Bloemendal Chapter 25 Philosophy – Noah (1667) about God and Nature Wiep van Bunge Works Cited Part IV Bibliography of Vondel’s dramas (1850–2008) Jan Bloemendal About the authors Indices

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Book SynopsisThis collection of essays deals broadly with the visual and cultural manifestation of utopian aspirations in Russia of the 1920s and 1930s, while examining the before- and after-life of such ideas both geographically and chronologically. The studies document the pluralism of Russian and Soviet culture at this time as well as illuminating various cultural strategies adopted by officialdom. The result serves to complicate the excessively simplistic narrative that avant-garde dreams were suddenly and brutally crushed by Soviet repression and to contest the notion of the avant-garde’s complicity in Stalinism. Naturally, some essays document episodes in the defeat and dismantling of utopian projects, but others trace the persistence of avant-garde ideas and the astonishing tenacity of creative individuals who managed to retain their personal integrity while continuing to serve the cause of Soviet power. Contributors include: John E. Bowlt, Natalia Budanova, David Crowley, Evgeny Dobrenko, Maria Kokkori, Christina Lodder, Muireann Maguire, Nicholas Bueno de Mesquita, Maria Mileeva, John Milner, Nicoletta Misler, Maria Starkova-Vindman, Brandon Taylor, and Maria Tsantsanoglou.Table of ContentsList of illustrations Acknowledgements Introduction: Utopia and Dystopia: The Impulse of History Christina Lodder, Maria Kokkori and Maria Mileeva 1. Dreaming of the City: Mikhail Larionov’s Provincial Dandy John Milner 2. Utopic Sex: The Metamorphosis of Androgynous Imagery in Pre- and Post-Revolutionary Russian Art Natalia Budanova 3. The Soviet Icarus: From the Dream of Free Flight to the Nightmare of Free Fall Maria Tsantsanoglou II 4. Theo van Doesburg and Russia: Utopia Thwarted Nicholas de Mesquita 5. Fighting for a Utopian Childhood: Militarism in Children’s Periodicals of the Early USSR Maria Starkova-Vindmann 6. Spectral Geographies of Soviet Russia: Émigré Visions of Impossible Returns Muireann Maguire 7. Twice removed: Pavel Filonov and Nikolai Glebov-Putilovskii Nicoletta Misler 8. Exhibiting Kazimir Malevich under Stalin Maria Kokkori 9. The Old and the New: Solomon Nikritin and Polyrealizm John E. Bowlt 10. The Ghost in the Machine: The Modernist Architectural Utopia under Stalin Christina Lodder 11. Petrified Utopia: Socialist Realism and Stasis Evgeny Dobrenko 12. Utopia in Retreat: The Closure of the State Museum of New Western Art, 1948 Maria Mileeva III 13. The Body Electric: Cybernetics in East European Art in the 1960s Eastern Bloc David Crowley 14. Geometry after Utopia Brandon Taylor Notes on the Contributors Index

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Book SynopsisPerformance events have long had a central place in Indonesian societies in displaying power, affirming social relations, celebrating shared values, and at times conveying potent political critique. How have they responded to the momentous social and political changes of recent years - the dismantling of the centralised, authoritarian Suharto regime and its replacement with a more open, regionally-focused political system, the rapid expansion of global cultural influence? Investigations of diverse performance genres from different regions illustrate the way general socio-political processes play out locally, and how particular groups are responding. Exploring performed understandings of identity and community, such studies expand knowledge of a complex, contested period of change in Indonesia and the workings of contemporary performance in giving it expression. With contributions by Chua Beng Huat, Alexandra Crosby, Barbara Hatley, Ariel Heryanto, Brett Hough, Rachmah Ida, Reza Idria, Edwin Jurriens, Yoshi Fajar Kresno Murti, Neneng Yanti K Lahpan, Ugoran Prasad, Wawan Sofwan, Aline Scott-Maxwell, Fridus Steijlen, Alia Swastika, Denise Varney.Trade Review“This excellent volume is dedicated to the memory of Mari Nabeshima, Kadek Suardana and Slamet Gundono […]. Performing Contemporary Indonesia is a fitting tribute to these three dedicated performers.” – Laura Noszlopy, in Aseasuk News 59 (2016), p. 17-18.

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Book SynopsisNeo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition, Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries. Contributors are: Sarah Artt, Guy Barefoot, Jonathan Buckmaster, David Bullen, Helen Davies, Robert Dean, Marion Gibson, Richard Hand, Emma James, Mark Jones, Emma V. Miller, Claire O’Callaghan, Christina Parker-Flynn, Frances Pheasant-Kelly, Natalie Russell, Gillian Piggott, Benjamin Poore and Rob Welch.Table of ContentsList of Figures The Villain-Effect: Distance and Ubiquity in Neo-Victorian Popular Culture Benjamin Poore Part 1: Theatrical Transformations 1 'A Perfect Demon’: Michael Eaton's Charlie Peace: His Amazing Life & Astounding Legend Richard J. Hand 2 Miss Representation: The Femme Fatale and the Villainy of Performance in Neo-Victorian Hollywood Christina Parker-Flynn 3 Melodramatic Villainy (Just) after the Victorians Guy Barefoot 4 Imperial Heroes and Native Villains Robert Dean 5 Sonorous Psychopaths: Neo-Victorian Ventriloquists on Screen Gillian Piggott Part 2: Transitional and Liminal Figures 6 Kissing the Medium: The Spiritualist-Witch as Countercultural Heroine in the Thirty-Nine Steps (1959) Marion Gibson 7 Jack the Representation: The Ripper in Culture Mark Jones 8 On the Origin of a Supervillain: The Neo-Victorian Reinvention of Mister Sinister David Bullen 9 Framing Our Fearful Symmetry: Substance Dualism, Reincarnation and the Villainy of the Disembodied Soul Emma V. Miller Part 3: Neo-Victorian Sex and 'Sexsation' 10 The Postfeminist Tart: Neo-Victorian Villainy and Sex Work in Ripper Street Sarah Artt 11 "I raise the devil in you, not any potion. My touch": The Strange Case of Heterosexuality in Neo-Victorian Versions of Jekyll and Hyde Helen Davies 12 A Wilde Scoundrel: Villainy and 'Lad Culture' in the Filmic Afterlives of Dorian Gray Claire O’Callaghan Part 4: Literary Villains Reimagined 13 Svengali: The Evolution of Ethnic Evil through Adaptation Rob Welch 14 From 'the wicked man' to the 'bastard boy of seven': The Evolution of John Jasper's Villainy in Adaptations of The Mystery of Edwin Drood Jonathan Buckmaster 15 "I’m always angry": Super-Hydes and the Appropriation of Edward Hyde in Superhero Films Emma A. Harris 16 Revisionist Vampires: Transcoding, Intertextuality, and Neo-Victorianism in the Film Adaptations of Bram Stoker's Dracula Frances Pheasant-Kelly and Natalie Russell Index

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Book SynopsisPolitics and Aesthetics in European Baroque and Classicist Tragedy is a volume of essays investigating European tragedy in the seventeenth century, comparing Shakespeare, Vondel, Gryphius, Racine and several other vernacular tragedians, together with consideration of neo-Latin dramas by Jesuits and other playwrights. To what extent were similar themes, plots, structures and styles elaborated? How is difference as well as similarity to be accounted for? European drama is beginning to be considered outside of the singular vernacular frameworks in which it has been largely confined (as instanced in the conferences and volumes of essays held in the Universities of Munich and Berlin 2010-12), but up-to-date secondary material is sparse and difficult to obtain. This volume intends to help remedy that deficit by addressing the drama in a full political, religious, legal and social context, and by considering the plays as interventions in those contexts. Contributors are: Christian Biet, Jan Bloemendal, Helmer J. Helmers, Blair Hoxby, Sarah M. Knight, Tatiana Korneeva, Frans-Willem Korsten, Joel B. Lande, Russell J. Leo, Howard B. Norland, Kirill Ospovat, James A. Parente, Jr., Freya Sierhuis, Nienke Tjoelker and Emily Vasiliauskas.Trade Review“The collection vividly demonstrates the appeal of tragedy, whether classicist or Baroque, to both Catholics and Protestants. Biblical, classical, and modern histories made possible the staging of thinly (or not so thinly) veiled criticism, guidance, and warnings for modern rulers—and their subjects.” Annette Tomarken, University of Kent. In: Renaissance Quarterly, Vol. 70, No. 4 (Winter 2017), pp. 1622-1624. “This is a first-rate collection of articles that adds significantly to the understanding of Baroque and Classicist tragedy and its politics and aesthetics within a broad European context. It explores the nuances underlying longstanding assumptions and offers exemplary original research.” Yolanda Rodríguez Pérez, University of Amsterdam. In: Bulletin of the Comediantes, Vol. 69, No 1 (2017), pp. 123-127. “[This] collection forms a strong and timely reminder of the benefits of an international and inclusive approach to literary studies.” Astrid Stilma, Canterbury Christ Church University. In: Tijdschrift voor Nederlandse Taal & Letterkunde, Vol. 133, No. 4 (September 2017), pp. 1-2.Table of ContentsIntroduction Sovereignty Frans-Willem Korsten – What Roman Paradigm for the Dutch Republic? Baroque Tragedies and Ambiguities Concerning Dominium and Torture Russ Leo – Grotius Among the Dagonists: Joost van den Vondel’s Samson, of Heilige Wraeck, Revenge and the Ius Gentium Freya Sierhuis – Performing the Medieval Past: Vondel’s Gysbreght van Aemstel (1637) Religion Howard B. Norland – Political Martyrdom at the English College in Rome James A. Parente, Jr. – Historical Tragedy and the End of Christian Humanism: Nicolaus Vernulaeus (1583–1649) Blair Hoxby – The Baroque Tragedy of the Roman Jesuits: Flavia and Beyond Ethics Emily Vasiliauskas – Mortal Knowledge: Akrasia in English Renaissance Tragedy Sarah Knight – A fabulis ad veritatem: Latin Tragedy, Truth and Education in Early Modern England Tatiana Korneeva – The Political Theatre and Theatrical Politics of Andrea Giacinto Cicognini: Il Don Gastone di Moncada (1641) Christian Biet – French Tragedy During the Seventeenth Century: From Cruelty on a Scaffold to Poetic Distance on Stage and Critical Judgment Mobility Joel Lande – German Trauerspiel and its International Nexus: On the Migration of Poetic Forms Helmer Helmers – The Politics of Mobility: Shakespeare’s Titus Andronicus, Jan Vos’ Aran and Titus and the Poetics of Empire Nienke Tjoelker – French Classicism in Jesuit Theatre Poetics of the Eighteenth Century Kirill Ospovat – Scenario of Terror: Royal Violence and the Origins of Russian Tragic Drama Index

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Book SynopsisIn Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience — among both theatregoers and readers of drama — contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call ‘public sphere(s)’? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the ‘public’ existed in a variety of forms, locations, and cultures across early modern Europe — and in Asia.Table of ContentsAcknowledgments Contributor biographies Introduction 1. Sven Thorsten Kilian, ‘Opening Spaces for the Reading Audience: Fernando de Rojas’s Celestina (1499/1502) and Niccolò Machiavelli’s Mandragola (1518)’ 2. Katja Gvozdeva, ‘Why Do Men Go Blind in the Theatre? Gender Riddles and Fools’ Play in the Italian Renaissance Comedy Gl’Ingannati (1532)’ 3. Déborah Blocker, ‘The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600)’ 4. Wendy Heller, ‘Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court’ 5. Tatiana Korneeva, ‘Entertainment for Melancholics: The Public and the Public Stage in Carlo Gozzi’s L’Amore delle tre melarance’ 6. Logan J. Connors, ‘Pierre Nicole, Jean-Baptiste Dubos, and the Psychological Experience of Theatrical Performance in Early Modern France’ 7. Kirill Ospovat, ‘The Catharsis of Prosecution: Royal Violence, Poetic Justice, and Public Emotion in the Russian Hamlet (1748)’ 8. Nigel Smith, ‘The Politics of Tragedy in the Dutch Republic: Joachim Oudaen’s Martyr Drama in Context’ 9. Hans Rudolf Velten, ‘Devils On and Off Stage: Shifting Effects of Fear and Laughter in Late Medieval and Early Modern German Urban Theatre’ 10. Toni Bernhart, ‘Imagining the Audience in Eighteenth-Century Folk Theatre in Tyrol’ 11. Stanca Scholz-Cionca, ‘Nô within Walls and Beyond: Theatre as Cultural Capital in Edo Japan (1603–1868)’ List of illustrations List of tables Index

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Book SynopsisIn Australian Theatre after the New Wave, Julian Meyrick charts the history of three ground-breaking Australian theatre companies, the Paris Theatre (1978), the Hunter Valley Theatre (1976-94) and Anthill Theatre (1980-94). In the years following the controversial dismissal of Gough Whitlam’s Labor government in 1975, these ‘alternative’ theatres struggled to survive in an increasingly adverse economic environment. Drawing on interviews and archival sources, including Australia Council files and correspondence, the book examines the funding structures in which the companies operated, and the impact of the cultural policies of the period. It analyses the changing relationship between the artist and the State, the rise of a managerial ethos of ‘accountability’, and the growing dominance of government in the fate of the nation’s theatre. In doing so, it shows the historical roots of many of the problems facing Australian theatre today. “This is an exceptionally timely book... In giving a history of Australian independent theatre it not only charts the amazing rise and strange disappearance of an energetic, radical and dynamically democratic artistic movement, but also tries to explain that rise and fall, and how we should relate to it now.” — Prof. Justin O’Connor, Monash University “This study makes a significant contribution to scholarship on Australian theatre and, more broadly… to the global discussion about the vexed relationship between artists, creativity, government funding for the arts and cultural policy.” — Dr. Gillian Arrighi, The University of Newcastle, AustraliaTable of ContentsPreface. Brief History of Australian Theatre Acknowledgements List of Illustrations List of Abbreviations Note on Sources Brief Chronology Introduction   The Whitlam Era   Cultural Subsidy in Australia   Accounting for Australian Theatre: Different Approaches   Badiou and Truth 1 The Origins of Alternative Theatre   Alternative Theatre   Two Moments 2 The Paris Theatre 1978   The Sydney ‘Scene’   The Paris Narrative   The Paris Reviewed   The Meaning of the End 3 The Hunter Valley Theatre Company 1976–1994   Steel City   The Neeme Era   Into the 1980s with Brent McGregor   The Governmentalisation of the Arts   Last Years of the hvtc   The Group of Six   The Meaning of the End 4 Australian Nouveau Theatre 1980–85   The No. 1 Tram   In Search of a Company   ant and the Event of Artaud   Mignon’s Return   ant’s Place in the World 5 Australian Nouveau Theatre 1986–89   From Triumph to Disaster   Chekhov and Beyond: Integrating the New Wave Legacy   Loss of Funding   The Refused Artist Accepted 6 Australian Nouveau Theatre 1990–91   The Ghosts of Emerald Hill   The Company Reborn   The Funding Game 7 Australian Nouveau Theatre 1992–94   The Move to Gasworks Theatre ant, Ruined 8 Australian Nouveau Theatre: The Meaning of the End   Internal Problems   External Problems   The Destruction of Fellowship: ant vs. Playbox   Creative Nation: Culture with the Art Left Out Conclusion   The Logic of Culture: The Fate of the ‘New’   The Post-Whitlam Era   (No) End of an Idea Select Bibliography Interviewees Index

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Book SynopsisEthical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre. In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.Table of ContentsAcknowledgments List of Figures List of Contributors Introduction: Othering Sameness Emer O'Toole and Andrea Pelegr¡ Kristi? PART 1: Culpable Dramaturgies 1 The Ethics of the Representation of the Real People and Their Stories in Verbatim Theatre Stuart Young 2 The Witness Turn in the Performance of Violence, Trauma, and the Real Suzanne Little PART 2: Adaptive Politics 3 Re-Routing Ibsen: Adaptation as Tenancy/Occupation in Simon Stone's The Wild Duck and Thomas Ostermeier's An Enemy of the People Glenn D'Cruz 4 Intercultural Adaptation: The Ethics of Peter Brook's 11 and 12 Emer O'Toole PART 3: Collaborative Ethics 5 Ethical Challenges in Adaptation: Gothic Eurico from Novel to Performance Gra‡a P. Corrˆa 6 The Nomadic Dramaturge: Negotiating Subjectivity, Multicultural Translation, and Dramaturgical Composition Fiona Graham PART 4: Stolen in Translation-Ambiguity and Omission 7 One Problem Play, Two Measures: Translatability of Christian Ethics in Two Adaptations of Measure for Measure Jenny Wong 8 The Poetics and Politics of Un/translatability in Timberlake Wertenbaker's New Anatomies Carol L. Yang 9 From Greek into Neutral: Translating Contemporary Greek Theatre during the Eurozone Crisis Maria Mytilinaki Kennedy PART 5: Postdramatic Dramaturgies, Ethical "Realities" 10 A Dramaturgy of Montage and Dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel Jonathan W. Marshall 11 Staging the Ethical Dilemma of Liveness: John Jesurun's Divergent Play with Convergence Christophe Collard Index

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Book SynopsisOpera was a prominent political forum and a potent force for nineteenth-century nationalism. As one of the most popular forms of entertainment, opera could mobilize large crowds and became the locus of ideological debates about nation-building. Despite its crucial role in national movements, opera has received little attention in the context of nationalism. In Staging the Nation: Opera and Nationalism in 19th-Century Hungary, Krisztina Lajosi examines the development of Hungarian national thought by exploring the theatrical and operatic practices that have shaped historical consciousness. Lajosi combines cultural history, political thought, and the history of music theater, and highlights the role of the opera composer Ferenc Erkel (1810-1893) in institutionalizing national opera and turning opera-loving audiences into a national public.Table of ContentsAcknowledgements Introduction: Opera and National Consciousness 1 National Opera as a Political Force 2 The Struggle for a National Theater 3 Taking the Stage: Opera in the Hungarian Theater 4 Hunyadi László 5 Bánk Bán Conclusion: The Opera Chorus and the Voice of the People Bibliography Index

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Book SynopsisIn A Companion to Celestina, Enrique Fernandez brings together twenty-three hitherto unpublished contributions on the Tragicomedia de Calisto y Melibea, popularly known as Celestina (c. 1499) written by leading experts who summarize, evaluate and expand on previous studies. The resulting chapters offer the non-specialist an overview of Celestina studies. Those who already know the field will find state of the art studies filled with new insights that elaborate on or depart from the well-established currents of criticism. Celestina's creation and sources, the parody of religious and erudite traditions, the treatment of magic, prostitution, the celestinesca and picaresque genre, the translations into other languages as well as the adaptations into the visual arts (engravings, paintings, films) are some of the topics included in this companion. Contributors are: Beatriz de Alba-Koch, Raúl Álvarez Moreno, Consolación Baranda, Ted L. Bergman, Patrizia Botta, José Luis Canet, Fernando Cantalapiedra, Ricardo Castells, Ivy Corfis, Manuel da Costa Fontes, Enrique Fernandez, José Luis Gastañaga Ponce de León, Ryan D. Giles, Yolanda Iglesias, Gustavo Illades Aguiar, Kathleen V. Kish, Bienvenido Morros Mestres, Devid Paolini, Antonio Pérez Romero, Amaranta Saguar García, Connie Scarborough, Joseph T. Snow, and Enriqueta Zafra.Trade Review“the book achieves its objective of offering a comprehensive companion to one of Europe's premodern masterpieces and will be of particular value to nonspecialist anglophone readers.” - Rachel Scott, King's College London, in: Renaissance Quarterly 72:1 (spring 2019), pp. 375-376 “The companion deserves a place of honor in courses related to Celestina […]. It will make an important addition to the library of any medievalist and early modernist, and should be in every institutional library.” - Sol Miguel-Prendes, Wake Forest University, in: Sixteenth Century Journal 49:4 (Winter 2018), pp. 1182-1184Table of ContentsList of Illustrations Notes on contributors Foreword to the Companion ENRIQUE FERNANDEZ INTRODUCTION The Significance of Celestina JOSEPH T. SNOW TEXT, ORIGINS AND SOURCES The Early Editions and the Authorship of Celestina JOSÉ LUIS CANET The Poetics of Voice, the Performance, and the Meaning of Celestina GUSTAVO ILLADES AGUIAR Quotation, Plagiarism, Allusion, and Reminiscence: Intertextuality in Celestina AMARANTA SAGUAR GARCÍA Theater without a Stage: Celestina and the Humanistic Comedy DEVID PAOLINI Celestina in the Context of Fifteenth-Century Castilian Vernacular Humanism JOSÉ LUIS GASTAÑAGA PONCE DE LEÓN Minerva’s Dog and Other Problematic Points in Celestina’s Text FERNANDO CANTALAPIEDRA EROSTARBE Calisto and Leriano in Love IVY A. CORFIS The Story of Hero and Leander: A Possible Unknown Source of Celestina BIENVENIDO MORROS MESTRES THEMES AND READINGS “Aquellos antigos libros”: Approaches to Parody in Celestina RYAN D. GILES Risky Business: The Politics of Prostitution in Celestina ENRIQUETA ZAFRA A Guidebook for Two Cities: The Physical and the Political Urban Space in Celestina RAÚL ÁLVAREZ MORENO Magic in Celestina PATRIZIA BOTTA Lovesickness and the Problematical Text of La Celestina, Act 1 RICARDO CASTELLS Jesus and Mary, Christian Prayer, and the Saints in Celestina MANUEL DA COSTA FONTES Eating, Drinking, and Consuming in the Tragicomedia de Calisto y Melibea CONNIE L. SCARBOROUGH INFLUENCE AND POSTERITY Modernity and Celestina: The Future of Our Past and of Our Present ANTONIO PÉREZ-ROMERO Celestina as a Precursor to the Picaresque TED BERGMAN Early Responses to Celestina: Translations and Commentary KATHLEEN V. KISH Celestina’s Continuations, Adaptations, and Influences CONSOLACIÓN BARANDA Celestina and Agustín Arrieta’s China Poblana: Mexico’s Female Icon Revisited BEATRIZ DE ALBA-KOCH The Images of Celestina and Its Visual Culture ENRIQUE FERNANDEZ Celestina in Film and Television YOLANDA IGLESIAS Chapter Summaries Select Bibliography Index

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Book SynopsisPathos as Communicative Strategy in Late-Medieval Religious Drama and Art explores the strategies employed to trigger emotional responses in late-medieval dramatic texts from several Western European traditions, and juxtaposes these texts with artistic productions from the same areas, with an emphasis on Britain. The aim is to unravel the mechanisms through which pathos was produced and employed, mainly through the representation of pain and suffering, with mainly religious, but also political aims. The novelty of the book resides in its specific linguistic perspective, which highlights the recurrent use of words, structures and dialogic patterns in drama to reinforce messages on the salvific value of suffering, in synergy with visual messages produced in the same cultural milieu.Trade Review"Pathos in Late-Medieval Drama and Art identifies a ‘pathos formula’ in the Middle Ages. Whilst there are certain techniques unique to specific genres and art-forms, which Mazzon pinpoints and critiques, she is persuasive in her argument that there is a unified attempt by the Church to use pathos as a communicative strategy, evident in both art and literature." -Hetta Elizabeth Howes, City University of London, in Emotions: History, Culture, Society, Vol. 3, No. 1 (2019) pp. 180-181Table of ContentsContents Acknowledgements List of Figures Introduction 1 Words and Images in the late Middle Ages: the Social Functions of Drama and Art  1.1 Iconography and Textual Studies  1.2 The Development of Visual Narratives and New Images  1.3 The Word Enacted  1.4 ‘Modern Piety’ and Identification: the Importance of Presence  1.5 Witnessing and Social Control: the Value of Memory 2 The Codification of the Public Display of Emotions  2.1 Emotions and Public Communication  2.2 Looking at the Language  2.3 Reading the Visual Arts  2.4 Talking to the Congregacyoun  2.5 Writing Paths to Salvation 123 3 Verbal and Visual Rhetoric: Lexicon and Grammar  3.1 The Rhetoric of Parental Love  3.2 The Rhetoric of Crime and Punishment  3.3 The Rhetoric of Social Structure: the Powerful and the Rejected  3.4 The Rhetoric of Pain and Memory  3.5 The Rhetoric of Mourning and Glory 4 The Outward Gaze: Effective Audience Engagement Conclusion Bibliography Index

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Book SynopsisIn The Lyon Terence Giulia Torello-Hill and Andrew J. Turner take an unprecedented interdisciplinary approach to map out the influence of late-antique and medieval commentary and iconographic traditions over this seminal edition of the plays of Terence, published in Lyon in 1493, and examine its legacy. The work had a profound impact on the way Terence’s plays were read and understood throughout the sixteenth century, but its influence has been poorly recognised in modern scholarship. The authors establish the pivotal role that this book, and its editor Badius, played in the revitalisation of the theoretical understanding of classical comedy and in the revival of the plays of Terence that foreshadowed the establishment of early modern theatre in Italy and France.Trade Review“This (study) makes us not only grateful for what it teaches but eager to know still more.” Sander M. Goldberg, UCLA, in: Bryn Mawr Classical Review 2021.12.18Table of ContentsPreface List of Figures Abbreviations Note on Illustrations and the Use of Electronic Resources Introduction 1 The Lyon Terence and Its Initial Impact  1.1 Contents and mise-en-page  1.2 Publishing in Lyon  1.3 Composition, Printing, and Distribution 2 Terence’s Plays: Commentary and Illustration from Manuscript to Print  2.1 Terence as an Educational Classic: Text and Commentary from Antiquity to Medieval and Renaissance Europe  2.2 The Development of Manuscript Illustrations of Terence  2.3 The Impact of New Learning and Technologies: Donatus and the Advent of Printing The Editor of the Lyon Terence: Jodocus Badius Ascensius  3.1 Badius  3.2 Early Life and Literary Career to 1493   3.2.1 Flanders and Brabant   3.2.2 Italy   3.2.3 Lyon  3.3 Later Career to 1502 4 Text and Commentary in Badius’ Three Editions of Terence  4.1 The 1491 Edition and Donatus  4.2 The Lyon Terence: the Commentary of Guy Jouenneaux and Badius’ Revisions   4.2.1 The Commentary Edition of Guy Jouenneaux   4.2.2 Badius’ Re-edition of Guy  4.3 The 1502 Terence and Its Sources 5 The Illustrative Programme of the 1493 Edition  5.1 Badius’ Appropriation of the Carolingian Tradition  5.2 Gestures in Medieval and Early Modern Culture  5.3 Carolingian Gestures  5.4 Non-Carolingian Gestures   5.4.1 Manly Gestures   5.4.2 Female Gestures   5.4.3 Affective Gestures  5.5 Characterization through Costuming  5.6 Gestures, Illustrations and Commentary Derivative of Donatus in the Lyon Terence  5.7 The Illustrator of the Lyon Terence  Appendix: A Catalogue of Gestures 6 The Theatricality of the Lyon Terence  6.1 The Lyon Terence and Performance  6.2 Stage Design: the Lyon Terence and the Representation of Theatre Buildings  6.3 The Stage  6.4 Stage Conventions   6.4.1 Entrances and Exits   6.4.2 Asides, Eavesdropping, and Off-stage Scenes  6.5 Terence on Stage in Renaissance Italy and France 7 The Legacy of the Lyon Terence in the Sixteenth Century  7.1 Terence in Print in Late Fifteenth and Sixteenth Century  7.2 The Venetian Illustrated Editions of Terence of Lazzaro de’ Soardi  7.3 The Italian Illustrated Editions of the Sixteenth Century  7.4 The Influence of the Lyon Terence in Germany: the Illustrated Terence of Johann Grüninger and Its Tradition  7.5 The French Tradition of Terence after 1493  7.6 Conclusion Conclusion Bibliography Index Locorum Index of Manuscripts Index of Subjects Concordance of Images in the Lyon Terence Illustrations

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Book SynopsisOscar Wilde in Vienna is the first book-length study in English of the reception of Oscar Wilde’s works in the German-speaking world. Charting the plays’ history on Viennese stages between 1903 and 2013, it casts a spotlight on the international reputation of one of the most popular English-language writers while contributing to Austrian cultural history in the long twentieth century. Drawing on extensive archival material, the book examines the appropriation of Wilde's plays against the background of political crises and social transformations. It unravels the mechanisms of cultural transfer and canonisation within an environment positioned — like Wilde himself — at the crossroads of centre and periphery, tradition and modernity.Trade Review"This is not only a fascinating and lucid study suitable for those interested in Wilde’s plays on the stage and in theatre history more generally, but is also ideal for those with an interest in the narratives of appropriation of literature across times and cultures." -Forum for Modern Language Studies, Volume 55, Issue 3, July 2019, Pages 355–356, 17 July 2019.Table of ContentsList of Illustrations Acknowledgements Introduction: Oscar Wilde and the Art of Creating a Great Sensation  The Stage as Meeting Place of the Arts: Charting Theoretical and Methodological Territory 1 An Artefact of Commodified Culture: Trading Wilde in the Literary Marketplace  A ‘First- Rate Theatrical Fashion Item’: Wilde En vogue in Fin-de-Siècle Vienna  More Conformist than Rebel? Wilde in the Context of Late- Nineteenth- Century Literary Culture  Writing to be Popular: Wilde as a Professional Playwright  Pleasing and Teasing the Audience: Wilde’s Society Comedies as Artistic Compromise? 2 Curtain Up: Wilde Enters the Viennese Stage  Literary Cosmopolitanism: Wilde and Fin- de- Siècle Viennese Artistic Networks  Agents of Mediation: Examples of Wilde’s Early Viennese Popularisation 3 Forging the Construct: Wilde the Playwright in Early-Twentieth-Century Vienna  “Midway between Fact and Legend”: Converging Images of Wilde’s Life and Work  Visions of Salome, Visions of Wilde: Biographical Readings of Wilde’s ‘Symbolist Relic’ on Viennese Stages  Intellectual Elegance – Elegant Intellectuality: The Early Viennese Reception of Wilde’s Society Comedies  Like a Parody Parodied: The Importance of Being Earnest in Early- Twentieth- Century Vienna 4 Consolidating the Construct: The Canonisation of Wildean Drama on Viennese Stages before 1938  A Triumph of ‘Old Theatre’: Wilde’s ‘Phosphorescent Salon Philosophy’ in the Contexts of Critical Reception and Audience Success  Viennese Theatre as Actors’ Theatre: Transforming Lady Bracknell into a ‘Woman of Some Importance’  A ‘Paradoxical Englishman’ in Vienna: Wilde Reception and National Identity  London Dandy Meets Viennese Bonvivant: The Cultural ‘Other’ in Wilde’s Comedies on Pre- World War II Viennese Stages 5 Modifying vs Preserving the Construct: The Viennese Wilde Revival after 1945  A Case of ‘Historico- Cultural Reminiscence’: Wildean Drama and Patterns of Continuity in Postwar Austrian Theatre Practice and Criticism  Classic or Déclassé: Wildean Comedy in Defence of its Canonicity  Noblesse, Nostalgia, and Viennese Bonhomie: Wilde’s Comedies at the Theater in der Josefstadt 6 Remodelling the Construct: Wildean Drama and the Politics of Disambiguation at the Turn of the Twenty- First Century  ‘Comedy Exorcism’ between ‘Punchline Pornography’ and ‘Popmodern Parody’: Elfriede Jelinek Goes Wilde  A Wild(e) Treatment: The ‘Jelinekisation’ of The Importance of Being Earnest  Viennese Travesties of Wilde: Gender Deconstruction and Neoliberal Criticism in Commercial and Fringe Wilde Productions Conclusion: Literary Reputation(s) and the Promise of Canonical Survival, or In Pursuit of the ‘Real’ Wilde Appendix: Viennese Productions of Oscar Wilde’s Works, 1903–2013 Bibliography Index

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Book SynopsisAt a time when universities demand immediate and quantifiable impacts of scholarship, the voices of research participants become secondary to impact factors and the volume of research produced. Moreover, what counts as research within the academy constrains practices and methods that may more authentically articulate the phenomena being studied. When external forces limit methodological practices, research innovation slows and homogenizes. This book aims to address the methodological, interpretive, ethical/procedural challenges and tensions within theatre-based research with a goal of elevating our field’s research practice and inquiry. Each chapter embraces various methodologies, positionalities and examples of mediation by inviting two or more leading researchers to interrogated each other’s work and, in so doing, highlighted current debates and practices in theatre-based research. Topics include: ethics, method, audience, purpose, mediation, form, aesthetics, voice, data generation, and research participants. Each chapter frames a critical dialogue between researchers that take multiple forms (dialogic interlude, research conversation, dramatic narrative, duologue, poetic exchange, etc.).Trade Review"Drama Research Methods: Provocations of Practice is an outstanding and important book. This engaging, well-crafted, and highly original collection makes significant contributions to performance studies and arts-based research. It is a must-read for anyone interested in how theatre arts can merge with teaching and research practices. I applaud the editors and contributors. Bravo!" - Patricia Leavy, PhD, author of Method Meets Art (Guilford Publications, 2009) and Low-Fat Love (Sense, 2015) "What the reader comes away with [after reading this book] is an unusual peek behind the curtain of arts-based educational research (…) In Drama Research Methods, the editors crafted a text that had a clear intention – there would be no more hero narratives or success stories, which so frequently pervade educational drama research publications (202). (…) Duffy, Hatton, and Sallis have effectively closed the circle, marrying methods and practice in a way that more accurately reflects the field." - Jonathan P. Jones in Research in Drama Education: The Journal of Applied Theatre and Performance (2021).Table of ContentsForeword: The Both/and of Performance Research  Anne M. Harris Introduction Part 1: Provocations of Design 1. Touchstones of Practice: Consideration from the Theatre Workshop Floor  George Belliveau and Christine Sinclair 2. Act-ive P-art-icipation: Social Inclusion and Drama Research  Jo Raphael and Kelly Freebody 3. Learning on the Ground: How Our Research Stories Teach Us about Ethics  Kathleen Gallagher and Richard Sallis Part 2: Provocations of Method 4. A Research Tango in Three Moves: Gendering the Drama Research Space  Christine Hatton and Richard Sallis 5. Three Arts Based Researchers Walk into a Forum: A Conversation on the Opportunities and Challenges in Embodied and Performed Research  Nisha Sajnani, Richard Sallis and Joe Salvatore 6. Surrender, Pedagogy Ambiguity, Research and Impossibility: Cats @ Play  Joe Norris, Lynn Fels and Yasmine Kandil 7. Participation in Participatory Drama-Based Research  Diane Conrad and Janinka Greenwood Part 3: Provocations of representation 8. How Do Culture and Power Work in and through Drama Research?: An e-Conversation Between  Selina Busby and Brian S. Heap 9. Representation, Authenticity and the Graphic Novel in Arts Education Inquiry: Transubstantiating Research  Robin Pascoe and Peter R. Wright 10. Defiant Bodies: A Punk Rock Crip Queer Cabaret: Cripping and Queering Emancipatory Disability Research  Emma Selwyn and Liselle Terret Part 4: Provocations of practice 11. We Need to Talk about Theory: Rethinking the Theory/Practice Dichotomy in Pursuit of Rigour in Drama Research  Helen Cahill, Viv Aitken and Christine Hatton 12. The Stories That Made Us: A Duoethnography on Becoming Reflective Drama Researchers  Christine Hatton and Peter Duffy 13. Research and Its Impact: A Dramatic Cyber-Dialogue in Three Scenes  John O’Toole and Peter Duffy 14. Lessons Learned: Provocations of Practice  Allison Anders, Peter Duffy, Christine Hatton and Richard Sallis 15. Afterword: Well Begun Is Half Done  Brad Haseman

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Book SynopsisAt a time when universities demand immediate and quantifiable impacts of scholarship, the voices of research participants become secondary to impact factors and the volume of research produced. Moreover, what counts as research within the academy constrains practices and methods that may more authentically articulate the phenomena being studied. When external forces limit methodological practices, research innovation slows and homogenizes. This book aims to address the methodological, interpretive, ethical/procedural challenges and tensions within theatre-based research with a goal of elevating our field’s research practice and inquiry. Each chapter embraces various methodologies, positionalities and examples of mediation by inviting two or more leading researchers to interrogated each other’s work and, in so doing, highlighted current debates and practices in theatre-based research. Topics include: ethics, method, audience, purpose, mediation, form, aesthetics, voice, data generation, and research participants. Each chapter frames a critical dialogue between researchers that take multiple forms (dialogic interlude, research conversation, dramatic narrative, duologue, poetic exchange, etc.).Trade Review"Drama Research Methods: Provocations of Practice is an outstanding and important book. This engaging, well-crafted, and highly original collection makes significant contributions to performance studies and arts-based research. It is a must-read for anyone interested in how theatre arts can merge with teaching and research practices. I applaud the editors and contributors. Bravo!" - Patricia Leavy, PhD, author of Method Meets Art (Guilford Publications, 2009) and Low-Fat Love (Sense, 2015) "What the reader comes away with [after reading this book] is an unusual peek behind the curtain of arts-based educational research (…) In Drama Research Methods, the editors crafted a text that had a clear intention – there would be no more hero narratives or success stories, which so frequently pervade educational drama research publications (202). (…) Duffy, Hatton, and Sallis have effectively closed the circle, marrying methods and practice in a way that more accurately reflects the field." - Jonathan P. Jones in Research in Drama Education: The Journal of Applied Theatre and Performance (2021).Table of ContentsForeword: The Both/and of Performance Research  Anne M. Harris Introduction Part 1: Provocations of Design 1. Touchstones of Practice: Consideration from the Theatre Workshop Floor  George Belliveau and Christine Sinclair 2. Act-ive P-art-icipation: Social Inclusion and Drama Research  Jo Raphael and Kelly Freebody 3. Learning on the Ground: How Our Research Stories Teach Us about Ethics  Kathleen Gallagher and Richard Sallis Part 2: Provocations of Method 4. A Research Tango in Three Moves: Gendering the Drama Research Space  Christine Hatton and Richard Sallis 5. Three Arts Based Researchers Walk into a Forum: A Conversation on the Opportunities and Challenges in Embodied and Performed Research  Nisha Sajnani, Richard Sallis and Joe Salvatore 6. Surrender, Pedagogy Ambiguity, Research and Impossibility: Cats @ Play  Joe Norris, Lynn Fels and Yasmine Kandil 7. Participation in Participatory Drama-Based Research  Diane Conrad and Janinka Greenwood Part 3: Provocations of representation 8. How Do Culture and Power Work in and through Drama Research?: An e-Conversation Between  Selina Busby and Brian S. Heap 9. Representation, Authenticity and the Graphic Novel in Arts Education Inquiry: Transubstantiating Research  Robin Pascoe and Peter R. Wright 10. Defiant Bodies: A Punk Rock Crip Queer Cabaret: Cripping and Queering Emancipatory Disability Research  Emma Selwyn and Liselle Terret Part 4: Provocations of practice 11. We Need to Talk about Theory: Rethinking the Theory/Practice Dichotomy in Pursuit of Rigour in Drama Research  Helen Cahill, Viv Aitken and Christine Hatton 12. The Stories That Made Us: A Duoethnography on Becoming Reflective Drama Researchers  Christine Hatton and Peter Duffy 13. Research and Its Impact: A Dramatic Cyber-Dialogue in Three Scenes  John O’Toole and Peter Duffy 14. Lessons Learned: Provocations of Practice  Allison Anders, Peter Duffy, Christine Hatton and Richard Sallis 15. Afterword: Well Begun Is Half Done  Brad Haseman

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Book SynopsisEdward Albee as Theatrical and Dramatic Innovator offers eight essays and a major interview by important scholars in the field that explore this three-time Pulitzer prize-winning playwright’s innovations as a dramatist and theatrical artist. They consider not only Albee’s award-winning plays and his contributions to the evolution of modern American drama, but also his important influence to the American theatre as a whole, his connections to art and music, and his international influence in Spanish and Russian theatre. Contributors: Jackson R. Bryer, Milbre Burch, David A. Crespy, Ramon Espejo-Romero, Nathan Hedman, Lincoln Konkle, Julia Listengarten, David Marcia, Ashley Raven, Parisa Shams, Valentine VasakTable of ContentsNotes on Contributors Editors’ Introduction  David A. Crespy and Lincoln Konkle Designing Edward/Edward Designing: A Brief History of Edward Albee’s Role in Theatrical Design  David A. Crespy Theatrical Thanatology: Direct Address, Gestural Storytelling, and the Triple Goddess in Three Plays about Dying by Edward Albee  Milbre Burch The Glee of Vulnerability: Becoming Kin with Edward Albee’s Goat  Parisa Shams A Queer Reading of Love in Edward Albee’s Counting the Ways  Ashley Raven Albee Stages Secular Epiphany  Nathan Hedman Art Is a Hammer: Aura, Textual Awareness, and Comedy in Albee  David Marcia Affecting the Lives of “Others”: The Journey of Albee’s Plays in the Soviet Union  Julia Listengarten The (Mis)Representation of Edward Albee in Spain, 1963–2010  Ramón Espejo Romero Inside the Black Box: Albee’s Visual Aesthetics of Obscurity  Valentine Vasak “I Trap People”: An Interview with Edward Albee  Jackson R. Bryer Bibliography Index

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Book SynopsisThis innovative project wrapped research around a youth theatre project. Young people of colour and from refugee backgrounds developed a sustained provocation for the people of Geelong, a large regional centre in Australia. The packed public performance—at the biggest venue in town—challenged locals to rethink assumptions. The audience response was insightful and momentous. The companion workshops for schools had profound impact with adolescent audiences. Internationally, this book connects with artistic, educational, and research communities, offering a substantial contribution to understandings of racism. This book is a provocative, transdisciplinary meditation on race, culture, the arts and change.Trade Review"This manuscript contributes more than just a unique case study from the Australian context, it offers ways to think through the role of applied theatre and other creative approaches to anti-racist praxis. It also offers some insights into the realities of young people facing structural violence and racism and the ways creative approaches can be spaces which are both healing and empowering. [I]t is an informative, provocative and instructional work. It manages to weave together an array of theorising, case studies, positionalities, practical applications, and reflections in a deeply contextualised manner. The writing is accessible, and it would offer researchers, practitioners and educators some very useful ways to think through and develop anti-racist praxis via creative modalities" – Sam Keast, Victoria University "The 6 Hours in Geelong project nudges us, ever so gently, to think, wonder, and move with critical praxis through a process grounded in decolonial theory, transformative education, public pedagogy to a performance which acknowledges, exposes, and challenges us to think differently about who we are in relation to race. “The arts,” Maxine Greene suggests, “cannot change the world, but they may change human beings who might change the world." – Elizabeth (Liz) Mackinlay, The University of Queensland "I find this book to be extremely timely and of the utmost importance, especially to readers from the United States given the attacks that are currently being made on the teaching of Critical Race Theory (CRT) in public schools in the US. [...] Overall, I believe this book will be a significant contribution to anti-racism literature providing practical information and powerful messages to teachers, community arts leaders, and others who are concerned about issues of racism in society." – William G. McManus, Boston UniversityTable of ContentsAcknowledgements List of Illustrations Notes on Authors PART 1: Setting the Scene 1 Tackling Racism: Community Theatre, Critical Inquiry, and Epistemic Disobedience  1 Laying the Conceptual Foundations  2 Placing This Study  3 The Structure of This Book 2 Researching from Somewhere: Our Personal and Collective Positioning  1 Alison Baker  2 André de Quadros  3 Dave Kelman  4 Christopher Sonn  5 Julie White 3 Crafting an Approach across and through Difference  1 Bringing Applied Theatre and Research Together  2 Working across, with, and through Diffference as Intra-Action  3 Methodological Approach  4 Conclusion PART 2: Applied Theatre: The Arts Education Project 4 Looking Inward: 6 Hours in Geelong as Process  1 Who Were the Actors?  2 Applied Theatre  3 6 Hours in Geelong  4 Devising Process  5 Characters  6 Authoring Process  7 Play Excerpts  8 Conclusion 5 Looking Outward: How Community Audiences Viewed 6 Hours in Geelong  1 Geelong after Dark  2 School Interactive Performances  3 The Community Performance Events  4 Conclusion PART 3: Theorisation and Perspectives: Interdisciplinary Discussion 6 Applied Theatre: The Practitioner’s Dilemma  1 White Privilege, Race, Power Relations, and Positionalities  2 The Slippery Nature of Artistic Meaning in Context  3 Individual and Group Identity  4 The Nature of the Challenge  5 Processes and Practices for Negotiating Intersections in Making 6 Hours in Geelong  6 Group Authorship  7 A Provisional Offfering 7 “People Don’t Know Our Story”: Exposing Coloniality through Counter-Storytelling  1 Critical Studies of Race, Decoloniality, and Stories  2 Unpacking Stories through the Lens of Coloniality  3 Young People Negotiating Coloniality in Everyday Lives  4 Conclusion 8 Essentialism and Cosmopolitan WEIRDness  1 WEIRDness, Essentialism, and Coloniality  2 Entanglements of Racism, Theatre, and Theory  3 Analysis of Racism and Identity in 6 Hours in Geelong  4 Embracing Complexity PART 4: So What? Implications for Practice 9 Schooling, Racism, and Powerful Conversations  1 Context for Conceptualisation  2 Schools as the Site for Discussions about Race  3 Conceptual Framework for Powerful Conversations  4 How Teachers Can Overcome Obstacles  5 Conclusion 10 Community Arts: Politics and Privilege  1 Community Arts in Context  2 Politics and Privilege in Community Arts Practice  3 Race as Context for Practice  4 Implications 11 Aftermath and Afterwards Appendix: 6 Hours in Geelong Script References Index

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Book SynopsisEric Dodson-Robinson’s Revenge, Agency, and Identity from European Drama to Asian Film challenges critical readings of drama, film, and literature that downplay agency. From Attic tragedy, through Seneca and Shakespeare, and into Japanese and Korean film, the book pursues the agent of vengeance in her fury to reconstruct an identity shattered by trauma. Tragic revenge is an imaginary theater only partly encompassed by disciplines, institutions, and discourses. In this theater, violence becomes contagious and potentially transformative as performance gives birth to the agent of vengeance: a complex, emergent agent who is more than the sum of the actors, auteur, tradition, and audience, all of whom infiltrate, and strive to control, her will. The agent of vengeance, determined to outdo past exemplars, exacts traumatic excess, not equivalence.Table of ContentsIntroduction 1 The Psychic Body 2 The Body Politic 3 The Dramatic Corpus 1 Violence, Revenge, and Metaphor in Aeschylus’s Oresteia 2 Rending others: Ethical Contagio in Seneca’s Thyestes 1 Stoic Intertexts: Contagio and Ethical Agency 2 Foreclosure and the Senecan Logic of Revenge 3 Reges Scaenici 3 Failures of Language in Thomas Kyd’s the Spanish Tragedy and Their Relation to Senecan Revenge Drama 4 Self, State, and Conscience in Titus Andronicus and Hamlet 1 Self and State in Titus Andronicus 2 Self and Conscience: Hamlet 5 Karma, Revenge, Apocalypse: Ran’s Violent Victim-Agent through Japanese and Western Contexts 6 Agents of the Other in Chan-wook Park’s the Vengeance Trilogy 1 Body Politics of Mr. Vengeance: Harvesting Organs 2 The Riddle of the Chaebol 3 Park kata Aeschylou Epilogue References General Index

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

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Book SynopsisArts education research in Canada has increased significantly since the beginning of this century. New forms of arts-based research, such as ethnodrama and a/r/t/ography, have arisen and made significant contributions to the literature. Researchers in departments/schools/faculties of dance, drama, music, visual arts, media studies, cultural studies and education have been successful in acquiring peer-reviewed grants from the Social Sciences and Humanities Research Council to undertake large-scale projects and disseminate the findings internationally. The purpose of this edited collection, entitled Perspectives on Arts Education Research in Canada, Volume 2: Issues and Directions, is to provide an overview of the current research undertaken across the country, thereby providing a valuable resource for students, professors and research associates working in the arts disciplines, media studies, education, and cultural studies. Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.Table of ContentsForeword: Developing Critical Mass in Arts Education Research  Pauline Sameshima Preface Acknowledgements List of Figures Notes on Contributors 1 Constructions of Arts Zones: Inclusions of Diverse Learners through Artistry and Literacy  Kari-Lynn Winters, Shelley M. Griffin, Peter Vietgen, Glenys McQueen-Fuentes, Debra McLauchlan and Jennifer Rowsell 2 Art making in Arts-Based Educational Research Dissertations  Alison Shields and Rita Irwin 3 Facing the Music: Exploring the Fears of Pre-Service Generalists in the Music Classroom  John L. Vitale 4 Enhancing Educational Decision-Making: Arts-Informed Inquiry as a Feature of Collaborative Evaluations  Michelle Searle 5 Musical Creativity and Music Education  Maia Kim Giesbrecht 6 Photographic Art Educator  Kathy Browning 7 Where Is the Music in Music Theory Pedagogy?  Lori Lynn Penny 8 Becoming Research Stories: Practices of Life Writing in Visual Art Education  Anita Sinner, Seonjeong Yi, Darlene St. Georges, Ranya Essmat Saad, Thibault Zimmer and Jennifer Wicks 9 Artists Helping Teachers: Learning to Teach the Arts in Professional Development  Bernard W. Andrews 10 Beyond the Art of Listening: Music Research in Medical Education  Laura Nimoy

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Book SynopsisArts education research in Canada has increased significantly since the beginning of this century. New forms of arts-based research, such as ethnodrama and a/r/t/ography, have arisen and made significant contributions to the literature. Researchers in departments/schools/faculties of dance, drama, music, visual arts, media studies, cultural studies and education have been successful in acquiring peer-reviewed grants from the Social Sciences and Humanities Research Council to undertake large-scale projects and disseminate the findings internationally. The purpose of this edited collection, entitled Perspectives on Arts Education Research in Canada, Volume 2: Issues and Directions, is to provide an overview of the current research undertaken across the country, thereby providing a valuable resource for students, professors and research associates working in the arts disciplines, media studies, education, and cultural studies. Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.Table of ContentsForeword: Developing Critical Mass in Arts Education Research  Pauline Sameshima Preface Acknowledgements List of Figures Notes on Contributors 1 Constructions of Arts Zones: Inclusions of Diverse Learners through Artistry and Literacy  Kari-Lynn Winters, Shelley M. Griffin, Peter Vietgen, Glenys McQueen-Fuentes, Debra McLauchlan and Jennifer Rowsell 2 Art making in Arts-Based Educational Research Dissertations  Alison Shields and Rita Irwin 3 Facing the Music: Exploring the Fears of Pre-Service Generalists in the Music Classroom  John L. Vitale 4 Enhancing Educational Decision-Making: Arts-Informed Inquiry as a Feature of Collaborative Evaluations  Michelle Searle 5 Musical Creativity and Music Education  Maia Kim Giesbrecht 6 Photographic Art Educator  Kathy Browning 7 Where Is the Music in Music Theory Pedagogy?  Lori Lynn Penny 8 Becoming Research Stories: Practices of Life Writing in Visual Art Education  Anita Sinner, Seonjeong Yi, Darlene St. Georges, Ranya Essmat Saad, Thibault Zimmer and Jennifer Wicks 9 Artists Helping Teachers: Learning to Teach the Arts in Professional Development  Bernard W. Andrews 10 Beyond the Art of Listening: Music Research in Medical Education  Laura Nimoy

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Book SynopsisSince the beginning of theatre history, scandals have taken place and the variety of causes, processes and types of interactions makes them an interesting object of study. Theatre scandals often indicate clashes with a dominant ideology or with the ideology of a particular group in society. Sometimes, following a scandal, the attacked ideology changes and incorporates the possibility of the aesthetics or themes that caused the clash. In this way, scandals can cause dynamic changes within cultural systems. Next to theoretical considerations the contributors, all members of the IFTR Theatrical Event Working Group, present in their various case studies a wide cultural and chronological diversity of theatre scandals, all of which were experienced as very shocking moments in theatre history.Table of ContentsContents Acknowledgements List of Illustrations Notes on Contributors Introductions 1 General Introduction Willmar Sauter and Henri Schoenmakers 2 Spreading Like Wildfire: the Genesis and Evolution of Theatre Scandals Peter Eversmann 3 Scandalous Theatrical Events: Concerns and Emotions Henri Schoenmakers Scandals Starting during Theatrical Events 4 The Hamburg Theatre Scandal of 1801: Political, Economic and Aesthetic Conflicts on Stage Martin Schneider 5 Burning the Bridge while Bridging the Gap: Riotous Pedagogy in ``The Plough and the Stars'' – Riot of 1926 Bess Rowen 6 Shit, Idealism and Contingency: Terror in God’s Theatre Janne Tapper Scandals Starting Outside and around Theatrical Events 7 The Ejima-Ikushima Scandal Tove Bjoerk 8 Scandal and Rebellion in the Theatrical Event: the Maltese Carnival of 1846 Vicki Ann Cremona 9 Why Rainer Werner Fassbinder’s Play Garbage, the City, and Death Could Not Be Performed in Germany Beate Schappach 10 Swiss-Swiss Democracy: the Making of Scandal as Play and Counter Play Andreas Kotte 11 Israeli-Palestinian Conflict on the Israeli Stage Arousing Scandal: the Case of Return to Haifa Naphtaly Shem-Tov 12 Mike Daisey’s False Witness Joshua Edelman Scandals and Beyond 13 Cleopatra – between Historical and Movie Scandals Willmar Sauter 14 Censorship as a Tool for the Prevention and Suspension of Scandals Anneli Saro 15 The School for Scandal Marvin Carlson Index

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Book SynopsisJapan on the Jesuit Stage offers a comprehensive overview of the representations of Japan in early modern European Neo-Latin school theater. The chapters in the volume catalog and analyze representative plays which were produced in the hundreds all over Europe, from the Iberian Peninsula to present-day Croatia and Poland. Taking full account of existing scholarship, but also introducing a large amount of previously unknown primary material, the contributions by European and Japanese researchers significantly expand the horizon of investigation on early modern European theatrical reception of East Asian elements and will be of particular interest to students of global history, Neo-Latin, and theater studies.Table of ContentsList of Figures Part 1: Preliminaries Introduction  Maria Maciejewska, Haruka Oba, Florian Schaffenrath and Akihiko Watanabe 1 Found in Translation: The Jesuit Japan Letters as a Source of Early Modern European Images of Japan  Patrick Reinhart Schwemmer 2 Christianomachia Iaponensis: The Japanese Martyr on Stage  Mirjam Döpfert Part 2: Geographical Overviews 3 Japanese Martyrs in French Jesuit Drama (Late Seventeenth–Early Eighteenth Century): Between Violence and Bienséance  Hitomi Omata Rappo 4 Titus Iapon on the Jesuit Stage in the Provincia Flandro-Belgica: Neo-Latin Intertextuality and the Economics of Jesuit Drama  Nicholas De Sutter and Goran Proot 5 Japan and the Japanese in Jesuit School Plays from the Bohemian Province of the Society of Jesus  Kateřina Bobková-Valentová and Magdaléna Jacková 6 Traces of Japan in Croatian Latin School Drama, 1600–1800  Nina Čengić and Neven Jovanović 7 Not Only Titus the Japanese: Japan and the Japanese on the Jesuit Stage in the Polish-Lithuanian Commonwealth in the Seventeenth and Eighteenth Centuries  Monika Miazek-Męczyńska 8 Early Christian Japanese Sources of Jesuit Theater in the Polish-Lithuanian Commonwealth  Justyna Łukaszewska-Haberkowa Part 3: Case Studies 9 Majesty and Silence: An Honorable, Bald Old Man Named Japan  Margarida Miranda 10 The Development of Jesuit Drama on Japan in Bavaria: The Historical Context of the Play Victor, Staged in Munich in 1665  Haruka Oba 11 The Japanese Senex Iratus: The Munich Victor Play  Akihiko Watanabe

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Book SynopsisStaging History unites essays by nine specialists in the field of late medieval and early Renaissance drama. Their focus is on English, Dutch and Humanist German drama, as well as on a modern Swiss adaptation of Shakespeare’s Henry V. Featuring prominently in this book are plays by, among others, John Bale, Jacob Schoepper, Johannes Agricola and Jacob Duym. Special attention is also paid to the Croxton Play of the Sacrament and the Dutch abele spelen. So far this topic has not received wide attention within the world of medieval and early Renaissance studies. This exploration aims at arousing more interest in this field by scholars working on European drama from the late Middle Ages and the early Renaissance.Table of ContentsNotes on Contributors Introduction   Peter Happé and Wim Hüsken 1 From Mrs Noah’s “Rok” to Absalom’s “Kultour”  The Trail of the Spinning Woman and the Great Rising of 1381   Heather Hill 2 Laying with the Past  History in the Croxton Play of the Sacrament and King Johan   Thomas Betteridge 3 Historical Elements in Bale’s Plays   Peter Happé 4 History in the Long Shadow of Allegory  Revisiting the Morality Heritag   Richard Hillman 5 Mirror, Mirror on the Wall … History in Late Medieval Drama from the Low Countries   Wim Hüsken 6 “An Easy Commerce of the Old and New”  Rhetoricians and the Use of the Past   Elsa Strietman 7 Staging Reformation as History – Three Exemplary Cases  Agricola, Hartmann, Kielmann   Cora Dietl 8 Dramatising History in Schoepper’s Ioannes Decollatus and Grimald’s Archipropheta   Mike Pincombe 9 Helvetic Henry? A Swiss Adaptation of Henry V, or Something Near Enough   Elisabeth Dutton Index

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Book SynopsisBeckett’s Voices / Voicing Beckett uses ‘voice’ as a prism to investigate Samuel Beckett’s work across a range of texts, genres, and performance cultures. Twenty-one contributors, all members of the Samuel Beckett Working Group of the International Federation for Theatre Research, discuss the musicality of Beckett’s voices, the voice as ‘absent other’, the voices of the vulnerable, the cinematic voice, and enacted voices in performance and media. The volume engages not only with Beckett’s history and legacy, but also with many of the central theoretical issues in theatre studies as a whole. Featuring testimonies from Beckett practitioners as well as emerging and established scholars, it is emblematic of the thriving and diverse community that is twenty-first century Beckett Studies. Contributors: Svetlana Antropova, Linda Ben-Zvi, Jonathan Bignell, Llewellyn Brown, Julie Campbell, Thirthankar Chakraborty, Laurens De Vos, Everett C. Frost, S. E. Gontarski, Mariko Hori Tanaka, Nicholas E. Johnson, Kumiko Kiuchi, Anna McMullan, Melissa Nolan, Cathal Quinn, Arthur Rose, Teresa Rosell Nicolás, Jürgen Siess, Anna Sigg, Yoshiko Takebe, Michiko TsushimaTable of ContentsContents Preface and Acknowledgements List of Figures Notes on Contributors ‘All the Dead Voices’: Introduction Laurens De Vos, Mariko Hori Tanaka and Nicholas E. Johnson Listening to the Inner Voice in Watt: Innovations in Narrative Form Julie Campbell Musicality of Voices Sound Matters in Beckett Linda Ben-Zvi Revealing the Limit of Language in Relation to Music Michiko Tsushima Embers: A Polyphonic Piece for Radio Jürgen Siess Voices of an Absent Other Samuel Beckett, Quickening the ‘Dead Voices’: From Waiting for Godot to That Time Llewellyn Brown Scratching the Surface: The Dramaturgical Oxymoron in Beckett’s Silences Laurens De Vos Why Is ‘Listener’ Named ‘Souvenant’?: The Role of the Spectator in a Bilingual Reading of That Time/Cette fois Kumiko Kiuchi Un-bodied Voices, the Thing Itself and Beckett’s Neural Theatre S. E. Gontarski Voices of the Vulnerable Pacing as Repressed Memory of Embodiment and Enactment in Footfalls Svetlana Antropova ‘Rock Her Off’: The Paradoxical Tension of the Split Voice in Rockaby Teresa Rosell Nicolás Technology and the Voices of the More than Human in Beckett’s All That Fall Anna McMullan A Creamy Work: Schiller and Beckett Arthur Rose Cinematic Voices Filmic Perspectives in Speaker’s Narrative of A Piece of Monologue Mariko Hori Tanaka Cinematic Adaptations of Beckett’s Breath Anna Sigg Translating Silence: Ashish Avikunthak’s Cinematographic Version of Come and Go Thirthankar Chakraborty Enacted Voices in Performance and Media Without Colour: Beckett and the Stage Voice Nicholas E. Johnson and Cathal Quinn Beckett in Performance: The Body of a Beckettian Actor Melissa Nolan Translating Beckett’s Voices in Different Cultures Yoshiko Takebe Articulations of Voice and Medium in Beckett’s Screen Work Jonathan Bignell All That Fall as a Case Study in the Possibilities and Problematics of Re-routing Samuel Beckett’s Radio Plays for Performance in Other Media Everett C. Frost Index

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Book SynopsisBlack Neo-Victoriana is the first book-length study on contemporary re-imaginations of Blackness in the long nineteenth century. Located at the intersections of postcolonial studies, Black studies, and neo-Victorian criticism, this interdisciplinary collection engages with the global trend to reimagine and rewrite Black Victorian subjectivities that have been continually marginalised in both historical and cultural discourses. Contributions cover a range of media, from novels and drama to film, television and material culture, and draw upon cultural formations such as Black fandom, Black dandyism, or steamfunk. The book evidences how neo-Victorian studies benefits from reading re-imaginations of the long nineteenth century vis-à-vis Black epistemologies, which unhinge neo-Victorianism’s dominant spatial and temporal axes and reroute them to conceive of the (neo-)Victorian through Blackness.

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Book SynopsisThis innovative project wrapped research around a youth theatre project. Young people of colour and from refugee backgrounds developed a sustained provocation for the people of Geelong, a large regional centre in Australia. The packed public performance—at the biggest venue in town—challenged locals to rethink assumptions. The audience response was insightful and momentous. The companion workshops for schools had profound impact with adolescent audiences. Internationally, this book connects with artistic, educational, and research communities, offering a substantial contribution to understandings of racism. This book is a provocative, transdisciplinary meditation on race, culture, the arts and change.Trade Review"This manuscript contributes more than just a unique case study from the Australian context, it offers ways to think through the role of applied theatre and other creative approaches to anti-racist praxis. It also offers some insights into the realities of young people facing structural violence and racism and the ways creative approaches can be spaces which are both healing and empowering. [I]t is an informative, provocative and instructional work. It manages to weave together an array of theorising, case studies, positionalities, practical applications, and reflections in a deeply contextualised manner. The writing is accessible, and it would offer researchers, practitioners and educators some very useful ways to think through and develop anti-racist praxis via creative modalities" – Sam Keast, Victoria University "The 6 Hours in Geelong project nudges us, ever so gently, to think, wonder, and move with critical praxis through a process grounded in decolonial theory, transformative education, public pedagogy to a performance which acknowledges, exposes, and challenges us to think differently about who we are in relation to race. “The arts,” Maxine Greene suggests, “cannot change the world, but they may change human beings who might change the world." – Elizabeth (Liz) Mackinlay, The University of Queensland "I find this book to be extremely timely and of the utmost importance, especially to readers from the United States given the attacks that are currently being made on the teaching of Critical Race Theory (CRT) in public schools in the US. [...] Overall, I believe this book will be a significant contribution to anti-racism literature providing practical information and powerful messages to teachers, community arts leaders, and others who are concerned about issues of racism in society." – William G. McManus, Boston UniversityTable of ContentsAcknowledgements List of Illustrations Notes on Authors PART 1: Setting the Scene 1 Tackling Racism: Community Theatre, Critical Inquiry, and Epistemic Disobedience  1 Laying the Conceptual Foundations  2 Placing This Study  3 The Structure of This Book 2 Researching from Somewhere: Our Personal and Collective Positioning  1 Alison Baker  2 André de Quadros  3 Dave Kelman  4 Christopher Sonn  5 Julie White 3 Crafting an Approach across and through Difference  1 Bringing Applied Theatre and Research Together  2 Working across, with, and through Diffference as Intra-Action  3 Methodological Approach  4 Conclusion PART 2: Applied Theatre: The Arts Education Project 4 Looking Inward: 6 Hours in Geelong as Process  1 Who Were the Actors?  2 Applied Theatre  3 6 Hours in Geelong  4 Devising Process  5 Characters  6 Authoring Process  7 Play Excerpts  8 Conclusion 5 Looking Outward: How Community Audiences Viewed 6 Hours in Geelong  1 Geelong after Dark  2 School Interactive Performances  3 The Community Performance Events  4 Conclusion PART 3: Theorisation and Perspectives: Interdisciplinary Discussion 6 Applied Theatre: The Practitioner’s Dilemma  1 White Privilege, Race, Power Relations, and Positionalities  2 The Slippery Nature of Artistic Meaning in Context  3 Individual and Group Identity  4 The Nature of the Challenge  5 Processes and Practices for Negotiating Intersections in Making 6 Hours in Geelong  6 Group Authorship  7 A Provisional Offfering 7 “People Don’t Know Our Story”: Exposing Coloniality through Counter-Storytelling  1 Critical Studies of Race, Decoloniality, and Stories  2 Unpacking Stories through the Lens of Coloniality  3 Young People Negotiating Coloniality in Everyday Lives  4 Conclusion 8 Essentialism and Cosmopolitan WEIRDness  1 WEIRDness, Essentialism, and Coloniality  2 Entanglements of Racism, Theatre, and Theory  3 Analysis of Racism and Identity in 6 Hours in Geelong  4 Embracing Complexity PART 4: So What? Implications for Practice 9 Schooling, Racism, and Powerful Conversations  1 Context for Conceptualisation  2 Schools as the Site for Discussions about Race  3 Conceptual Framework for Powerful Conversations  4 How Teachers Can Overcome Obstacles  5 Conclusion 10 Community Arts: Politics and Privilege  1 Community Arts in Context  2 Politics and Privilege in Community Arts Practice  3 Race as Context for Practice  4 Implications 11 Aftermath and Afterwards Appendix: 6 Hours in Geelong Script References Index

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Book SynopsisCasuistry and Early Modern Spanish Literature examines a neglected yet crucial field: the importance of casuistical thought and discourse in the development of literary genres in early modern Spain. Faced with the momentous changes wrought by discovery, empire, religious schism, expanding print culture, consolidation of legal codes and social transformation, writers sought innovation within existing forms (the novella, the byzantine romance, theatrical drama) and created novel genres (most notably, the picaresque). These essays show how casuistry, with its questioning of example and precept, and meticulous concern with conscience and the particularities of circumstance, is instrumental in cultivating the subjectivity, rhetorical virtuosity and spirit of inquiry that we have come to associate with the modern novel.Table of ContentsContents Casuistry and Early Modern Spanish Literature  A Neglected Relationship  Marlen Bidwell-Steiner and Michael Scham Justice, Blindfolded: Law and Crime in the Celestina  Marlen Bidwell-Steiner Artful Rhetoric: The Case of Lázaro de Tormes  Edward H. Friedman The Intrusion of an Apocryphal Guzmán as a (Legal, Moral and Literary) ‘Case’ in Mateo Alemán’s Authentic Second Part  David Alvarez Roblin Theological Casuistry and Casuistical Preposterousness: The Fallacious Cases of La pícara Justina  David Mañero Lozano The Exploration of Circumstance: Casuistry and the Emergence of the Novela Bizantina in Alonso Núñez de Reinoso’s Historia de los amores de Clareo y Florisea, y de los trabajos de Ysea (1552)  Anita Traninger Comic Casuistry and Common Sense: Sancho Panza’s Governorship  Michael Scham The Lawyers’ Tales. Legal Casuistry and the Spanish Golden Age Novella (Cristóbal Suárez de Figueroa, Alonso de Castillo Solórzano)  Mechthild Albert Opinion, Idolatry, and Indigenous Consciousness: Bartolomé de las Casas’ Approach to Human Sacrifice  José Cárdenas Bunsen Staging Penance: Scenes of Sacramental Confession in Early Modern Spanish Drama  Hilaire Kallendorf Index

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Book SynopsisMemory and Identity in the Learned World offers a detailed and varied account of community formation in the early modern world of learning and science. The book traces how collective identity, institutional memory and modes of remembrance helped to shape learned and scientific communities. The case studies in this book analyse how learned communities and individuals presented and represented themselves, for example in letters, biographies, histories, journals, opera omnia, monuments, academic travels and memorials. By bringing together the perspectives of historians of literature, scholarship, universities, science, and art, this volume studies knowledge communities by looking at the centrality of collective identity and memory in their formations and reformations. Contributors: Lieke van Deinsen, Karl Enenkel, Constance Hardesty, Paul Hulsenboom, Dirk van Miert, Alan Moss, Richard Kirwan, Koen Scholten, Floris Solleveld, and Esther M. Villegas de la Torre.Table of ContentsContents List of Illustrations Notes on the Editors Notes on the Contributors 1 Introduction: Memory and Identity in Learned Communities  Koen Scholten Part 1: Collective Identity 2 “Identities” in Humanist Autobiographies and Related Self-Presentations  Karl A.E. Enenkel 3 Female Faces and Learned Likenesses: Author Portraits and the Construction of Female Authorship and Intellectual Authority  Lieke van Deinsen 4 Scholarly Identity and Gender in the Respublica litteraria: The Cases of Luisa Sigea (1522–1560) and Margaret Cavendish (1623–1673)  Esther M. Villegas de la Torre 5 The Republic of Letters Mapping the Republic of Letters: Jacob Brucker’s Pinacotheca (1741–1755) and Its Antecedents  Floris Solleveld Part 2: Institutional Memory as a Shared Past 6 Mirror, Model, Muse: Institutional Memory and Identity in the Dublin, Oxford and Royal Societies  Constance Hardesty 7 Miscellanies of Memory: From Scholarly Biography to Institutional History in the Early Modern German University  Richard Kirwan Part 3: Memory Cultures and Modes of Remembrance 8 Tracing the Sites of Learned Men: Places and Objects of Knowledge on the Dutch and Polish Grand Tour  Paul Hulsenboom and Alan Moss 9 The Curious Case of Isaac Casaubon’s Monstrous Bladder: The Networked Construction of Learned Memory within the Seventeenth-Century Reformed World of Learning  Dirk van Miert Index Nominum

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Book SynopsisThrough an innovative interdisciplinary reading and field research, Igor Chabrowski analyses the history of the development of opera in Sichuan, arguing that opera serves as a microcosm of the profound transformation of modern Chinese culture between the 18th century and 1950s. He investigates the complex path of opera over this course of history: exiting the temple festivals, becoming a public obsession on commercial stages, and finally being harnessed to partisan propaganda work. The book analyzes the process of cross-regional integration of Chinese culture and the emergence of the national opera genre. Moreover, opera is shown as an example of the culture wars that raged inside China’s popular culture.Table of ContentsAcknowledgments List of Plates, Table and Maps Introduction PART 1: Opera in Qing-Era Sichuan 1 Development of Opera in Qing-Era Sichuan  1 The Role of Opera in Qing Society  2 Opera and Construction of the Community  3 The Nineteenth-Century Flourishing: The Role of Opera in Shaping Local Religious Practice  4 Opera and Shaping of the Material and Social Landscape  5 A Market Town: A Temple-Centered Society, An Opera-Centered Society  6 The Big City Perspective  7 Opera between the Elites and the Commoners  8 Opera, Officials, and the Social (Dis)Order  9 Concluding Remarks PART 2: The New Institutionalization: Law, Market, Politics, and Culture of Commercialized Art, 1902–1937 2 A Transformed Relationship: Theater and Power after the Qing New Policies  1 The Three Forces of Change: Destruction of Temples, Commercialization, and the New Legal Order  2 New Policies and a Novel Way of Doing Business in Sichuan  3 The Protecting Power of Official Greed: Republican Commercial Theater  4 Taxing  5 Helping Hand  6 Women on the Show  7 Rectifying Opera 3 Commercial Opera: Shaping the City and Shaping the Actors  1 Theaters and Urban Zoning: Researching the Social Background of the Audiences  2 Early Transformation in the Social and Spatial Geography of Opera  3 Republican Theaters and Urban Zoning: Crystallization of the Opera’s Public  4 Commercial Theater and Actors’ Careers  5 Concluding Remarks 4 The Culture of the Commercial Opera  1 The Methods of Studying Opera: Troupes, Talent, and Repertoires  2 Watching the Commercial Show: How Was It Served?  3 Favorite Plays and the Cultural Universe of Sichuan Audiences  4 Gods, Emperors, Heroes…  5 Time and Place  6 Concluding Remarks Illustration Quire PART 3: Creating the New World 5 The Divide: Local Intellectuals and the Cultural Conflict  1 Commercial Daily’s Explorations and Experimentations with New Drama  2 Dissatisfaction, Estrangement, Elitism, and a Turn to the Left  3 Radicalization and Rejection  4 Concluding Remarks 6 The Times of the Nationalists (1937–1949) and the War  1 Performing Arts Culture  2 Military Emergency and China’s Migration to the Southwest  3 Inventing the Wartime Theater  4 Putting Words into Action  5 Living through Frustration: Playwrights and the War  6 An All Too Visible Context: Sichuan Opera and the War  7 Concluding Remarks 7 Revolution: Communist “People’s Art”  1 Communist Conquest of Sichuan: A New Political Context  2 Political and Ideological Basis of the Opera Reform  3 Breaking the “Superstitious” Opera  4 Adjusting to the New Party-State Policies  5 Seizing Control over the Opera Companies  6 Opera Becomes Useful to the Communist State  7 Policy in Action: Chongqing, 1951–1952  8 Concluding Remarks 8 Conclusion Bibliography Index

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Book SynopsisThis second volume of Theaters and Public Sphere in a Global and Digital Society offers several different case studies in their relationship with society. Also here, the focus is the fundamental contribution that artistic and cultural forms bring to social dynamics and how these can consolidate cohabitation and create meaningfullness, in addition to fulfilling economic and regulatory needs. As symbolic forms of collective social practices, artistic and cultural forms weave the meaning of a territory, a context, and a people, but also of the generations who traverse these same cultures. These forms of meaning interact with the social imagery, mediate marginalization, transform barriers into bridges, and are the indispensable tools for any social coexistence and its continuous rethinking in everyday life. Contributors are: Claudio Bernardi, Marco Bernardi, Massimo Bertoldi, Martina Guerinoni, Mara Nerbano, Chiara Pasanisi, Benedetta Pratelli, Roberto Prestigiacomo, Ilaria Riccioni, Daniela Salinas Frigerio, Eleonora Sparano, Emanuele Stochino, Matteo Tamborrino, Tiziana Tesauro, Katia Trifirò, Alessandro Tolomelli, and Andrea Zardi.Table of ContentsPreface Acknowledgements List of Figures and Tables Notes on Contributors 1 The Impact of Theatre in a Multilingual Province The Case of the Teatro Stabile of Bolzano between New and Old Generations   Ilaria Riccioni 2 The Anomaly of the Teatro Stabile of Bolzano A Public Theater on the Border, between Different Languages and Cultures   Marco Bernardi 3 State Theater of Bolzano. 70 years History and Shows in a Book   Massimo Bertoldi 4 The Interviews for the Research on the Teatro Stabile di Bolzano Some Methodological Considerations   Eleonora Sparano 5 Social Theatre, a Polyphonic Dramaturgy of the Community   Claudio Bernardi 6 From the Creative Process to the Relationship with the City The Theatre of the ‘Margin’ by the Carullo-Minasi Company (Messina, 2011–2021)   Katia Trifirò 7 Theatre Festivals and Urban Public Border Crossing Practices in Comparison   Benedetta Pratelli 8 A Relational Theatre Fabrizio Crisafulli’s “Theatre of Places”   Mara Nerbano 9 Introducing Performing Human Rights   Roberto Prestigiacomo 10 On Stage without a Script A Theatrical Workshop for Professional Training   Tiziana Tesauro 11 The Theater of the Oppressed as a Martial Art Theatre, Community, Pedagogy and Politics   Alessandro Tolomelli 12 Pier Paolo Pasolini and the Theatre of the Word   Emanuele Stochino 13 Dramaturgies of Distancing Dance and Public Space in the Covid Era   Andrea Zardi 14 La Trilogia del naufragio by Lina Prosa Dramaturgy and Poetic of Inclusion   Chiara Pasanisi 15 The Lavanderia a Vapore, from Madhouse to Dancehouse A Contemporary Experience of Relationship between Theatrical Space and Territorial Communities   Matteo Tamborrino 16 Performing Arts and Practices for the Inclusion of Migrants in Milan   Martina Guerinoni 17 Teleaudiencias Teatrales Crisis of a Representation   Daniela Salinas Frigerio Index

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