Theatre studies Books

Book SynopsisVolume 1 of Theater(s) and Public Sphere in a Global and Digital Society inquires the fundamental contribution that artistic and cultural forms bring to social dynamics and how these can consolidate cohabitation and create meaningfulness, 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. The various epistemic approaches present here, refer to sociology, theatre studies, cultural studies, psychology, economy of culture, and social statistics which observe theatre as a social phenomenon. Contributors are: Maria Shevstova, Ilaria Riccioni, Roberta Paltrinieri, Gerhard Glüher, Raimondo Guarino, Mariselda Tessarolo, Raffaele Federici, Marco Serino, Maria Grazia Turri, Elena Olesina, Elena Polyudova, Marisol Facuse, Vincenzo Del Gaudio, Laura Gemini, Stefano Brilli, Jessica Camargo Molano, Annalisa Cicerchia, Simona Staffieri and Giulia Cavrini.Table of ContentsPreface Acknowledgements List of Figures and Tables Notes on Contributors 1 Artistic Processes and Characteristics: Key Problems of the Sociology of the Theatre In Dialogue with Pierre Bourdieu   Maria Shevtsova 2 The Social and Political Impact of the Theatre in Contemporary Society   Ilaria Riccioni 3 Theatre at University as a Way to Increase the Sense of Citizenship and Civil Spirit   Roberta Paltrinieri 4 Staged Passages between Art and Everyday Life   Gerhard Glüher 5 Urban Environment, Places for Performance A Groundbreaking Experience: Renato Nicolini and Estate Romana (1976–1985)   Raimondo Guarino 6 The Theatre as the Stage of an Elusive Further Society   Mariselda Tessarolo 7 Paris and Popular Theatre in Robert Michels La foule and the Audience in the Years of Classical Sociology   Raffaele Federici 8 The Undone Discipline A Historical and Critical-Theoretical Account of the Sociology of the Theatre   Marco Serino 9 Theatre as Intersubjective Space for the Mediation of Collective Identity Outline of a Psychoanalytic Perspective   Maria Grazia Turri 10 Historical Reenactment and Theatrical Performance On New Perspectives of Educational Methods   Elena Olesina and Elena Polyudova 11 Political Theatre in the 20th Century Elements for Archaeology   Marisol Facuse 12 Blast Theory between Public Space and Social Space   Vincenzo Del Gaudio 13 Live/Life Sharing The Use of Social Media by Contemporary Theatre Companies in Italy   Laura Gemini and Stefano Brilli 14 Theatre as a Means of “Interpreting” Lockdown The Case of Staged   Jessica Camargo Molano 15 Cultural Welfare Theatre in the Limelight   Annalisa Cicerchia and Simona Staffieri 16 Measuring Culture – How and Why?   Giulia Cavrini Index

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Book SynopsisIn Modern and Contemporary Political Theater from the Levant, A Critical Anthology, Robert Myers and Nada Saab provide a sense of the variety and complexity of political theater produced in and around the Levant from the 1960s to the present within a context of wider discussions about political theater and the histories and forms of performance from the Islamic and Arab worlds. Five major playwrights are studied, ʿIsam Mahfuz, from Lebanon; Muhammad al-Maghut and Saʿd Allah Wannus, from Syria; Jawad al-Asadi, from Iraq, Syria and Lebanon; and Raʾida Taha, from Palestine. The volume includes translations of their plays The Dictator, The Jester, The Rape, Baghdadi Bath and Where Would I Find Someone Like You, ʿAli?, respectively.

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Book SynopsisThis publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.Table of ContentsPreface List of Figures and Tables List of Abbreviations and Acronyms Contributors 1 Appurtenances to Power: Performing Arts and the Royal Courts of Southeast Asia  Lawrence N. Ross 2 Space, Performance and Cultural Connections in Early Modern Southeast Asia  Barbara Watson Andaya 3 The Role of the Elite in the Circulation of Culture in Southeast Asia  Leonard Y. Andaya 4 Istana, Desa, Tariqah: Inter-court Relations of Zapin in the Malay Sultanates of Sumatra and the Malay Peninsula  Mohd Anis Md Nor 5 I Madé Lebah, Legong and the Performing Arts in the Balinese Court of Peliatan  David Harnish 6 Wayang Jawa (Wayang Kulit Melayu): A Shadow Play Devised by and for the Royalty of the Malay Sultanates of Kedah and Kelantan, Malaysia  Patricia Matusky 7 The Nobat: From Muslim Antiquity to Malay Modernity  Raja Iskandar Bin Raja Halid 8 Lanna Court Music and Performing Arts in Chiang Mai, Thailand, in the Nineteenth and Twentieth Centuries  Thitipol Kanteewong 9 Inter-court Relations in the Spread of Nobat and Gamelan as Legitimacy Symbols in the Malay World (c. Thirteenth to Twentieth Centuries)  Margaret Kartomi 10 Bele Bele Bejale: Exploring the Role of the Royal Courts of Kelantan, Riau-Lingga and Serdang on the Circulation and Transformation of Mak Yong in the Nusantara  Patricia Ann Hardwick 11 The Sultan of Lingga’s Brass Band: Music, Politics and Memory in the Riau-Lingga Sultanate  Anthea Skinner 13 Music and Dance at the Royal Courts of Cambodia  Sam-Ang Sam Glossary of Non-English Terms Index

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Book SynopsisThe final volume of the New Perspectives in Edward Albee Studies series expands the analyses of Edward Albee’s theatre beyond Anglophone countries. Ranging from academic essays, performance reviews, and interviews, the selected contributions examine different socio-political contexts, cultural dynamics, linguistic communities, and aesthetic traditions, from the 1960s to our contemporary days. Albee Abroad gladly brings together varied voices from Czech Republic, People’s Republic of China, Brazil, Iran, Germany, Spain, and Greece, thus enriching Albee scholarship with more plural tones.Table of ContentsNotes on Contributors Introduction  Michael Y. Bennett 1 A Constant Struggle for Freedom: Edward Albee in Czechoslovakia and the Czech Republic  Tomáš Kacer 2 I’m Not There: Toward Albee’s Reception in China  Eddie Hanchen Feng 3 A Volcanic Contribution: The Zoo Story and the 1960s Brazilian Stages  Esther Santana 4 Edward Albee on Iranian Stages: A Critical Ethnography  Mohammadali (Al) Dabiri and Deniz Khateri 5 American Absurdism as Philosophy: Edward Albee in Germany  Philipp Reisner 6 The Communication Paradigm in Recent German Albee Scholarship: A Review Essay  Philipp Reisner 7 Edward Albee’s 21st Century Spanish Canon: Bringing It Up to Speed or Honoring the Tradition?  Ramón Espejo Romero 8 Albee’s Greek Legacy in The Goat or, Who Is Sylvia?  Antonia Tsamouris 9 Interview: Philip Arnoult on Albee’s International Leadership  Natka Bianchini Index

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Book SynopsisThis volume explores the indispensability of a transnational perspective for the construction and writing of literary histories of the Low Countries from 1200- 1800. It looks at the role of mediators such as translators, printers, and editors, at characteristics of literary genres and the possibilities they offered for literary boundary crossing and adaptation, and at the role of regions and urban centers as multilingual hubs. This collection demonstrates the centrality of transnational perspectives for elucidating the complex inter-relationship between Netherlandic and European literary history. The Low Countries were a dynamic site for new literary production and transnational exchange that shaped and reshaped the intellectual landscape of premodern Europe. Contributors include: Lia van Gemert, Lucas van der Deijl, Feike Dietz, Paul Wackers, David Napolitano, James A. Parente, Jr., Frank Willaert, Youri Desplenter, Bart Besamusca, Frans R.E. Blom, and Jan Bloemendal.Table of ContentsList of Illustrations Notes on Contributors Introduction  Jan Bloemendal, Youri Desplenter, James A. Parente Jr. and Cornelis van der Haven part 1: Mediators 1 Not Just a Love Story: The Dutch Translations of John Barclay’s Argenis  Lia van Gemert and Lucas van der Deijl 2 Bringing Young Grandisons Across the Channel  Plural and Interacting Mediator Roles as Vital Forces Behind the Production and Circulation of Transnational Children’s Literature  Feike Dietz part 2: Genres 3 The Dutch Reynaert Tradition in National and European Perspective  Paul Wackers 4 An Appeal to Study Dutch Mirrors-for-Magistrates across Linguistic, Geographical, and Institutional Boundaries  David Napolitano 5 Neo-Latin Drama between Nationality and Transnationality  Jan Bloemendal 6 Educating for Empire: Romance and Nation in Johan van Heemskerck’s Batavische Arcadia (1637)  James A. Parente Jr. part 3: Places 7 Lotharingia Lost?: An Exploration of the Utility of an Aborted Concept for the Study of Medieval Literature in the Low Countries  Frank Willaert 8 Jan van Leeuwen, Johannes Tauler, Their Writings, and Their Connections  The Fourteenth-Century Brabant and Rhinelandic Mystical Traditions as Textual Community  Youri Desplenter 9 Jacob van Maerlant’s Martijn Poems from a Multilingual Perspective  Bart Besamusca 10 The Pearl from Spain: Calderón’s La vida es sueño in the Dutch-Speaking Territories  Frans R.E. Blom Index

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Book SynopsisThe works and biography of Heinrich von Kleist have fascinated authors, artists, and philosophers for centuries, and his enduring relevance is evident in the emblematic role he has played for generations. Kleist’s prose works remain “utterly unique” seventy years after Thomas Mann described their singular appeal, his dramas remain “disturbingly current” four decades after E.L. Doctorow characterized their modernity, and twenty-first century readers need not read far before finding the unresolved questions of the current century in Kleist. Heinrich von Kleist: Artistic and Aesthetic Legacies explores examples of Kleist’s impact on artistic creations and aesthetic theory spanning over two centuries of seismic metaphysical crises and nightmare scenarios from Europe to Mexico to Japan to manifestations of the American Dream.Table of ContentsForeword: Interrogating Kleist? Acknowledgments Notes on Contributors Introduction: The Artistic and Aesthetic Legacies of Heinrich von Kleist  Jeffrey L. High and Carrie Collenberg-González Kleist and Hegel’s Phenomenology of Spirit  Valerio Rocco Lozano Operatic Reception of Kleist’s Das Käthchen von Heilbronn: From Holbein’s Stage Adaptation to the Operas of Hoven, Lux, and Reinthaler  Glen Gray Stranger than Fiction: Thomas Mann and Stefan Zweig on Goethe, Kleist, and the Struggle with the Daemon  Elaine Chen Brecht, Kleist, and the Early GDR: The Berliner Ensemble’s Playbill for Der zerbrochne Krug (1952) and Its Renegotiation of Formalism, Realism, and Cultural Heritage  Markus Wessendorf Penthesilea and Her Sisters: Visualizing the Feminine in the German Cultural Imagination of the 1970s and 1980s  Seán Allan Victories of Insurrection: Heinrich von Kleist, Aleksandr Bek, and Heiner Müller  Wolf Kittler Coetzee and Kafka with Kleist (and Job): Debating the ‘Kohlhaasian Solution’  Tim Mehigan Film Adaptations of Kleist’s Michael Kohlhaas: On Triage, Recasting, and Restructuring  Sophia Clark and Jeffrey L. High An Earthquake in Chile in Mexico: Juan Villoro on Kleist  Craig Epplin The Vanishing Point: Heinrich von Kleist, Frank Stella, and the American Dream  Carrie Collenberg-González Righteous Rebels: Kleist’s Michael Kohlhaas and Andrei Zvyagintsev’s Leviathan  Cassio de Oliveira Kleist in Yoko Tawada’s Works  Susan C. Anderson Index of Names Index of Kleist’s Works

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Book SynopsisSamuel Beckett & Compagnie est l’histoire d’une quête infinie à la recherche de l’autre. L’autre tel qu’il échoit dans les textes, surgit dans les figures théâtrales, se faufile parmi les ombres. Cette Compagnie sera mal vue et mal dite avant de s’évader « Cap au Pire ». La Compagnie, c’est aussi Marcel Proust, Claude Simon, Robert Pinget, Christian Oster, Gilles Deleuze.Trade Review”…a joy unto itself.” in: The European Legacy, Vol. 10.1, 2005Table of ContentsEntrée Compagnie & Cie Chutes sans fin dans Pour finir encore De la rampe à la tombe : le roman familial A cheval De lecture en lecture : ou comment faire pour voir la queue de l’hermine Travail de deuil, travail d’œil dans Mal vu mal dit Continuité du deuil : de Proust à Beckett Pinget et Beckett : chutes mortelles Claude Simon et Samuel Beckett : pour la mémoire du siècle Le désir à l’épreuve : de Samuel Beckett à Christian Oster Pui(t)s : Deleuze et Beckett

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Book SynopsisArising from the activities of the Centre for Seventeenth-Century French Theatre, this volume proposes a selection of eighteen essays by internationally renowned scholars aimed at all those who value and work with the theatre of seventeenth-century France, whether in teaching, research or performance. Frequently seeking out the interfaces of these areas, the essays cover historiography (including that of opera), the theory and practice of textual editing, visualizing – in terms of both theatre architecture and the significance of playtext illustration - , approaches to study and research (including the most recent applications of computer technology), and performance studies which relate the classical canon to contemporary French and other cultures. Always suggesting new directions, challenging the epistemological bases of the very concept of French classical theatre, the essays provide a snapshot of scholarship in the field at the dawn of a new millennium, and offer an ideal opportunity to reassess its past whilst looking to its future.Table of ContentsForeword and Acknowledgements Introduction Philip TOMLINSON: French ‘Classical’ Theatre Today I. In Retrospect C.E.J. CALDICOTT: For the Non-Classical in Seventeenth-Century French Theatre William BROOKS: Decrypting the Chronology of Early French-Opera Charles MAZOUER: Comment écrire une histoire du théâtre du XVIIe siècle? II. Editing Keith CAMERON: The Critical Edition: The Editor’s Incubus? John DUNKLEY: Old Plays; Modern Editions III. Visualizing Catherine GUILLOT: La Recherche en iconographie théâtrale aujourd’hui: quelques réflexions sur l’utilisation de l’image du livre du XVIIe siècle Abby E. ZANGER: Betwixt and Between Print and Performance: A New Approach to Molière’s Body of/at Work Jan CLARKE: The Hôtel Guénégaud Auditorium according to the Theatre’s Account Books Christa WILLIFORD: Computer Modelling Classical French Theatre Spaces: Three Reconstructions IV. Studying Andrew CALDER: ‘Le Misanthrope’: From Ideas to Shared Experience Christopher SMITH: Racine in the Modern Modern Languages Curriculum Véronique DESNAIN: ‘Fille de Jézabel’: Female Genealogies in Racine V. Performing David BERRY: ‘Rough Magic’: Ted Hughes’s Translation of Jean Racine’s ‘Phèdre’ Thomas YARWOOD: Staging Racine in England Now: The Almeida’s ‘Phèdre’ and ‘Britannicus’ Christian BIET: L’Interprétation des classiques sur la scène française contemporaine VI. In Prospect Barry RUSSELL: Theatre Scholarship in the Age of Electronics Guy SPIELMANN: ‘Spectacles du Grand Siècle’: Du project épistémologique au projet éducatif List of Illustrations List of Contributors

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Trade Review”… ein eindrucksvolles Panoptikum zum momentanen Stand der Heiner Müller Forschung.” in: IASL-Online 29 January 2002Table of ContentsVorbemerkung. Zu den Abbildungen. I. Müller und die Nach-Moderne. Hans-Thies LEHMANN: Zwischen Monolog und Chor. Zur Dramaturgie Heiner Müllers. Joachim FIEBACH: Müllers Wunde Woyzeck. Helen FEHERVARY: Mannerism, Modernism, Müller. “In der Zeit des Verrats/Sind die Landschaften schön”. David BARNETT: Collective Dramaturgy. A Marxist Challenge to the Modern Stage. Or: Heiner Müller's Political Theatre of Destruction. Imre KURDI: “Ein Gummitier [...], das sich von seiner Leine losgerissen hat.” Versuche, Heiner Müllers Bildbeschreibung zum Sprechen zu bringen. Norbert Otto EKE: Körperspuren im Theater der Geschichte. Heiner Müllers Anthropologie des Körpers. Bettina GRUBER: Politik und Mythos. Heiner Müller als Gespensterdramatiker. II. Politische Aussagen im Werk. Jost HERMAND: Zehn Tage, die die Welt erschütterten. Müllers Bekenntnis zu Lenin. Carlos GUIMARÃES: Väterchen Stalin und die rote Rosa oder Trotzki als Transvestit. Stalinbild und Antistalinismus im Werk von Heiner Müller. Theo BUCK: Zu Heiner Müllers ‘Quadriga'. Andy HOLLIS: Heiner Müller's ‘Der Vater'. Ambiguities of Cold War Literature. Axel SCHALK: Als Galilei abschwor. Bertolt Brecht und Heiner Müller und die Bombe. Malcolm HUMBLE: Heiner Müllers Gesammelte Irrtümer. Bekenntnisse und Provokationen. III. Zu den dramatischen Texten. Rolf JUCKER: Heiner Müllers Macbeth: sozialer Realismus als Mehrwert gegenüber Shakespeare/Tieck. Andy SPENCER: Einstürzende Neubauten und Heiner Müller. ‘Kopfarbeit' or The Theatre in your Head. Joon-Suh LEE: “Das Leben wird schneller, wenn das Sterben ein Schauspiel wird.” Lach- und Komikverständnis in Heiner Müllers Quartett. Francine MAIER-SCHAEFFER: Episierung des Dramas? Der “Ich-Monolog” Landschaft mit Argonauten zwischen epischem Theater und (post)moderner écriture. Horst DOMDEY: Verfolgung über den Tod hinaus? Kreon/Antigone-Motivik in Texten Heiner Müllers. Heinz-Peter PREUSSER: Die Rache der Erinys. Landschaft als Ende und Anfang bei Heiner Müller und Volker Braun. IV. Zum Spätwerk. Frank HÖRNIGK: Heiner Müller im Dialog mit sich selbst. Über die Einsamkeit der Texte. Jutta SCHLICH: Heiner Müllers Engel. Bezüge, Befindlichkeiten, Botschaften. Anthonya VISSER: “...bei Heiden Brauch” - Zum ‘Vater' in der Lyrik Heiner Müllers. Hans-Christian STILLMARK: Beobachtungen zu Heiner Müllers ‘Selbstkritik 2 zerbrochner Schlüssel'. Anna CHIARLONI: Heiner Müllers ars memorativa. Zum Gedicht ‘Seife in Bayreuth'. Michael OSTHEIMER: “Götter werden dich nicht mehr besuchen”. Zum Europa-Mythos in Heiner Müllers Langgedicht ‘Ajax zum Beispiel'. Bernhard GREINER: Müllers ‘Block': Steinernes Schreiben. Lothar KÖHN: Der große rote und der ganz gewöhnliche Tod. Todesmetaphorik und später Todesdiskurs bei Heiner Müller. V. Zur interkulturellen Werk-Rezeption. Hugh RORRISON: The Theatrical Reception of Heiner Müller's Plays in the Netherlands and Flanders with an Excursus to Bulgaria. Gerhard FISCHER: Die ‘Auferstehung der Lebenden”. Eine interkulturelle, theatrale Kritik zu Heiner Müllers Der Auftrag. Florian VASSEN: Das Fremde und das Eigene: Projektion, Differenz und Erinnerung in Heiner Müllers Der Auftrag. José GALISI FILHO: Dialektik des Fragments und Realismus in der Peripherie. Heiner Müller und Oswald de Andrade. Angaben zu den Autoren und Autorinnen. Register.

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Book SynopsisIntermediality: the incorporation of digital technology into theatre practice, and the presence of film, television and digital media in contemporary theatre is a significant feature of twentieth-century performance. Presented here for the first time is a major collection of essays, written by the Theatre and Intermediality Research Group of the International Federation for Theatre Research, which assesses intermediality in theatre and performance. The book draws on the history of ideas to present a concept of intermediality as an integration of thoughts and medial processes, and it locates intermediality at the inter-sections situated in-between the performers, the observers and the confluence of media, medial spaces and art forms involved in performance at a particular moment in time. Referencing examples from contemporary theatre, cinema, television, opera, dance and puppet theatre, the book puts forward a thesis that the intermedial is a space where the boundaries soften and we are in-between and within a mixing of space, media and realities, with theatre providing the staging space for intermediality. The book places theatre and performance at the heart of the ‘new media’ debate and will be of keen interest to students, with clear relevance to undergraduates and post-graduates in Theatre Studies and Film and Media Studies, as well as the theatre research community.Trade Review"Structurally, the book is very well organised, with introductions to each section and an abstract of each chapter facilitating a survey of the contents of the book. It contains an excellent list of references and is well illustrated with fifty-three photographs and diagrams. I am sure this book will provide an excellent resource for scholars and arts practitioners interested in pursuing the impact of new media upon a diverse range of art practices. It provides a welcome addition to the emerging body of literature available on new media and performance." – in: Contemporary Theatre Review 16/4 (2006), 517–518 "An admirable addition to the bookshelf: in its investigation of intermediality this collection takes us to the heart of the debate about the nature of theatre itself and is thus essential reading for anyone, be they theoretician or practitioner, interested in contemporary theatre and performance." – in: TotalTheatre Magazine 18/2 (Summer 2006), p. 31Table of ContentsList of illustrations Freda CHAPPLE and Chiel KATTENBELT: Key Issues in Intermediality in theatre and performance Section One: Performing intermediality Chiel KATTENBELT: Theatre as the art of the performer and the stage of intermediality Ralf REMSHARDT: The actor as intermedialist: remediation, appropriation, adaptation Andy LAVENDER: Mise en scène, hypermediacy and the sensorium Sigrid MERX: Swann’s way: video and theatre as an intermedial stage for the representation of time Freda CHAPPLE: Digital opera: intermediality, remediation and education Section Two: Intermedial perceptions Peter M. BOENISCH: Aesthetic art to aisthetic act: theatre, media, intermedial performance Christopher B. BALME: Audio theatre: the mediatization of theatrical space Meike WAGNER: Of other bodies: the intermedial gaze in theatre Robin NELSON: New small screen spaces: a performative phenomenon? Peter M. BOENISCH: Mediation unfinished: choreographing intermediality in contemporary dance performance Section Three: From adaptation to intermediality Thomas KUCHENBUCH: Theoretical approaches to theatre and film adaptation: a history Klemens GRUBER: The staging of writing: intermediality and the avant-garde Johan CALLENS: Shadow of the Vampire: double takes on Nosferatu Hadassa SHANI: Modularity as a guiding principle of theatrical intermediality. Me-Dea-Ex: an actual-virtual digital theatre project Birgit WIENS: Hamlet and the virtual stage: Herbert Fritsch’s project hamlet_X References Index Notes on the contributors

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Book SynopsisBodies and their Spaces: System, Crisis and Transformation in Early Modern Theatre explores the emergence of the distinctively modern “gender system” at the close of the early modern period. The book investigates shifts in the gendered spaces assigned to men and women in the “public” and “private” domains and their changing modes of interconnection; in concert with these social spaces it examines the emergence of biologically based notions of sex and a novel sense of individual subjectivity. These parallel and linked transformations converged in the development of a new gender system which more efficiently enforced the requirements of patriarchy under the evolving economic conditions of merchant capitalism. These changes can be seen to be rehearsed, contested and debated in literary artefacts of the early modern period – in particular the drama. This book suggests that until the closure of the English theatres in 1642, the drama not only reflected but also exacerbated the turbulence surrounding gender configurations in transition in early modern society. The book reads a wide range of dramatic and non-dramatic texts, and interprets them with the aid of the “systems theory” developed by the German sociologist Niklas Luhmann.Table of ContentsAcknowledgements Introduction: Staging Gendered Space Ch. 1: Divide and Rule: The Early Modern Gender System and Private Space Ch. 2: The Difference that Makes a Difference: Emergent Gender Systems Ch. 3: The Observer Observed: Differentiation and the Theatrical System Ch. 4: Posing Manliness: Work and Space as Paradigms of Early Modern Masculinity Ch. 5: The Aporias of Masculinity: Systemic Interpenetration and Systemic Instability Ch. 6: Author of Himself: Masculinity, Civility and the Closure of the Body Ch. 7: Leaky Vessels: Femininity, the Humoral Economy and Systemic Boundaries Ch. 8: Women’s Worlds: Women in the Public Sphere: Space, Community, Language Ch. 9: Redrawing the Boundaries: Emergent Gender Spaces on the Stage Conclusion: The Alteration in Apparel: Cross-Dressing and the Emergent Gender System Bibliography Index

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Book SynopsisLa Bataille du soliloque reconstitue la genese de ce qu'il faut bien appeler le bilinguisme de Beckett. Or, toute genese est une proposition theorique, evidemment dependante du sens que l'on donne au sens du mot "bilinguisme"; c'est pourquoi il est bon de dire d'emblee que ce qui fait la force et l'originalite de l'hypothese ici defendue, c'est au fond une definition forte du bilinguisme. Du bilinguisme de Beckett. [...] Chiara Montini parle donc resolument, et justement, d'une poetique bilingue. C'est-a-dire d'un projet d'ecrivain qui aurait choisi, a un moment donne de sa carriere (La Bataille du soliloque reconstitue ce moment) non une autre langue, mais deux langues. Car finalement, on le sait bien, entre l'anglais et le francais, Beckett n'a jamais choisi. Il n'a jamais cesse de pratiquer l'une et l'autre langues. Et meme, contrairement a une idee assez repandue, l'une et l'autre en meme temps. Le sens du mot " genese " doit donc etre mis en rapport avec cette pratique d'ecriture absolument inouie. Chiara Montini distingue trois periodes dans l' uvre, la derniere (le bilinguisme) constituant une sorte d'aboutissement qu'on peut dire logique meme s'il est vrai qu'il perturbe de fond en comble le paysage poetique du siecle. Bruno ClementTrade ReviewLa Bataille du soliloque reconstitue la genèse de ce qu’il faut bien appeler le bilinguisme de Beckett. Or, toute genèse est une proposition théorique, évidemment dépendante du sens que l’on donne au sens du mot 'bilinguisme'; c’est pourquoi il est bon de dire d’emblée que ce qui fait la force et l’originalité de l’hypothèse ici défendue, c’est au fond une définition forte du bilinguisme. Du bilinguisme de Beckett. […] Chiara Montini parle donc résolument, et justement, d’une poétique bilingue. C’est-à-dire d’un projet d’écrivain qui aurait choisi, à un moment donné de sa carrière (La Bataille du soliloque reconstitue ce moment) non une autre langue, mais deux langues. Car finalement, on le sait bien, entre l’anglais et le français, Beckett n’a jamais choisi. Il n’a jamais cessé de pratiquer l’une et l’autre langues. Et même, contrairement à une idée assez répandue, l’une et l’autre en même temps. Le sens du mot 'genèse' doit donc être mis en rapport avec cette pratique d’écriture absolument inouïe. Chiara Montini distingue trois périodes dans l’œuvre, la dernière (le bilinguisme) constituant une sorte d’aboutissement qu’on peut dire logique même s’il est vrai qu’il perturbe de fond en comble le paysage poétique du siècle. – Bruno ClémentTable of ContentsPréface de Bruno Clément : Logique du bilinguisme Introduction Chapitre I: Le monolinguisme polyglotte (1929-1937) Première partie : les essais critiques Deuxième partie : la fiction destructrice Troisième partie : vers le bilinguisme anglophone Chapitre II: Le bilinguisme anglophone (1939-1945) Première partie : l’exil et la transition Deuxième partie : Watt Troisième partie : une rencontre exceptionnelle. Quatrième partie : comment « mettre à mal » la langue Chapitre III: Le bilinguisme francophone (1946-1953) Première partie : Mercier et Camier Deuxième partie : les mots, les personnages Troisième partie : représentations, réécriture, traduction Conclusions et ouvertures Bibliographie Index

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Book SynopsisMallarmé hors frontières s’attache à dessiner un nouveau profil de Mallarmé et à découvrir la mobilité de sa pensée, contrariant certaines caractérisations irrémédiablement associées à son nom – hermétisme, obscurité, misanthropie vis-à-vis de la réalité historique –, résultant de lectures fragmentaires, souvent essentialistes de son œuvre. L’impact de Mallarmé sur le Symbolisme est pourtant majeur. A partir de 1885 surtout, on assiste à une convergence d’idées, puis à un regroupement d’un vaste éventail de poètes autour du « maître » de la rue de Rome. Eclectique, « franco-étrangère », cosmopolite, cette génération est à l’image même du mouvement : on ne peut l’enfermer dans des frontières strictes, créant une dynamique d’échanges tout à fait exemplaire entre Paris et la Belgique. Parmi les jeunes écrivains débutant dans l’effervescence symboliste, Maurice Maeterlinck est rapidement devenu un nom de proue de la rénovation du théâtre français. Auteur de La Princesse Maleine et de la célèbre Pelléas et Mélisande, le poète-dramaturge belge commence non seulement sa carrière sous les encouragements de Mallarmé, comme ses pièces révèlent de nombreuses passerelles avec l’œuvre du maître français, chez qui la recherche d’un théâtre nouveau constitue peut-être le véritable fil d’Ariane, depuis Hérodiade, le Faune et Igitur, jusqu’aux textes de la maturité. Le premier théâtre maeterlinckien a donné à des principes comme la suggestion, l’effet et le mystère une dimension “active”, créant un filon symbolique du projet de Mallarmé, hors frontières, au seuil de la modernité.Table of ContentsPréface de Franc Schuerewegen Introduction Première partie : Mallarmé Mobile Chapitre I – D’un symbolisme en mouvement Chapitre II – Sous le signe de l’échange Deuxième partie : L’armature dramatique de l’Œuvre (1862-1870) Chapitre I – Exil et renouveau Chapitre II – Dans le théâtre de l’Œuvre Troisième partie : Pli selon pli: l’interversion paradigmatique de Maurice Maeterlinck Chapitre I – Du rêve à la réalité Chapitre II – Découvertes de Maeterlinck Chapitre III – Rêve est réalité dans le premier théâtre maeterlinckien Conclusion Bibliographie Index des noms

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Book SynopsisHow are masculinities enacted in Australian theatre? How do Australian playwrights depict masculinities in the present and the past, in the bush and on the beach, in the city and in the suburbs? How do Australian plays dramatise gender issues like father-son relations, romance and intimacy, violence and bullying, mateship and homosexuality, race relations between men, and men’s experiences of war and migration? Men at Play explores theatre’s role in presenting and contesting images of masculinity in Australia. It ranges from often-produced plays of the 1950s to successful contemporary plays – from Dick Diamond’s Reedy River, Ray Lawler’s Summer of the Seventeenth Doll, Richard Beynon’s The Shifting Heart and Alan Seymour’s The One Day of the Year to David Williamson’s Sons of Cain, Richard Barrett’s The Heartbreak Kid, Gordon Graham’s The Boys and Nick Enright’s Blackrock. The book looks at plays as they are produced in the theatre and masculinity as it is enacted on the stage. It is written in an accessible style for students and teachers in drama at university and senior high school. The book’s contribution to contemporary debates about masculinity will also interest scholars in gender, race and sexuality studies, literary studies and Australian history.Trade Review"Men at Play makes a timely contribution to current social and scholarly debates about masculinity." - in: Theatre Research International, 34.2Table of ContentsList of figures Foreword by the Series editor Author biographies Acknowledgements Introduction Chapter 1: “What’s a man to do?” Chapter 2: Fists, boots and blues Chapter 3: The bully and the businessman Chapter 4: Black men, white men Chapter 5: In the theatre of war Chapter 6: “Wog boy” moves Chapter 7: Representing gay masculinities Chapter 8: From father to son Chapter 9: Between the sea and the sky References Index

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Book SynopsisPresence in Play: A Critique of Theories of Presence in the Theatre is the first comprehensive survey and analysis of theatrical presence to be published. Theatre as an art form has often been associated with notions of presence. The ‘live’ immediacy of the actor, the unmediated unfolding of dramatic action and the ‘energy’ generated through an actor-audience relationship are among the ideas frequently used to explain theatrical experience – and all are underpinned by some understanding of ‘presence.’ Precisely what is meant by presence in the theatre is part of what Presence in Play sets out to explain. While this work is rooted in twentieth century theatre and performance since modernism, the author draws on a range of historical and theoretical material. Encompassing ideas from semiotics and phenomenology, Presence in Play puts forward a framework for thinking about presence in theatre, enriched by poststructuralist theory, forcefully arguing in favour of ‘presence’ as a key concept for theatre studies today.Table of ContentsAcknowledgements Introduction Chapter 1: Making-Present: The Fictional Mode of Presence Chapter 2: Having Presence: The Auratic Mode of Presence Chapter 3: Being Present: The Literal Mode of Presence Chapter 4: Deconstructing Presence Chapter 5: The Presence of Liveness Chapter 6: Signifying Presence Conclusion: The Magic of Theatre Bibliography Index

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Book SynopsisGlobal Changes - Local Stages investigates the relationships between what happened the last twenty years on the ‘world stage’ and how theatre life developed on the local level. The subject has been approached from three different angles, each covered by one part of the book: “The Effects of Social Changes on Theatre Fields”, “Values in Theatre Politics” and “Localization of Theatrical Values”. The group of authors tries to find the links between these three areas. The book profits from the fact that the authors come from two sides of the former ‘Wall’. Twenty years after its fall, the transitional processes in countries of the former ‘Eastern Bloc’ can be compared, not only mutually, but also with the changes in the Western part of Europe. With its 537 pages Global Changes - Local Stages is the most extensive research of the possible relationships between cultural change, theatre politics and theatre life in smaller European countries.Table of ContentsEditors’ Preface About the Contributors Part 1: The Effect of Social Changes on Theatre Fields Anneli Saro: Introduction S.E.Wilmer: National Theatres and the Construction of Identity in Smaller European Countries Anneli Saro: The Interaction of Theatre and Society: The Example of Estonia Barbara Sušec Michieli: Between Inertia and Cultural Terrorism: Slovenian Theatre in Times of Crisis and Change Zsófia Lelke: Changes in the Hungarian Theatre System Kristel Pappel: National Identity Embedded in an International Art Form: The Role of Opera in Estonian Culture Áine Sheil and Joshua Edelman: Internationalization and the Irish State’s Relationship with Theatre and Opera Part 2: Values in Theatre Politics Hans van Maanen: Introduction Louise Ejgod Hansen: Artistic Diversity as a Political Objective Ott Karulin: Becoming a Performing Arts Institution in Estonia Joshua Edelman: Arts Planning in the Irish Theatre: A Cautionary Tale Quirijn Lennert van den Hoogen: Functioning of the Performing Arts in Urban Society: Political Views on Artistic Experience Mathias Bremgartner: Artist or Manager: Who Should Lead the Swiss City Theatres? Part 3: Localization of Theatrical Values Andreas Kotte: Introduction Andreas Kotte: Theatre and the Discourse on Subsidization Pia Strickler: From Review to Preview: A Process of Rationalization in Mediating Theatre? Attila Szabó: Changing Frames of Social Spaces on the Hungarian Stage Maja Šorli: The Internationalization of Slovenian National Theatre Between 1989 and 1996: The Seven Years of Pandur Theatre Marlieke Wilders: How Theatre Buildings Condition the Realization of Values for Local Audiences Hans van Maanen: How Theatrical Events Determine Theatre’s Functioning in Society Epilogue Quirijn Lennert van den Hoogen and Marlieke Wilders: STEP on Stage: Studying Theatre Systems in Glocal Contexts

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Book SynopsisIn this volume an international cast of scholars explores conceptions of the self in the literature and culture of the Early Modern England. Drawing on theories of performativity and performance, some contributors revisit monological speech and the soliloquy - that quintessential solo performance - on the stage of Marlowe, Shakespeare and Jonson. Other authors move beyond the theatre as they investigate solo performances in different cultural locations, from the public stage of the pillory to the mental stage of the writing self. All contributors analyse corporeality, speech, writing and even silence as interrelated modes of self-enactment, whether they read solo performances as a way of inventing, authorizing or even pathologizing the self, or as a mode of fashioning sovereignty. The contributions trace how the performers appropriate specific discourses, whether religious, medical or political, and how they negotiate hierarchies of gender, rank or cultural difference. The articles cut across a variety of genres including plays and masques, religious tracts, diaries and journals, poems and even signatures. The collection links research on the inward and self-reflexive dimension of solo-performances with studies foregrounding the public and interactive dimension of performative self-fashioning. The articles collected here offer new perspectives on Early Modern subjectivity and will be of interest to all scholars and students of the Early Modern period.Table of ContentsManfred Pfister: Foreword Ute Berns: Solo Performances — an Introduction Authoring and Authority Ina Schabert: The Theatre in the Head: Performances of the Self for the Self by the Self Andrew James Johnston: Subjectivity and the Ekphrastic Prerogative: Emilia’s Soliloquy in The Two Noble Kinsmen Richard Wilson: Our Good Will: Shakespeare’s Cameo Performance Werner von Koppenfels: Spiritual Self-Fashioning: John Lilburne at the Pillory Self-Inventions and Pathologies Jürgen Schlaeger: Auto-Dialogues: Performative Creation of Selves Günter Walch: The Life and Strange and Surprising Adventures of Hamlet, of Denmark Maria Del Sapio Garbero: A Spider in the Eye/I: The Hallucinatory Staging of the Self in Shakespeare’s The Winter’s Tale Rui Carvalho Homem: Of Idiocy, Moroseness, and Vitriol: Soloists of Rage in Ben Jonson’s Satire Wolfgang G. Müller: The Poem as Performance: Self-Definition and Self-Exhibition in John Donne’s Songs and Sonets Margret Fetzer: Plays of Self: Theatrical Performativity in Donne Fashioning Sovereignty Roger Lüdeke / Andreas Mahler: Stating the Sovereign Self: Polity, Policy, and Politics on the Early Modern Stage Jerzy Limon: The Monarch as the Solo Performer in Stuart Masque Ralf Hertel: Turkish Brags and Winning Words: Solo Performances in Christopher Marlowe’s Tamburlaine the Great Notes on Contributors

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Book SynopsisIn 1549, Prince Philip of Spain made his entry into Antwerp together with his father, Emperor Charles V. For this occasion the rich city of commerce was transformed into a large theatrical space with triumphal arches and tableaux vivants as stage settings. The citizens and the princes acted as actors in a splendid parade, a battle array of four thousand participants, impressive tournaments and a huge firework display. This resulted in one of the most expensive and impressive festivities of the early modern period. The organizing municipality drew on various theatrical genres in an effort to bring about a renewal in the existing power relations between the Habsburg rulers and themselves, as well as the relations of the rulers with the population. Exactly how the city and the monarch were depicted was illustrative of the precious balance of power between the Habsburgs and the city fathers and of both parties toward their respective subjects. How these power relations were precisely staged in Antwerp is studied in this book.Trade Review"Stijn Bussels has written a wonderful book, one that succeeds in evoking before our eyes the very spectacle that it analyzes. No small merit indeed." – Sofie Kluge, University of Stockholm, in: Comparative Drama, April 2013, pp. 119-21 "Spectacle, Rhetoric and Power is a valuable book, not just for its exposition of the 1549 entry but also for its implications for the study of other entries. More perhaps could have been said about ‘Power’, but as regards ‘Spectacle’ and ‘Rhetoric’, particularly the connections between ceremonial events and theatrical genres or humanist thought, this book is exemplary, and deserves to be widely read." – Andrew Brown, in: Queeste 19/1 (2012), pp. 74-76Table of ContentsAcknowledgments Introduction Sources of the Entry into Antwerp of 1549 A Forum for the Confirmation of Power Relations The Entry into Antwerp Mirrored in Time and Space The Antwerp Entry and Studia Humanitatis Coda Bibliography Index

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Book SynopsisAprès avoir été longtemps réduites à des recueils de sentences morales ou à des modèles rhétoriques, les pièces des grands dramaturges grecs et latins reconquièrent, à la fin du XVe siècle, une part importante de leur théâtralité. Le travail des traducteurs, situé au carrefour de l’explication philologique et de l’appropriation culturelle, est un élément essentiel de ce renouveau. Le théâtre occupe une place centrale parmi les œuvres antiques éditées et commentées par les Renaissants, et dans leurs réflexions sur l’Antiquité, mais pose de nombreux problèmes d’interprétation. Comment lire ces textes destinés à la scène et dont une pleine compréhension engage le ressaisissement d’un monde révolu? Les contributions réunies dans ce volume explorent la diversité des pratiques européennes du XVe au XVIIIe siècle afin de mieux mettre en valeur le rôle joué par la traduction dans le nouveau statut du texte dramatique. Elles éclairent la dimension herméneutique de la traduction, son apport à la réflexion théorique sur le théâtre et la place du spectacle antique dans la Querelle des Anciens et des Modernes.Table of ContentsLarry Norman: Avant-propos Véronique Lochert et Zoé Schweitzer: Introduction Les métamorphoses du commentaire Jean-Frédéric Chevalier: Les lieux de l’herméneutique dans le théâtre sénéquien en Italie aux Trecento et Quattrocento: du commentaire philologique à la traduction poétique Solveig Kristina Malatrait: Térence en Allemagne: les traductions “didactiques” du XVIe siècle, ou ce que cachent les gloses Véronique Lochert: Traduire en images: les illustrations du théâtre antique Florence d’Artois: Las Troyanas (1633) de González de Salas: “nouvelle idée de la tragédie antique” ou dernier avatar du commentaire humaniste? Interpréter la comédie Florence de Caigny: La traduction de Térence par Marolles: Marolles, érudit, pédagogue ou théoricien? Ariane Ferry: Commenter autrement: “l’air galant et nouveau” des comédies de Plaute traduites et présentées par l’abbé de Marolles Pierre Letessier: La division en actes et son commentaire dans les comédies de Plaute traduites par Mme Dacier Catherine Volpilhac-Auger: Aristophane, “poète comique qui n’est ni poète ni comique”, mis en pages et en français au XVIIIe siècle Interpréter la tragédie Tiphaine Karsenti: Les conceptions de la théâtralité tragique dans les trois premières traductions en français de l’Électre de Sophocle Marie Saint Martin: Électre et les bienséances au XVIIIe siècle: de la traduction à l’adaptation Zoé Schweitzer: Traduire des crimes, interpréter la tragédie: les versions du Thyeste de Sénèque (XVIe-XVIIIe siècles) Lectures de l’œuvre antique et théories du théâtre moderne Enrica Zanin: Le théâtre pré-moderne comme quête herméneutique: le cas d’Œdipe Jean-Yves Vialleton: Les pièces perdues de l’Antiquité comme source de la création dramatique au XVIIe siècle: Corneille et Quinault imitateurs d’Euripide Lise Michel: Les Remarques de Dacier sur l’Œdipe de Sophocle (1692): enjeux du commentaire scénique dans le combat d’un “Ancien” Laurence Marie: “Deviner l’action dramatique”: les traductions françaises, anglaises et allemandes de Plaute et de Térence, laboratoires de la revalorisation du spectacle au XVIIIe siècle ? Bibliographie

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Book SynopsisThis volume focuses on the contribution of German-speaking refugees from Nazism to the performing arts in Britain, evaluating their role in broadcasting, theatre, film and dance from 1933 to the present. It contains essays evaluating the role of refugee artists in the BBC German Service, including the actor Martin Miller, the writer Bruno Adler and the journalist Edmund Wolf. Miller also made a career in the English theatre transcending the barrier of language, as did the actor Gerhard Hinze, whose transition to the English stage is an instructive example of adaptation to a new theatre culture. In film, language problems were mitigated by the technical possibilities of the medium, although stars like Anton Walbrook received coaching in English. Certainly, technicians from Central Europe, like the cameraman Wolf Suschitzky, helped establish the character of British film in the 1950s and 1960s. In dance theatre, language played little role, facilitating the influence in Britain of dance practitioners like Kurt Jooss and Sigurd Leeder. Finally, evaluating the reverse influence of émigrés on Germany, two essays discuss Erich Fried’s translations of Shakespeare and Peter Zadek’s early theatre career in Germany.Table of ContentsList of Illustrations Acknowledgements Introduction Radio Charmian Brinson: The Go-Between. Martin Miller’s Career in Broadcasting Jennifer Taylor: Is there Life after Kurt und Willi? Bruno Adler’s anti-Soviet Radio Series Zwei Genossen Ursula Seeber und Barbara Weidle: ‘England but not mine.’ Großbritannien im journalistischen Schaffen von Edmund Wolf Theatre Richard Dove: Gerhard Hinze or Gerard Heinz? A Life in two Acts Marian Malet: Litz Pisk, Dance and Theatre Manya Elrick: ‘Möglichst nah am Original.’ Erich Fried, Poet, Translator and would-be Performer Anna Nyburg: Margarete Berger Hamerschlag and the Theatre. Vienna, Rome, London Günther Rühle: Vom Englischen ins Deutsche. Peter Zadeks Weg ins deutsche Theater Anthony Grenville: Lutz Weltmann, Theatre Critic and Cultural Mediator in the AJR Information Dance Thomas Kampe: The Choreographer Hilde Holger. Between Three Worlds Clare Lidbury: Kurt Jooss and Sigurd Leeder. Refugees, Battle and Aftermath Film Christian Cargnelli: ‘Just part of my Continental charm.’ Anton Walbrooks Filmkarriere im britischen Exil Brigitte Mayr and Michael Omasta: A Lucky Man. Wolf Suschitzky – Photographer and Cameraman Obituary Wilfried Weinke: ‘...den Menschen und den Sachen auf den Grund zu kommen.’ Zu Leben und Werk von Jens Brüning Contributors Index

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Book SynopsisThe Legacy of Opera: Reading Music Theatre as Experience and Performance is the first volume in a series of books compiled by the Music Theatre Working Group of the International Federation for Theatre Research. The series explores the widening of the meaning of the term “music theatre” to reflect new ways of thinking about this creative practice beyond the genres circumscribed by discourses of theatre studies and musicology. Specifically it interrogates the experience of music theatre and its performance energies for contemporary audiences who engage with the emergence of new expressive idioms, new performative paradigms, new technologies and new ways of thinking. The Legacy of Opera considers some of the ways in which opera’s influence has informed our understanding of and approach to the musical stage, from the multiple perspectives of the ideological, historical, corporeal and artistic. With contributions from international scholars in music theatre, its chapters explore both canonic and experimental examples of music theatre, spanning a period from the seventeenth century to the present day.Table of ContentsAcknowledgments List of illustrations Dominic Symonds and Pamela Karantonis: Empty houses, booming voices Bianca Michaels: Is this still opera? Media operas as productive provocations Nicholas Till: A new glimmer of light: Opera, metaphysics and mimesis Sarah Nancy: The singing body in the Tragédie Lyrique of seventeenth- and eighteenth-century France: Voice, theatre, speech, pleasure Clemens Risi: Performing affect in seventeenth-century opera: Process, reception, transgression Magnus Tessing Schneider: The Violettas of Patti, Muzio and Callas: Style, interpretation and the question of legacy Pamela Karantonis: The tenor in decline? Narratives of nostalgia and the performativity of the operatic tenor Michael Eigtved: The Threepenny Opera: Performativity and the Brechtian presence between music and theatre Jeongwon Joe: The acousmêtre on stage and screen: The power of the bodiless voice David Roesner: Dancing in the twilight: On the borders of music and the scenic Pieter Verstraete: Turkish post-migrant “opera” in Europe: A socio-historical perspective on aurality Dominic Symonds: “Powerful spirit”: Notes on some practice as research Abstracts Notes on contributors Bibliography Index

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Book SynopsisThis book, the first cross-cultural study of post-1970s anglophone Canadian and American multi-ethnic drama, invites assessment of the thematic and aesthetic contributions of this theater in today’s globalized culture. A growing number of playwrights of African, South and East Asian, and First Nations heritage have engaged with manifold socio-political and aesthetic issues in experimental works combining formal features of more classical European dramatic traditions with such elements of ethnic culture as ancestral music and dance, to interrogate the very concepts of theatricality and canonicity. Their “mouths on fire” (August Wilson), these playwrights contest stereotyped notions of authenticity. In¬spired by songs of anger, passion, experience, survival, and regeneration, the plays analyzed bespeak a burning desire to break the silence, to heal and empower. Foregrounding questions of hybridity, diaspora, cultural memory, and nation, this comparative study includes discussion of some twenty-five case studies of plays by such authors as M.J. Kang, August Wilson, Suzan–Lori Parks, Djanet Sears, Chay Yew, Padma Viswanathan, Rana Bose, Diane Glancy, and Drew Hayden Taylor. Through its cross-cultural and cross-national prism, “Mouths on Fire with Songs” shows that multi-ethnic drama is one of the most diverse and dynamic sites of cultural production in North America today.Trade Review"De Wagter most productively examines how playwrights of color negotiate the boundaries of ethnic, national, and cultural identities. A major innovation of her study is its comparative and transnational exploration of how authors engage with difference and hybridity to challenge the status quo and imagine possible social transformations." – Harry J. Elam, Jr., Professor of Drama, Stanford University "In her groundbreaking comparative study, De Wagter offers a detailed examination of contemporary multi-ethnic drama in Canada and the USA. As her perceptive cross-cultural analyses demonstrate, the North American stage can boast some of the most aesthetically sophisticated and politically vibrant theatre of our age." – Marc Maufort, Professeur ordinaire, Université Libre de BruxellesTable of ContentsAcknowledgments Introduction Staging Hybridity on the North American Scene Shattering the North American Dream: Testimonies and Experiences Cultural Memory in North American Drama Performing Imagined Communities Conclusion: Millennial Vistas Works Cited Index

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Book SynopsisPlaying Culture represents one of the corner stones in the model of the Theatrical Event, as developed by the Working Group of the International Federation for Theatre Research (IFTR). In this volume, thirteen scholars contribute to illuminate the significance and possibilities of playing within the framework of theatrical events. Playing is understood as an essential part of theatrical communication, from acting on stage to events far from theatre buildings. The playfulness characterizing academic traditions sets the tone in the introduction, illustrating the four sections of the book: Theories, Expansions, Politics and Conventions. The theoretical chapters depart from the classical Homo Ludens and offer a number of new perspectives on what play and playing implies in today’s mediatized culture. The contributions to the second section on extensions, deal with playing in non-theatrical circumstances such as market places, passports and stock holders’ meetings. The third section on the politics of playing focuses on wood-chopping women, saints and youngsters in South African townships – all demonstrating their social and political ambitions and purposes. The last section returns to the stage on which performers intend to represent, respectively, themselves, Bunraku puppets or the audience. Playing appears in many forms and in many places and constitutes a basic principle of theatre and performance. This book touches upon important theoretical implications of playing and offers a wide range of historical and contemporary examples. Playing Culture – Conventions and Extensions of Performance is the third book of the IFTR Working Group on The Theatrical Event. The first volume, entitled Theatrical Events – Borders Dynamics Frames was published in 2004, followed by Festivalising! Theatrical Events, Politics and Culture in 2007. The present volume continues to expand the vision of the Theatrical Event as a theory and model for the study of playing, theatre, performance and mediated events.Table of ContentsWillmar Sauter: Playing Culture – an Introduction Part One: Theories Shulamith Lev-Aladgem: Playing Culture: The Return of/to the Homo Ludens Andreas Kotte: Play Is the Pleasure of Being the Cause. On the Comparability of Scenic Sequences within the Playing Culture Willmar Sauter: Playing Is Not Pretending Part Two: Extensions Loren Kruger: Performance, Production and Other Spatio-temporal Practices in the Edgy City Anneli Saro: Writing: Exploring the Margins of Playing and Theatricality Barbara Orel: Naming as a Playing Practice and Political Strategy Janne Tapper: Pervasive Games: Representations of Existential In-between-ness Part Three: Politics Rikard Hoogland: Playing on and around the Public Square Vicki Ann Cremona: When the Saint Comes Marching out – the Cultural Playing of a Maltese Festa Gay Morris: Playing with Change: Repetition and Innovation in Township Performance Part Four: Conventions Henri Schoenmakers: ‘Being Oneself on Stage’: Modalities of Presence on Stage Mitsuya Mori: The Structure of Acting Reconsidered: from the Perspective of a Japanese Puppet Theatre, Bunraku David Graver: The Theatricality of Playing over and Playing out Biographies Index

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Book SynopsisDrama for Life, University of the Witwatersrand, aims “to enhance the capacity of young people, theatre practitioners and their communities to take responsibility for the quality of their lives in the context of HIV and AIDS in Africa. We achieve this through participatory and experiential drama and theatre that is appropriate to current social realities but draws on the rich indigenous knowledge of African communities.” Collected here is a representative set of research essays written to facilitate dialogue across disciplines on the role of drama and theatre in HIV/AIDS education, prevention, and rehabilitation. Reflections are offered on present praxis and the media, as well as on innovative research approaches in an interdisciplinary paradigm, along with HIV/AIDS education via performance poetry and other experimental methods such as participant-led workshops. Topics include: the call for a move away from the binaries of much critical pedagogy; a project, undertaken in Ghana and Malawi with people living with AIDS, to create and present theatre; the contradictions between global and local expectations of applied drama and theatre methodology, in relation to folk media, participation, and syncretism. Three case studies report on mapping as a creative device for playmaking; the methodology of Themba Interactive Theatre; and applying drama with women living with HIV in the Zandspruit Informal Settlement. The essays validate the importance of play in both energizing those in positions of hopelessness and enabling the distancing essential to observe one’s situation and enable change. The book stimulates the ongoing investigation of current practice and extends an invitation to further develop innovative approaches.Table of ContentsList of Illustrations Acknowledgements Introduction Setting the Scene Patrick Mangeni: Negotiating the Space: Challenges for Applied-Theatre Praxis with Local Non-Governmental/Community-Based Organizations in HIV/AIDS Contexts in Uganda David Kerr: HIV Communication: Global Emergencies, Media Templates, and African Communities (A Personal Journey) Innovations in Research Approaches Emelda Ngufor Samba: Appreciative Inquiry – An Alternative Approach to Applied Theatre Gordon Bilbrough: After the Curtain – Reframed: Using Action Research to Reflect, Monitor, and Evaluate the Applied-Theatre Experience Rebecca Ann Rugg: Collaboration as Research: Yale University, Siwela Sonke Dance Theatre, Clowns Without Borders South Africa, and People’s Educational Theatre Swaziland Nehemiah Chivandikwa: Participatory Theatre for Development as Action Research: Methodological, Theoretical and Ethical Challenges, Tensions and Possibilities with Specific Reference to an HIV/AIDS and Disability Project (2007–2010) Innovations in HIV/AIDS Awareness Education Diana Wilson and Karen Suter: The Lover and Another: A Consideration of the Efficacy of Utilizing a Performance Poetry Competition as Vehicle for HIV/AIDS Education Among Young Adults Selloane Mokuku: Do, Be, Do: Insights from ‘Rapid Cognition’ in a Theatre-Making Process Johannes Visser: Space and Involvement – Theatre in (a) South African Prison Innovations in Research Practice/Theory Alexandra Sutherland: Dramatic Spaces in Patriarchal Contexts: Constructions and Disruptions of Gender in Theatre Interventions About HIV Galia Boneh: This Is My Story: A Model for Creating Performance Engaging Artists and People Living with HIV/AIDS Kennedy Chinyowa: A Poetic of Contradictions? HIV/AIDS Interventions at the Crossroads of Localization and Globalization Jamie Lachman: Project Njabulo: Using Storytelling, Drama, and Play Therapy for Psycho-Social Interventions in Communities Affected by HIV/AIDS in Southern Africa – Pathways to Empathetic Locally Sustainable Care Innovative Case Studies Myer Taub: Dramatic Beading Remo Chipatiso: Evaluation of Applied Drama and Theatre in HIV/AIDS Interventions: A Case Study of Themba Interactive Tendai Mtukwa: Theatre as Border-Crossing Among Women Living with HIV: A Case Study of Zandspruit Informal Settlement Notes on Contributors Onomastic Index Notes for Contributors

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Book SynopsisFocusing on the most definition-resistant art movement in history and departing from its two chief characteristics: intermediality and interactivity, this book develops an original theory of practice, the experiential philosophy of non-duality, which is the philosophy of dynamic co-constitutivity. This is done by tracing the performativity of intermedial works – works that fall conceptually between the art and the life media, such as Bengt af Klintbergs’s event score: “Eat an orange as if it were an apple” – in five key areas of human experience: language, temporality, the sensorium, social rites and rituals, and systems of economic exchange. The main argument, woven with the aid of the Derridian blind tactics, the Gramscian production of social life and the Zen-derived interexpression of Kitaro Nishida, is that the practical philosophy of co-constitutivity arises from the logic of the intermedium. In pursuing this argument, the book does three things: (1) it theorises an oeuvre that has remained under-theorised due to its fundamentally non-discursive nature and in doing so reinstates Fluxus as an influential cultural, rather than a “merely” artistic paradigm; (2) it serves as a companion to thinking by doing since most Fluxus intermedia are ready-mades, and, as such, readily available in the everyday environment; and (3) it establishes the counter-hegemonic logic of fluxing while tracing its legacy in contemporary practices as diverse as the culture-jamming activism of The Yes Men, the paradoxical performance work of Song Dong and the pervasive game worlds of Blast Theory.Trade Review"A valuable attempt to understand systematically how Fluxus is preoccupied with structures of power/authority and its convolutions, capable of moving from simple acts of refusal to deeper and open contestations of hierarchies, institutionalizations and cultural sedimentations. Such a pinning down of the research scope benefits both the central argument and its intuitive dispositions." – Flutur Troshani, University of HelsinkiTable of ContentsPreface and Acknowledgements Chapter One: Introduction Chapter Two: Language Chapter Three: Temporality Chapter Four: The Sensorium Chapter Five: Social Rites and Rituals Chapter Six: Systems of Economic Exchange Chapter Seven: Conclusion: The Logic and Legacy of Fluxing Bibliography Index

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Book SynopsisTennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges documents the bi-directional exchange of ideas and images between Williams and post-war Europe that have altered the artistic landscapes of both continents. Fifteen Williams scholars from around the world examine this artistic symbiosis and explore avenues of research mostly uncharted in Williams scholarship to date, including our understanding of the early Williams and the uses he made of various European sources in his theatre; the late Williams and the promise European theatre afforded him with his experimental plays; and the posthumous Williams and his influence on late twentieth- and early twenty-first-century European theatre and cinema. To some extent both a product of and a muse for Europe over the last half century, Williams is well positioned to become America’s most famous playwright on the international stage. This book hopes to mark the beginnings of Williams’ rich critical tradition within that global context.Table of ContentsIllustrations Ackowledgments “Foreword”, Thomas Keith: “Introduction”, John S. Bak: Part One: Tennessee Williams and Europe “En avant! Tennessee Williams between Hyperborea and the Mediterranean”, Felicia Hardison Londré: “‘Violets & Carnations Sold on every Corner’: Tennessee Williams, Europe and Flowers”, James M. DelPrince: “‘Lightning in a Cloud’: Tennessee Williams’ Theatrical Expressionism”, Henry I. Schvey: “Sergei Eisenstein, Hollywood and Tennessee Williams’ ‘Plastic Theatre’”, Richard Hayes: “The View from Here and Abroad: Tennessee Williams and 1950s Hollywood Cinema”, R. Barton Palmer: Part Two: Tennessee Williams and Europe’s Intercultural Encounters “Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-war Sweden”, Dirk Gindt: “Tennessee Williams’ Ladies Speak Italian: Cinematic Voices on Stage and in Dubbing”, Alessandro Clericuzio: “Sea, Sun and ‘Quien Sabe!’: Tennessee Williams and Spain”, Laura Torres-Zúñiga: “Tennessee Williams in Spain: The Early Years (1945-1957)”, Ramón Espejo Romero: “Tennessee Williams on the Bulgarian Stage: Cold War Politics and Politics of Reception”, Kornelia Slavova: Part Three: Tennessee Williams and Europe’s Transatlantic Exchanges “The Kindness of Strangers?: Tennessee Williams in France and Germany”, David Savran: “Their Date with Each Other from the Beginning: Tennessee Williams and Harold Pinter”, Michael Paller: “Tennessee Williams and Ivo van Hove at Home Abroad”, Johan Callens: “Un Tramway: Warlikowski’s Desire to Reignite American Theatre in Europe”, Xavier Lemoine: “Pedro Almodóvar’s ‘Homage’ to Tennessee Williams”, Michael S. D. Hooper: Notes on Contributors Index

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Book SynopsisThe Romantic Stage: A Many-Sided Mirror examines late eighteenth- and early nineteenth-century British theatre and drama with the conviction that they made an essential contribution to the aesthetic and ideological complexity of the British culture of the day. The essays collected in this volume seek to capture the richness and diversity of British Romantic theatre and drama and situate them at the centre of the multiple, and often radical, literary and social transformations that the Age brought about. The volume is divided into four main sections: “Contextualizing Romantic Theatre and Drama”, “Drama across the Arts”, “Staging the Gothic (Fear on Stage)” and “Texts, Theories and Contexts”. Each section is dedicated to a particular aspect of English Romantic drama examined through interdisciplinary, international and inter-generic perspectives.Trade Review“The popularity of nineteenth-century theatre makes the lack of scholarly attention it has received until recently all the more surprising. Students of theatrical literature traditionally encounter a gap between Restoration and eighteenth-century plays […] Scholars wishing to explore this enormous—and enormously understudied—area of research will find these two books very useful places to start.” - Arnold Anthony Schmidt, California State University Stanislaus, in: European Romantic Review 28.1 (2017), pp. 130-137Table of ContentsList of Illustrations Lilla Maria Crisafulli and Fabio Liberto: The Romantic Stage: Holding the Mirror up to Nature and Culture Jeffrey N. Cox: Editing Romantic Drama: Problems of Value, Volume, and Venue Part One: Contextualizing Romantic Theatre and Drama Nicoletta Caputo: Theatrical Periodicals and the Ethics of Theatre in the Romantic Age Michael Gamer: Romantic Drama and the Popular Theatre Carlotta Farese: The Strange Case of Herr von K: Further Reflections on the Reception of Kotzebue’s Theatre in Britain Part Two: Drama Across the Arts Fabio Liberto: Shakespeare’s Visual Memorability During Romanticism Claudia Corti: Poses and Pauses: The Theatrical Portrait in English Romanticism Lilla Maria Crisafulli: “A Language in Itself Music”: Salvatore Viganò’s Ballet en Action in Shelley’s Prometheus Unbound Part Three: Staging the Gothic (Fear on Stage) Diego Saglia: Staging Gothic Flesh: Material and Spectral Bodies in Romantic-Period Theatre Giovanna Silvani: Matthew G. Lewis’ Theatre: Fear on Stage Frederick Burwick: Vampires in Kilts Part Four: Texts, Theories and Contexts Franca Dellarosa: Dramatic Discourse and the Romantic Stance in Joanna Baillie’s Theatre Rosy Colombo: Closet Drama on the Stage of Revolution: Language on Trial in Wordsworth’s The Borderers Carla Pomarè: Sardanapalus, or, Romantic Drama between History and Archaeology Valeria Pellis: The Sensory and the Ideal: S.T. Coleridge’s Aesthetics in Romantic Theatrical Discourse Bibliography Notes on Contributors Index

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Book SynopsisWhen W.B. Yeats and Lady Gregory set out in 1897 to create an Irish theatre, they expressed their openness to dramatic experimentation. However, the Abbey Theatre that was their legacy increasingly came to resist non-traditional dramaturgy. Ranging over a period of more than a century, the essays in Beyond Realism focus on theatre that has challenged what came to be perceived as the dominance of realism in Irish drama. The contributors demonstrate that, in the first half of the twentieth century, playwrights such as George Fitzmaurice, Sean O’Casey, and Jack B. Yeats produced unconventional theatre that challenged the norm of realism; they show that Irish dramatists since the 1980s, including Thomas Kilroy, Vincent Woods, and Patricia Burke Brogan further broadened the range of theatrical methods. The concluding essays on contemporary works that use multiple techniques, technology, and site-specific locations suggest that non-realistic, highly theatrical approaches are no longer the exception in Irish drama.Trade Review“This volume is a most thought-provoking collection of essays that challenge Irish theater historiographies and point to the opportunities for scholarship on Irish performance and production history. Almost all of the plays discussed in this collection reference the uneasy relationship between experiment and realization and, by doing so, create an alternative, rich canon of unperformed plays.” - Elaine Sisson, Institute of Art, Design, and Technology, Dun Laoghaire, in: breac: A Digital Journal of Irish Studies, May 4, 2017 “Beyond Realism is an ambitious undertaking. Covering more than a century of Irish theater, the collection reveals that there was not necessarily an acceleration of radical steps away from realism as time moved forward. Rather, the book makes the case that formation of an ‘experimental and unconventional’ canon has been there since the beginning. We just needed to have it pointed out to us.” - Elizabeth Mannion, in: New Hibernia Review 19/4 (Winter 2015)Table of ContentsAcknowledgments Joan FitzPatrick Dean and José Lanters: Introduction Christopher Collins: “This World of Inarticulate Power”: J.M. Syngeʼs Riders to the Sea and Magical Realism Fiona Brennan: “Magic and Menace”: A Re-evaluation of George Fitzmauriceʼs The Magic Glasses Michael Pierse: Cock-a-Doodle Dandy: OʼCaseyʼs Total Theatre Alexandra Poulain: The Passion of Harry Heegan: Sean OʼCaseyʼs The Silver Tassie Ondřej Pilný: Doing Justice to Swift: Denis Johnstonʼs Solution in Diverse Modes Akiko Satake: Jack B. Yeatsʼ In Sand : An Experiment in the Toy Theatre Ian R. Walsh: Theatricality in Verse: Donagh MacDonaghʼs Happy as Larry and the Lyric Theatre Michael A. Moir, Jr: Childe Louis to the Broadcast Tower Came: Louis MacNeice, Radio Drama and the Dismantling of Yeatsian Theatrical Space Peter OʼRourke: Illuminating the Margins of History: Non-Realist Motivations in the Work of Thomas Kilroy Mary Ann Ryan: Fear and Loathing in Fermanagh: Apostasy and Ambiguity in Vincent Woodsʼ At the Black Pigʼs Dyke Charlotte J. Headrick: Through a Womanʼs Eyes: Non-realistic Directing Strategies for Staging Plays by Irish Female Dramatists Clare Wallace: “The Heel of the Oppressor in a Ferragamo Shoe”: Medium and Message in Improbable Frequency Charlotte McIvor: Ireland, China, Belgium, Finland: Brokentalkers and the Transnational Connectivities of Post-Celtic Tiger Performance Notes on Contributors Index

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Book SynopsisThis book about the work of actor director John Bell is essential reading for anyone interested in Australian theatre and in Shakespearean performance. Adrian Kiernander lucidly explains how, for over five decades, Bell has revived and reinvented theatre in Australia with his interpretations of radical new drama and particularly his innovative approach to staging Shakespeare’s plays.Table of ContentsSeries Editor’s Preface Acknowledgments Note on References Abbreviations Introduction Chapter One: A National Theatre Chapter Two: Acting Against Tradition Chapter Three: Directing New Australian Plays Chapter Four: Entrepreneur and Teacher Chapter Five: Australian Shakespeares Epilogue: Australian Shakespeare in the New Millennium Appendix: Table of Productions Bibliography Index

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Book SynopsisThis analysis of twenty published texts by David Hare employs definitions from contemporary semiotic literary theory as a means of describing typologies of political drama. By tracing the incorporation of stylistic devices from agitational propaganda (caricature, self-referentiality, the frisson between oral and visual signification) throughout the typologies, the study illustrates how each text subverts audience expectation based on established dramatic genres. The collection of texts is seen as inherently self-referential and politically subversive. At the centre of each typology is a protagonist who functions as a martyr to or parodic emblem of contemporary society. Consistently, the hermeticism of public institutions which represent the political status quo makes them immune from any form of individual protest from the Left or Right. In the satirical anatomy, the emblem of political dissent is coopted by involvement within the institution, or the stage is dominated by a conservative who controls the action. In the demythology, private individuals are seen as incapable of altering the public frame of history; but here private suffering subverts the collective mythology of the historical construct. In the martyrology, the emblem of dissent is associated with a moral virtue which is inimical to contemporary society, the audience's expectation of the triumph of the individual being subverted when he/she is expelled from the onstage world on the grounds of political ideology. It is only in the final typology, the conversion, that a conservative emblem is seen as directly influenced by such martyrdom, and the audience is provided with an actual example of political change. Thus, the study describes how each typology builds on the construction of the previous, and all generate from agitational propaganda.

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Book SynopsisIn 1977, the Gardzienice Theatre Association, an experimental theatre company was founded in a tiny Polish village. By 1992 The Observer was hailing "Brilliant Gardzienice...and orgy of joy, anguish, prayer and lamentation performed in candlelight with hurtling energy and at breakneck speed...Physically reckless, thrillingly well sung...On no account to be missed. " Today the Gardzienice Theatre Association is hailed as Poland's leading theatre group, training Royal Shakespeare Company actors and touring the world. Paul Allain describes and analyses their sung performances, strenuous physical and vocal training, and anthropological fieldwork amongst marginalized European minorities. This is one of the first detailed attempts to assess developments in Polish experimental theatres since 1989. The author questions whether those artists can maintain their vision in the face of Poland's economic difficulties and increased commercialization of the arts.Trade Review"Paul Allain is both an academic and a practitioner. This is a rare combination, and in writing about the Gardzienice Theatre Association he provides a sharp critical analysis with an insider's understanding of what it is to make theatre. As a director, I have been inspired by Gardzienice and welcome this illuminating account of their work. I am sure this book will inspire many others.""Allain successfully evokes the intensity of these producitons....[A] well-researched and authoritatively written study of a fascinating theatrical phenomenon.""A much needed in-depth study of one of the world's most important experimental and community-based performance groups. Allain situates Gardzienice both as part of Poland and as part of world theatre. Even as he tells Gardzienice's history and practices, he relates the work to contemporary performance theory and the intercultural performance movement."Table of ContentsIntroduction to the SeriesList of PlatesAcknowledgementsIntroduction 1. Polish Theatre - Romanticism Fades 2. The Rural Context and Gardzienice Village 3. Polish Society - The Art of Gathering 4. The Formation of Gardzienice - From Grotowski and Paratheatre 5. Training 6. Performances 7. European Parallels - Future Models 8. An Intercultural Assessment 9. Searching for a New Language ConclusionPostscriptAppendix: Polishing up on our ClassicsNotesBibliographyIndex

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Book SynopsisOff Nevsky Prospekt is the first study to be published in English of the exceptionally rich and diverse theatre studio movement which has flourished in St Petersburg during the 1980s and '90s. Professor Markova charts the development of the theatre studios - from their beginnings as a reaction to the repressive atmosphere of the Soviet period and through the "theatre bacchanalia" of the Perestroika years. She then surveys today's vibrant scene, with analyses of key productions and interviews with many of the central figures, and describes how theatre studios have subverted the conventions of the past to create a new dialogue with the changing society from which their audience is drawn.Table of ContentsIntroduction to the series List of Plates 1. Before we turn off Nevsky Prospekt (In lieu of an introduction) 2. Never lie to yourself 3. A stranger among my own people 4. Why is everything always so hard for us all? 5. A youth rehabilitation centre 6. An ecological niche 7. Theatre of dreams 8. Private life in the show genre 9. In search of the fire to make the omelette 10. Entry by love only 11. Derevo: the Tree and its roots 12. Diklon flickers on 13. What we have we don't measure, when we lose it we cry 14. Postscript Index

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