Theatre studies Books

Book SynopsisKathleen Gallagher uses the drama classroom as a window into the daily challenges of marginalized youth in Toronto, Boston, Taipei, and Lucknow.Trade Review'Why Theatre Matters is written as a beautifully moderated conversation among the students and the teachers... This book reflects a researcher who pursues excellence and vulnerability together, inviting the field of theatre education to do the same.' -- Cortney McEniry Theatre Topics vol 26:03:2016Table of ContentsIntroduction Chapter One: The Complexity of People, Conversation, and Space as Data Chapter Two: The Social and Pedagogical Context for Engagement Chapter Three: The Multi-dimensionality of Engagement: Academic Achievement, Academic Enthusiasm, Voluntary Initiative and What the Numbers Tell Us Chapter Four: Social Performances: Students and Teachers Inhabit Their Roles Chapter Five: Life or Theatre? Chapter Six: Up Close and Personal: Unfinished Stories Appendix 1: Social Identity Categories Appendix 2: Tables References

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Book SynopsisTaking Exception to the Law explores how a range of early modern English writings responded to injustices perpetrated by legal procedures, discourses, and institutions.Trade Review'The editors gather an admirable selection of essays from a range of scholars...Taking Exception to the Law provokes stimulating conversation between legal and literary sources.' -- Larissa Tracy Sixteenth Century Studies vol 47:02:2016 'The volume takes its place among lively and rapidly expanding scholarship on early modern law and literature... Such a survey can do little, of course, to give a full sense of the richness of the volume but perhaps can tantalize readers with the variety of texts and breadth of concepts the authors tackle.' -- Karen Cunningham Renaissance Quarterly vol 69:02:2016 'Highly recommended' -- J.D. Sharpe Choice Magazine, vol 52:12:2015Table of Contents1. Law and the Production of Literature: An Introductory Perspective (Grant Williams) 2. Paper Justice, Parchment Justice: Shakespeare, Hamlet, and the Life of Legal Documents (Bradin Cormack) 3. Conditional Promises and Legal Instruments in The Merchant of Venice (Tim Stretton) 4. The "Snared Subject" and the General Pardon Statute in Late Elizabethan Coterie Literature (Virginia Lee Strain) 5. The Prison Diaries of Archbishop Laud (Debora Shuger) 6. Criminal Biography in Early Modern News Pamphlets (David Stymeist) 7. Two-Sided Legal Narratives: Slander, Evidence, Proof, and Turnarounds in Much Ado About Nothing (Barbara Kreps) 8. No Boy Left Behind: Education and Distributive Justice in Early Modern England (Elizabeth Hanson) 9. Warding off Injustice in Book Five of The Faerie Queene (Judith Owens) 10. Torture and the Tyrant's Injustice from Foxe to King Lear (John D. Staines) 11. The Literatures of Toleration and Civil Religion in Post-Revolutionary England (Elliott Visconsi) 12. Obnoxious Satan: Milton, Neo-Roman Justice, and the Burden of Grace (Paul Stevens)

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Book SynopsisFritz Bennewitz (1926-1995) was the director-in-chief of East Germany''s Weimar National Theatre. Extraordinary in his capacity for cultural and linguistic adjustment, he directed productions in twelve countries, always adapting shows to make them meaningful to local audiences. Notably, Bennewitz conducted stagings of Goethe''s Faust in four different languages over a series of seven productions three in pre-unification Weimar, one in the reunited Germany, and one each in New York, Manila, and Mumbai.The first comprehensive account of Bennewitz''s remarkable career, Bennewitz, Goethe, Faust is also a pioneering study of intercultural interpretations of Faust. David G. John brings to light previously unknown archival materials including annotated playbooks, correspondence, translations, videos, and reception information as well as unpublished production photos from the stagings discussed in the book. Bennewitz, Goethe, Faust makes a cogentTrade Review'This unique introduction to the work of a pivotal GDR Faust interpreter fills a gap in scholarship and offers stimulus for future research. Highly recommended' -- E. Wickersham Choice Magazine, vol 50:02:2012Table of ContentsAbbreviations Foreword Documentation Part I Bennewitz 1. Persona and Theory * Slim Recognition* Biography* Split Personality* Politics* Dogma and Theory 2. Peers * Erika Stephan* Dieter G rne* Wolfgang Engel Part II The German Fausts: Chronicle of a Society 3. Hooray for Socialism! Weimar 1965/67 * Background* Audience Preparation* The Performance* Essential Features* Critical Reception* The Party Line* Conclusion 4. Hooray for Socialism? Weimar 1975 * Background* Audience Preparation* The Performance* Essential Features* Critical Reception* The Party Line* Conclusion 5. Socialism? Weimar 1981/82 * Background* Audience and Cast Preparation* The Performance* Essential Features* Critical Reception* The Party Line* Conclusion 6. Alles f r die Katz': Meiningen 1995 * Background* The Performance* Critical Reception* Conclusion Part III The Intercultural Fausts 7. The First Black Gretchen: New York 1978 * Background* The Performance* Performance Consciousness* Critical Reception* Conclusion 8. The Hindu Faust: Bombay 1994 * Background* The Performance* Critical Reception* Aftermath* Conclusion 9. The Christian Faust: Manila 1994 * Background* The Performance* Critical Reception* Aftermath* Conclusion 10. From Loyalist to Intercultural Pioneer Part IV Documentation Bibliography Appendices * Highlight Biography* Travels* Plays directed* Holdings of the Fritz Bennewitz Archive in Leipzig: A Treasure Trove for Researchers Index

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Book SynopsisTheatricality in Early Modern Art and Architecture offers the first systematic investigation of exchanges between the arts, architecture and the theatre. The authors present many new instances of the interaction between the arts, providing a theoretical and historiographical context for these interactions.Table of ContentsNotes on Contributors. 1. The Visual Arts and the Theatre in Early Modern Europe (Caroline Van Eck and Stijn Bussels). 2. 8216;Theatricality’ in Tapestries and Mystery Plays and its Afterlife in Painting (Laura Weigert). 3. Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458–1635) (Stijn Bussels). 4. Parrhasios and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth Century (Emmanuelle Hénin). 5. In Front of the Work of Art: The Question of Pictorial Theatricality in Italian Art, 1400–1700 (Marc Bayard). 6. Staging Bianca Capello: Painting and Theatricality in Sixteenth-Century Venice (Elsje van Kessel). 7. The Performing Venue: The Visual Play of Italian Courtly Theatres in the Sixteenth Century (Lex Hermans). 8. Dancing Statues and the Myth of Venice: Ancient Sculpture on the Opera Stage (Wendy Heller). 9. How to Become a Picture: Theatricality as Strategy in Seventeenth-Century Dutch Portraits (Hanneke Grootenboer). 10. Staging Ruins: Paestum and Theatricality (Sigrid de Jong). 11. Oprar sempre come in teatro: The Rome of Alexander VII as the Theatre of Papal Self-Representation (Maarten Delbeke). 12. Ut pictura hortus/ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771–95) (Bram Van Oostveldt). 13. ‘What do I See?’ The Order of Looking in Lessing's Emilia Galotti (Kati Röttger). Index.

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Book SynopsisExamines what the black performance community - a broad network of actors, dramatists, audiences, critics, and community activists - who made and remade black theatre manuscripts for theatre companies from New York to Seattle.

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Book SynopsisVaudeville was America's most popular commercial amusement from the mid-1890s to the First World War. Telling the story of this pioneering art form's rise and decline, David Monod looks through the apparent carnival of vaudeville performance and asks: what made the theater so popular and transformative?

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Book SynopsisLooks at the intertwined racial representations of nineteenth- and early twentieth-century American theater. Lee shows how blackface types were associated with working-class masculinity and the development of a nativist white racial identity for European immigrants, while the oriental marked what was culturally coded as foreign and feminized.

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Book SynopsisDorinne Kondo draws on critical ethnographic work and over twenty years of experience as a dramaturge and playwright to theorize how racialized labor, aesthetics, affect, genre, and social inequity operate in contemporary theater.Trade Review"A timely publication. . . [that] keenly reflects the complexity and entanglements of race, history, politics, representation and contemporary identities in North America." -- David J. Scott * The Australian Journal of Anthropology *"Working across disciplines, Kondo reverses the imperative of many scholars to read theory onto performance by instead focusing on the emergence of theory in theater, how it is deployed by theater artists and comes into contact with audiences. . . . For theater makers, Worldmaking serves as another kind of reparative, as it de-centers Eurocentric theatrical models in exchange for processes that enact the minoritarian, the non-hegemonic, the reparative." -- Kristen Holfeuer * Women & Performance *“This book … suits courses on theatre, race, and performance, and on ethnographic methods. Crucially, this book expands necessary conversations on race and dramaturgy, and ways in which ‘dramaturgical critique’—conscious of racial logics and embodied meanings—might make and repair theatrical and racial worlds.” -- Jasmine Mahmoud * TDR: The Drama Review *“Worldmaking is a stunning contribution to discussions of racial representation, affect, ethnography, and practice-led research in our post-racial world. Working to ‘defamiliarize’ American theatre for artists and scholars, the book re-evaluates the dichotomies of theory/practice, artistic passion/compensation, and resistance/complicity that are firmly ingrained in our thinking about the arts. The rigour with which Kondo encourages us to reassess artistic practices and scholarly enquiry, however, never verges on harsh criticism. Instead, it is with stirring generosity that she opens up avenues for further enquiry and redress.” -- Jessica Nakamura * Modern Drama *“Kondo demonstrates the power of theatre to address the complexities of race in contemporary America not only through what is seen onstage but also in the processes of rehearsal, revision, and reception, as artists question representational authority and negotiate collaboration.” -- Josephine Lee * Theatre Journal *"Kondo’s Worldmaking explores how artistic approaches might add to anthropological research and offers a multi-layered ethnography of US theatre. This book is also insightful for theatre practitioners and could be used for teaching undergraduates." -- Cassis Kilian * Journal of the Royal Anthropological Institute *Table of ContentsAcknowledgments ix Overture 1 Entr'acte 1. Racial Affect and Affective Violence 17 Act I. Mise-en-Scène 1. Theoretical Scaffolding, Formal Architecture 25 2. Racialized Economies 56 Entr'acte 2. Acting and Embodiment 93 Act II. Creative Labor 3. (En)Acting Theory 97 4. The Drama behind the Drama 130 5. Revising Race 167 Entre'acte 3. The Structure of the Theater Company 205 Act III. Reparative Creativity 6. Playwriting as Reparative Creativity 209 7. Seamless, A Full-Length Play 237 Notes 311 Works Cited 325 Index 349

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Book SynopsisIn this bold, innovative work, Dorinne Kondo theorizes the racialized structures of inequality that pervade theater and the arts. Grounded in twenty years of fieldwork as dramaturg and playwright, Kondo mobilizes critical race studies, affect theory, psychoanalysis, and dramatic writing to trenchantly analyze theater''s work of creativity as theory: acting, writing, dramaturgy. Race-making occurs backstage in the creative process and through economic forces, institutional hierarchies, hiring practices, ideologies of artistic transcendence, and aesthetic form. For audiences, the arts produce racial affect--structurally over-determined ways affect can enhance or diminish life. Upending genre through scholarly interpretation, vivid vignettes, and Kondo''s original play, Worldmaking journeys from an initial romance with theater that is shattered by encounters with racism, toward what Kondo calls reparative creativity in the work of minoritarian artists Anna Deavere Smith, DavidTrade Review"A timely publication. . . [that] keenly reflects the complexity and entanglements of race, history, politics, representation and contemporary identities in North America." -- David J. Scott * The Australian Journal of Anthropology *"Working across disciplines, Kondo reverses the imperative of many scholars to read theory onto performance by instead focusing on the emergence of theory in theater, how it is deployed by theater artists and comes into contact with audiences. . . . For theater makers, Worldmaking serves as another kind of reparative, as it de-centers Eurocentric theatrical models in exchange for processes that enact the minoritarian, the non-hegemonic, the reparative." -- Kristen Holfeuer * Women & Performance *“This book … suits courses on theatre, race, and performance, and on ethnographic methods. Crucially, this book expands necessary conversations on race and dramaturgy, and ways in which ‘dramaturgical critique’—conscious of racial logics and embodied meanings—might make and repair theatrical and racial worlds.” -- Jasmine Mahmoud * TDR: The Drama Review *“Worldmaking is a stunning contribution to discussions of racial representation, affect, ethnography, and practice-led research in our post-racial world. Working to ‘defamiliarize’ American theatre for artists and scholars, the book re-evaluates the dichotomies of theory/practice, artistic passion/compensation, and resistance/complicity that are firmly ingrained in our thinking about the arts. The rigour with which Kondo encourages us to reassess artistic practices and scholarly enquiry, however, never verges on harsh criticism. Instead, it is with stirring generosity that she opens up avenues for further enquiry and redress.” -- Jessica Nakamura * Modern Drama *“Kondo demonstrates the power of theatre to address the complexities of race in contemporary America not only through what is seen onstage but also in the processes of rehearsal, revision, and reception, as artists question representational authority and negotiate collaboration.” -- Josephine Lee * Theatre Journal *"Kondo’s Worldmaking explores how artistic approaches might add to anthropological research and offers a multi-layered ethnography of US theatre. This book is also insightful for theatre practitioners and could be used for teaching undergraduates." -- Cassis Kilian * Journal of the Royal Anthropological Institute *Table of ContentsAcknowledgments ix Overture 1 Entr'acte 1. Racial Affect and Affective Violence 17 Act I. Mise-en-Scène 1. Theoretical Scaffolding, Formal Architecture 25 2. Racialized Economies 56 Entr'acte 2. Acting and Embodiment 93 Act II. Creative Labor 3. (En)Acting Theory 97 4. The Drama behind the Drama 130 5. Revising Race 167 Entre'acte 3. The Structure of the Theater Company 205 Act III. Reparative Creativity 6. Playwriting as Reparative Creativity 209 7. Seamless, A Full-Length Play 237 Notes 311 Works Cited 325 Index 349

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Book SynopsisExamining theater, performance art, music, sports, dance, and photography, the contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time.Trade Review“Offering a groundbreaking take on one of the most central premises of performance studies, this innovative volume advances theoretical and interpretive articulations of time that expand upon and challenge long-held assumptions about performance as repetition. It significantly expands performance theory and promises to animate conversations about performance, race, and time going forward. This collection is truly a breath of fresh air.” -- Ramón H. Rivera-Servera, coeditor of * Blacktino Queer Performance *“‘What time is it?!’ Race and Performance after Repetition offers a pathbreaking and long overdue intervention in performance studies by posing this sly and urgent question from a multiplicity of critical vantage points. This brilliant and inspired collection of essays unsettles the very foundations of the field by tracing, interrogating, and ultimately questioning the dominant logic of repetition as a foundational theoretical axiom in performance studies scholarship by way of calling attention to the difference that race makes. As this anthology demonstrates, the material historical conditions of race demand a wider, deeper, and more robust critical lexicon that moves beyond the grammar of temporal repetition. It is a volume that heralds new times in the field.” -- Daphne A. Brooks, author of * Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910 *“Race and Performance After Repetition is worth reading from cover to cover, both for the engaging and diverse methodologies on offer and for its overarching interest in what scholars of performance studies miss if they adhere too closely to the conventions of the field.” -- Christina Knight * American Literary History *“The new collection Race and Performance After Repetition moves several fields forward, among them theatre, dance, and performance studies, Black studies, cultural studies, anthropology, and American studies. That it does so is a testament to the richness and interdisciplinarity of the animating impulse behind the collection, the thought of José Esteban Muñoz.” -- Ariel Nereson * Journal of Dramatic Theory and Criticism *“Colbert, Jones, and Vogel have assembled a truly excellent collection of new work . . . of some of the most exciting performance theorists working in the field today. . . . The editors and contributors alike have collectively produced something magnificent.” -- Takeo Rivera * Modern Drama *“As a collection [Race and Performance after Repetition] pushes on how repetition takes shape; it offers enlightening albeit disparate interventions in thinking about how race, time and performance produce meaning as an ensemble. . . . I finished the book and wanted to start it again.” -- Sean Metzger * Performance Research *Table of ContentsAcknowledgments vii Introduction: Tidying Up after Repetition / Soyica Diggs Colbert, Douglas A. Jones Jr., and Shane Vogel 1 Part I. Toggling Time: Metatheaters of Race 1. So Far Down You Can't See the Light: Afro-Fabulation in Branden Jacob-Jenkins's An Octoroon / Tavia Nyong'o 29 2. The Performance and Politics of Concurrent Temporalities in George C. Wolfe's Shuffle Along / Catherine M. Young 46 3. A Sonic Treatise of Futurity: Universes' Party People / Patricia Herrera 71 Part II. Choreo-Chronographies 4. Joe Louis's Utopic Glitch / Tina Post 103 5. Sorrow's Swing / Jasmine Johnson 127 6. Parabolic Moves: Time, Narrative, and Difference in New Circus / Katherine Zien 142 7. Choreographing Time Travel: Rethinking Ritual through Korean Diasporic Performance / Elizabeth W. Son 173 Part III. Temporal (Im)mobilities: Dwelling Out of Time 8. Carceral Space-Times and The House That Herman Built / Nicholas Fesette 199 9. Performance Interventions: Natality and Carceral Feminism in Contemporary India / Jisha Menon 220 10. Whitnessing Queer Flights: Josué Azor's Lougawou Images and Antihomosexual Unrest in Haiti / Mario Lamothe 242 11. The Body Is Never Given, nor Do We Actually See It / Joshua Chambers-Letson 270 Bibliography 293 Contributors 317 Index 321

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Book SynopsisThe contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time. Pointing out that repetition has been the primary point of reference for understanding both the complex temporality of theater and the historical persistence of race, they identify and pursue critical alternatives to the conceptualization, organization, measurement, and politics of race in performance. The contributors examine theater, performance art, music, sports, dance, photography, and other forms of performance in topics that range from the movement of boxer Joe Louis to George C. Wolfe''s 2016 reimagining of the 1921 all-black musical comedy Shuffle Along to the relationship between dance, mourning, and black adolescence in Flying Lotus''s music video “Never Catch Me.” Proposing a spectrum of coexisting racial temporalities that are not tethered to repetition, this collection reconsiders centraTrade Review“Offering a groundbreaking take on one of the most central premises of performance studies, this innovative volume advances theoretical and interpretive articulations of time that expand upon and challenge long-held assumptions about performance as repetition. It significantly expands performance theory and promises to animate conversations about performance, race, and time going forward. This collection is truly a breath of fresh air.” -- Ramón H. Rivera-Servera, coeditor of * Blacktino Queer Performance *“‘What time is it?!’ Race and Performance after Repetition offers a pathbreaking and long overdue intervention in performance studies by posing this sly and urgent question from a multiplicity of critical vantage points. This brilliant and inspired collection of essays unsettles the very foundations of the field by tracing, interrogating, and ultimately questioning the dominant logic of repetition as a foundational theoretical axiom in performance studies scholarship by way of calling attention to the difference that race makes. As this anthology demonstrates, the material historical conditions of race demand a wider, deeper, and more robust critical lexicon that moves beyond the grammar of temporal repetition. It is a volume that heralds new times in the field.” -- Daphne A. Brooks, author of * Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910 *“Race and Performance After Repetition is worth reading from cover to cover, both for the engaging and diverse methodologies on offer and for its overarching interest in what scholars of performance studies miss if they adhere too closely to the conventions of the field.” -- Christina Knight * American Literary History *“The new collection Race and Performance After Repetition moves several fields forward, among them theatre, dance, and performance studies, Black studies, cultural studies, anthropology, and American studies. That it does so is a testament to the richness and interdisciplinarity of the animating impulse behind the collection, the thought of José Esteban Muñoz.” -- Ariel Nereson * Journal of Dramatic Theory and Criticism *“Colbert, Jones, and Vogel have assembled a truly excellent collection of new work . . . of some of the most exciting performance theorists working in the field today. . . . The editors and contributors alike have collectively produced something magnificent.” -- Takeo Rivera * Modern Drama *“As a collection [Race and Performance after Repetition] pushes on how repetition takes shape; it offers enlightening albeit disparate interventions in thinking about how race, time and performance produce meaning as an ensemble. . . . I finished the book and wanted to start it again.” -- Sean Metzger * Performance Research *Table of ContentsAcknowledgments vii Introduction: Tidying Up after Repetition / Soyica Diggs Colbert, Douglas A. Jones Jr., and Shane Vogel 1 Part I. Toggling Time: Metatheaters of Race 1. So Far Down You Can't See the Light: Afro-Fabulation in Branden Jacob-Jenkins's An Octoroon / Tavia Nyong'o 29 2. The Performance and Politics of Concurrent Temporalities in George C. Wolfe's Shuffle Along / Catherine M. Young 46 3. A Sonic Treatise of Futurity: Universes' Party People / Patricia Herrera 71 Part II. Choreo-Chronographies 4. Joe Louis's Utopic Glitch / Tina Post 103 5. Sorrow's Swing / Jasmine Johnson 127 6. Parabolic Moves: Time, Narrative, and Difference in New Circus / Katherine Zien 142 7. Choreographing Time Travel: Rethinking Ritual through Korean Diasporic Performance / Elizabeth W. Son 173 Part III. Temporal (Im)mobilities: Dwelling Out of Time 8. Carceral Space-Times and The House That Herman Built / Nicholas Fesette 199 9. Performance Interventions: Natality and Carceral Feminism in Contemporary India / Jisha Menon 220 10. Whitnessing Queer Flights: Josué Azor's Lougawou Images and Antihomosexual Unrest in Haiti / Mario Lamothe 242 11. The Body Is Never Given, nor Do We Actually See It / Joshua Chambers-Letson 270 Bibliography 293 Contributors 317 Index 321

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Book SynopsisIn The Only Way Out, Katherine Brewer Ball explores the American fascination with the escape story. Brewer Ball argues that escape is a key site for exploring American conceptions of freedom and constraint. Stories of escape are never told just once but become mythic in their episodic iterations, revealing the fantasies and desires of society, the storyteller, and the listener. While white escape narratives have typically been laden with Enlightenment fantasies of redemption where freedom is available to any individual willing to seize it, Brewer Ball explores how Black and queer escape offer forms of radical possibility. Drawing on Black studies, queer theory, and performance studies, she examines a range of works, from nineteenth-century American literature to contemporary queer of color art and writing by contemporary American artists including Wilmer Wilson IV, Tourmaline, Tony Kushner, Junot Díaz, Glenn Ligon, Toshi Reagon, and Sharon Hayes. Throughout, escape emerge

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Book SynopsisArticulates the role black theatricality played in the radical energy of the sixties Black Performance on the Outskirts of the Left illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s. These ideas paved the way for imaginative models for social transformation through performance. Using the notion of excessits transgression, multiplicity, and ambivalenceMalik Gaines considers how performances of that era circulated a black political discourse capable of unsettling commonplace understandings of race, gender, and sexuality. Following the transnational route forged by W.E.B. Du Bois, Josephine Baker, and other modern political actors, from the United States to West Africa, Europe and back, this book considers how artists negotiated at once the local, national, and diasporic frames through which race has been represented. Looking broadly at performances found in music, theater,Trade ReviewBlack Performance on the Outskirts of the Left provides an impressive account of embodied tactics, affects, and experiments that launched provisional challenges to hegemonic systems of order and charted energetic paths for future radical acts to follow. Constructing a genealogy that defies generic, national, and gendered bounds, Gaines supplies black performance studies with an expansive and heterogeneous approach to the history of radicalism, to performance, and to blackness itself. -- The Drama ReviewEvery reader interested in the sexual and revolutionary politics of black feminist and queer performance needs to read Malik Gaines's Black Performance on the Outskirts of the Left. This examination of 1960s music, theater, film, and experimental performance scenes is detail-rich, sophisticated, and sharp. One emerges from this text inspired while we must look to the margins to find these black, queer, and feminist artists who have navigated difficult revolutionary and post-revolutionary waters, in moving toward them we move in the direction that the left needs to go. -- Jennifer Doyle, author of Hold It against Me: Difficulty and Emotion in Contemporary ArtMalik Gaines's artistry and intellection is so important to me that I can scarcely remember a time now when both didn't influence my own. Black Performance on the Outskirts of the Left is alive with what is essential to Gaines's way of seeing and thinking: politics, race, sexuality, and the theater of being. An important contribution on any number of levels, including man's further understanding of man, with and without masks. A wonderful achievement. -- Hilton Als, Pulitzer Prize Winner for Criticism and theater critic for the New YorkerMalik Gaines's position as both a practitioner and a scholar lend a unique depth to this study... reveals a striking sensitivity to the subtle frequencies on which black performance operates and is an important addition to the expanding black performance studies canon. * The Journal of American Drama and Theatre *Rhetorically and structurally, this [book] provides a fascinating coda. Histories and theatrical legacies of black expressivity ... do not exist solely on the page or in the brick-and-mortar archive but are embodied and reexamined through live performance. * PAJ: A Journal of Performance and Art *

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Book SynopsisReveals the theatrical dimensions of civilian support for the revolutionary GI Movement of the 1960s-70sPerformance played a role both crucial and complicated in the antiwar activism of the 1960s and 1970s. As soldiers and civilian actors, activists, and celebrities worked together to end the Vietnam War, their theatrical acts of solidarity and resistance connected liberation struggles across the lines of race, gender, enlisted status, and nationality.F*ck The Army! offers the first, fully narrated history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over the course of nine months in 1971. From its very conception, the civilian-led show was directed towards the project of making visible the growing antiwar movement organized by GIs, inspired by but also acting as a rebuttal to the increasingly out-of-touch USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performance

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Book SynopsisReveals the theatrical dimensions of civilian support for the revolutionary GI Movement of the 1960s-70sPerformance played a role both crucial and complicated in the antiwar activism of the 1960s and 1970s. As soldiers and civilian actors, activists, and celebrities worked together to end the Vietnam War, their theatrical acts of solidarity and resistance connected liberation struggles across the lines of race, gender, enlisted status, and nationality.F*ck The Army! offers the first, fully narrated history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over the course of nine months in 1971. From its very conception, the civilian-led show was directed towards the project of making visible the growing antiwar movement organized by GIs, inspired by but also acting as a rebuttal to the increasingly out-of-touch USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performance

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Book SynopsisArticulates the role black theatricality played in the radical energy of the sixties Black Performance on the Outskirts of the Left illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s. These ideas paved the way for imaginative models for social transformation through performance. Using the notion of excessits transgression, multiplicity, and ambivalenceMalik Gaines considers how performances of that era circulated a black political discourse capable of unsettling commonplace understandings of race, gender, and sexuality. Following the transnational route forged by W.E.B. Du Bois, Josephine Baker, and other modern political actors, from the United States to West Africa, Europe and back, this book considers how artists negotiated at once the local, national, and diasporic frames through which race has been represented. Looking broadly at performances found in music, theater,Trade ReviewBlack Performance on the Outskirts of the Left provides an impressive account of embodied tactics, affects, and experiments that launched provisional challenges to hegemonic systems of order and charted energetic paths for future radical acts to follow. Constructing a genealogy that defies generic, national, and gendered bounds, Gaines supplies black performance studies with an expansive and heterogeneous approach to the history of radicalism, to performance, and to blackness itself. -- The Drama ReviewEvery reader interested in the sexual and revolutionary politics of black feminist and queer performance needs to read Malik Gaines's Black Performance on the Outskirts of the Left. This examination of 1960s music, theater, film, and experimental performance scenes is detail-rich, sophisticated, and sharp. One emerges from this text inspired while we must look to the margins to find these black, queer, and feminist artists who have navigated difficult revolutionary and post-revolutionary waters, in moving toward them we move in the direction that the left needs to go. -- Jennifer Doyle, author of Hold It against Me: Difficulty and Emotion in Contemporary ArtMalik Gaines's artistry and intellection is so important to me that I can scarcely remember a time now when both didn't influence my own. Black Performance on the Outskirts of the Left is alive with what is essential to Gaines's way of seeing and thinking: politics, race, sexuality, and the theater of being. An important contribution on any number of levels, including man's further understanding of man, with and without masks. A wonderful achievement. -- Hilton Als, Pulitzer Prize Winner for Criticism and theater critic for the New YorkerMalik Gaines's position as both a practitioner and a scholar lend a unique depth to this study... reveals a striking sensitivity to the subtle frequencies on which black performance operates and is an important addition to the expanding black performance studies canon. * The Journal of American Drama and Theatre *Rhetorically and structurally, this [book] provides a fascinating coda. Histories and theatrical legacies of black expressivity ... do not exist solely on the page or in the brick-and-mortar archive but are embodied and reexamined through live performance. * PAJ: A Journal of Performance and Art *

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Book SynopsisThis volume offers the first comprehensive analysis of the work of East German theatre director Fritz Bennewitz in India between 1970 and 1994.Trade Review"…[offers] detailed instances of how a Western director might think about working in rehearsal across cultural difference." -- Ric Knowles, University of Guelph * University of Toronto Quarterly, vol 87 3, Summer 2018 *"This exhaustively researched book by Joerg Esleben and his group represents the culmination of efforts to document and evaluate Bennewitz’s multifaceted work in India." -- Vera Stegmann, Lehigh University * German Studies Review, vol 42 no 1, February 2019 *Table of ContentsIllustrations Acknowledgements Introduction Part I: Fritz Bennewitz on his Work in India Chapter 1: The 1970s - Brechtian Experiments Chapter 2: The Early 1980s - Firsts, Lows, and Highs Chapter 3: The Mid-1980s - Brecht and the Bard in Bhopal Chapter 4: The Late 1980s and Early 1990s - Gaining a Village, Losing a Country Part II: Perspectives on Fritz Bennewitz in India Chapter 5: Perspectives from Bennewitz's Partners in India Chapter 6: Essays on Bennewitz in India Chronology of Bennewitz's stays and projects in South Asia and his Indian projects in Germany Glossary of Theatre Terms, Institutions, and Cultural References Bibliography Index

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Book SynopsisIn Theatre of Anger, Olivia Landry offers a provocative new vision of anger as more than just hate and violence. Studying the work of a new generation of transnational theatre practitioners in Berlin, she illuminates how anger can be an affirmative and critical tool in the project of social justice and resistance. To develop her theory of anger, Landry delves into philosophical texts, theatre history, and Black feminist theory from Aristotle, Gotthold Ephraim Lessing, and Bertolt Brecht to Audre Lorde, bell hooks, and Sara Ahmed. Landry focuses not only on the social and political significance of the theatre of anger and the ways in which it rages against racism, antisemitism, Islamophobia, sexism, and homophobia, but also on its aesthetic and theoretical innovation. Through readings of key works, Theatre of Anger asks what it means in our present world to construct political theatre.Trade Review"Olivia Landry's original study of the theatre of anger as a distinct genre makes an important and timely contribution to German studies, theatre studies, and to postcolonial and critical race studies. Scholars and students in these fields will find much to admire in the way she brings these fields into conversation." -- Katrin Sieg, Georgetown University * Monatshefte *"Theatre of Anger is a confident and highly readable book, which stages a complex, multi-faceted take on its subject matter. It is well argued, engaging, and informative throughout, managing several trajectories of argument and exploration in a way that remains clear, helpful, and illuminating." -- Sophie Nield, Royal Holloway, University of London * Comparative Drama *Table of ContentsList of Illustrations Acknowledgments Glossary of Plays Introduction: Theatre of Anger as Theatre of Desintegration 1. In Defence of Anger: From a History of Social Justice to the Theatre 2. Get Deutsch or Die Tryin’; or, Confronting a History of Exclusion and Violence 3. Staging “Muslim Rage” 4. Documentaries of Outrage 5. Salzmann’s Angry Youths 6. “Theatre of the Twenty-First Century”: An Interview with Sasha Marianna Salzmann Conclusion: Anger in the Future Sense Notes Bibliography Index

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Book SynopsisCures for Chance examines how early modern dramatic representations of adoption test conventional notions of family and nature.Trade Review“Ellerbeck’s study makes a contribution to our understanding of family more generally and to ‘early modern concepts of familial possibility.’” -- Jonathan Locke Hart, Shandong University * Renaissance and Reformation / Renaissance et Réforme *Table of ContentsIntroduction: Shaping the Family 1. Shakespeare’s Adopted Children and the Language of Horticulture 2. Animal Parenting in Shakespeare’s Titus Andronicus 3. Adopted Bastards in A Chaste Maid in Cheapside 4. Adoptive Names in Middleton’s Women Beware Women Afterword: In loco parentis Bibliography

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Book SynopsisA Stage for Debate presents a detailed analysis of the repertoire of the leading German-language stage of the nineteenth century, Vienna’s Burgtheater. The book explores the extent to which the Burgtheater repertoire contributed to important political and cultural debates on individual liberty, the role of women in society, and the understanding of national and regional identity. The relevance of the Burgtheater as a forum for political debate is assessed not by the degree to which the performed plays transgressed established norms, but by the range of positions that were voiced on a given topic. Martin Wagner investigates the roughly 1,000 plays from across Europe that were introduced to the Burgtheater’s repertoire between 1814 and 1867 by combining a general overview with detailed interpretations of especially successful plays. Wagner reveals that the Burgtheater was significantly more involved in contemporary debates than the stereotype of this stagTable of ContentsIntroduction: Reassessing the Mid-Nineteenth-Century Burgtheater 1. What Makes a Theatre Politically Significant? 2. Making the Burgtheater Repertoire 3. The Scope of the Burgtheater Repertoire 4. Mourning and Reforming Obedience 5. Performing the Women’s Movement 6. The Drama of National and Regional Belonging Conclusion: The Mid-Nineteenth-Century Burgtheater as a Case Study Works Cited Index

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Book SynopsisThe romantic theatre, with all its imaginative vigour and eagerness for experimentation, appeals to those who like total theatre – unabashed, unashamedly spectacular, unforgettably pathetic. Critics who take a purely literary approach the drama often neglect or malign the theatre of the nineteenth century. Yet even in terms of literary, influence it is a hazardous to ignore the debt the exponents of naturalism owed to the drama of the prenaturalistic period. Despite universal critical agreement about the significance of Ibsen and Strindberg as creators of modernism, no attempt has previously been made to describe and delineate the theatrical context from which these major Scandinavian playwrights emerged. Hans Christian Andersen stands squarely astride the romantic period in Scandinavia. His plays, appearing from 1829 to 1865, span the important transition from the actor-dominated theatre to the naturalist theatre controlled by the director. Although recognized as a great

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Book SynopsisThis is the first book to survey comprehensively the field of Elizabethan and Jacobean citizen comedy. Most studies of the period focus on major authors; this one follows recurring themes and motifs, through a variety of plays by many authors from the moralizing comedies of the boys' companies. Professor Leggatt provides not only a fresh perspective on familiar plays by such figures as Jonson, Middleton, and Dekker, but also a new look at a number of neglected comedies, some by unfamiliar authors, some by major authors working together. Standard figures – the usurer, the prodigal, and the prostitute – and standard plots – notably intrigues based on money or sex (or both) – are traced to show the changes that occur in apparently stereotyped material at the hands of individual authors. The result is to display the range and internal variety of a genre that too often is seen as all of a piece, and to show the different ways in which social thinking can inte

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Book SynopsisAt the centre of China's Cultural Revolution in its first stages stands the ambiguous figure of Wu Han. Occupying until the mid-sixties a favoured position among the intellectual elite of the People's Republic, he was the eighth-ranking figure in the Chinese Communist Party, and his Peking Opera Hai Jui's Dismissal was performed all over China. Gradually it became apparent that Wu Han was using Hai Jui to lampoon Chairman Mao Tse-tung and the core policies of the CPP. Other dissidents began to pen articles and plays on similar themes. For several years Mao chafed under these literary attacks, but in late 1965 he retaliated. A sudden, scathing attack on Wu Han and his play by an obscure newspaper editor marked the beginning of the Cultural Revolution, a cataclysm in which the Party leadership was decimated while Mao regained full supremacy. This volume presents the first translation of Wu Han's plays and helps to clarify the obscure origins of a national phenomenon that was at

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Book SynopsisThe textual tradition of the Latin dramatist Publius Terentius Afer (second century BC) is unusually rich and complex. Over six hundred manuscripts containing some or all of Terence's six comedies have survived, but only one codex and three small fragments date from antiquity. All the rest were copied in the Middle Ages and the Renaissance when Terence was very popular. Recently scholars have been devoting considerable study to the role of his works and the commentaries on them in the cultural and intellectual development of the Middle Ages and the Renaissance. However, little attention has been given to an examination and re-examination of the manuscripts in order to determine which are the most useful for establishing a reliable text of the plays.In this study John N. Grant examines afresh the manuscript tradition of the comedies, looking in particular at a branch of the medieval manuscripts which has been neglected in the past. He establishes the primacy of one manuscript,

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Book SynopsisThe last thirty years have seen a renewed interest in the novels, plays, and essays of Marivaux. Each year more of his work is made available to the public in partial editions. More and better studies have appeared, superseding the old and, in the last thirty years, almost all of his plays have been performed. Today no corder of his work remains unexplored: our knowledge of his life, which had been until recently a tissue of fancy and anecdote, has been enhanced by the discovery of a few facts.This critical study of the entire body of Marviaux's writings sets out to tell whether this attention represents a securely established place for Marivaux among the great French writers, or simply a vogue. It consists of a careful analysis of the individual works, in chronological order rather than in systematic groups, as is customary, showing the development of Marivaux's thinking, and the intimate relationship among the plays, novels, and essays of any given period. A history of the

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Book SynopsisInterdisciplinary Arts helps students explore their capacities for creativity and cross-disciplinary thinking by drawing from the fields of theatre, dance, and visual arts. They will learn how to transfer the skills they gain from the book to any endeavor or career they undertake.Table of ContentsChapter 1. Introduction to Interdisciplinary ArtsInterdisciplinary MovementBartenieff: Six Developmental StagesAlexander TechniqueYogaConclusionChapter 2. TheatreGetting Started: Connecting to the TextPreparing a SceneBody: The Actor’s InstrumentStage AwarenessProps and CostumesCollaborative TeamChapter 3. Dance and MovementLaban: Still FormsCentering the Body: 12 Principles of Bartenieff FundamentalsPreparing for the WorkThe Creative ImpulseIntent: Moving With PurposeLaban’s Effort FactorsMise en scèneCollaborative TeamChapter 4. Visual ArtsVisual ArtsInspirationFormColorValue and ContrastRhythmShapeLineTextureSpaceChapter 5. Dance and TheatreIntegrating Dance and Theatre: Poem Performance Using Laban’s EffortsOverview of the ProcessThe Process in DetailAssimilation of Feedback, Development, and RehearsalConclusionChapter 6. Visual Arts and DanceIntegrating Visual Arts With Dance: Wearable or Scenic ArtOverview of the ProcessOverview of the Concepts Used in the ProjectConclusionChapter 7. Theatre and Visual ArtsIntegrating Theatre and Visual Arts: In/Out MasksOverview of the ProcessOverview of the Concepts Used in the ProjectArts-Based ResearchDevelopment: Creating Your In/Out MaskDeveloping the MonologueChapter 8. All Three Art FormsMaking Art Using the Human IntelligencesMultiple Intelligences Synthesis AssignmentChapter 9. Make Art, but Also, Go See Art!Theatre CriticismVisual Art CriticismDance and Movement CriticismConclusion: Interdisciplinary Arts as a Way of Life

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Book SynopsisIn Staging Harmony, Katherine Steele Brokaw reveals how the relationship between drama, music, and religious change across England's long sixteenth century moved religious discourse to more moderate positions. It did so by reproducing the complex personal attachments, nostalgic overtones, and bodily effects that allow performed music to evoke the feeling, if not always the reality, of social harmony. Brokaw demonstrates how theatrical music from the late fifteenth to the early seventeenth centuries contributed to contemporary discourses on the power and morality of music and its proper role in religious life, shaping the changes made to church music as well as people's reception of those changes. In representing social, affective, and religious life in all its intricacy, and in unifying auditors in shared acoustic experiences, staged musical moments suggested the value of complexity, resolution, and compromise rather than oversimplified, absolutist binaries worth killing or dTrade Review[Staging Harmony]... is an engaging and historically well-informed work that explores the complex relationship of music and drama over the long sixteenth century, filling in the gaps that result from focusing too narrowly on the Elizabethan commercial theater to the exclusion of early Tudor interludes, Reformist morality plays, schoolboy dramas, and court and household entertainments. -- Jonathan Baldo, Eastman School of Music, University of Rochester * Renaissance Quarterly *Staging Harmony offers a sophisticated account of theatrical engagement with music over a key period of dramatic production, a subtle description of early modern religious cultures, and a rich theorization of music’s role in embodied belief. * EARLY THEATRE *Table of ContentsIntroduction: Theater, Music, and Religion in the Long Sixteenth Century 1. Sacred, Sensual, and Social Music: Wisdom and the Digby Mary Magdalene 2. Musical Hypocrisy: The Plays of John Bale 3. Learning to Sing: The Plays of Nicholas Udall 4. Propaganda and Psalms: Early Elizabethan Drama 5. Sound Effects: Doctor Faustus 6. Arts to Enchant: The Tempest and The Winter's Tale

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Book SynopsisDuring the Russian Revolution and Civil War, amateur theater groups sprang up in cities across the country. Workers, peasants, students, soldiers, and sailors provided entertainment ranging from improvisations to gymnastics and from propaganda sketches to the plays of Chekhov. In Revolutionary Acts, Lynn Mally reconstructs the history of the amateur stage in Soviet Russia from 1917 to the height of the Stalinist purges. Her book illustrates in fascinating detail how Soviet culture was transformed during the new regime''s first two decades in power. Of all the arts, theater had a special appeal for mass audiences in Russia, and with the coming of the revolution it took on an important role in the dissemination of the new socialist culture. Mally''s analysis of amateur theater as a space where performers, their audiences, and the political authorities came into contact enables her to explore whether this culture emerged spontaneously from below or was imposed by the revoTrade Review"Mally traces the fascinating history of Soviet amateur theater from its heady origins in 1917 to its gradual ossification in the 1930s. The chapter on the TRAM amateur company is particularly engaging, nicely illustrating many of the the themes and debates in the amateur theater world."-Choice "Mally effectively situates the amateur theatrical movement within the larger context of cultural revolution. Mally places her study within the ongoing discussion of the genesis of totalitarian culture in general and of Socialist Realism in particular."-Russian Review "Mally sees true amateurism as original art and dilettantism of mere copying of professionals. The overarching theme of Revolutionary Acts is how Soviet amateur theater flourished luxuriantly (if contentiously) in a dozen varieties and was then 'de-amateurized' or semiprofessionalized under Joseph Stalin."-American Historical Review "Lynn Mally has found an underutilized focus through which one can view the dynamic evolution of Soviet culture, the interaction of intellectuals with Soviet power, and of elite culture with mass culture. It makes fascinating reading and given its interdisciplinary nature makes a valuable contribution to a variety of fields."-Katerina Clark, Yale University "Of all the arts in Russia and the USSR, theater possessed a special resonance with mass audiences. This superb book elegantly explores how a central feature of the cultural revolution was affected by the Soviet effort to transform everyday experience."--Diane P. Koenker, University of IllinoisTable of Contents1. The Revolution Loves the Theater2. Small Forms on Small Stages3. From "Club Plays" to the Classics4. TRAM: The Vanguard of Amateur Art5. Shock Workers on the Cultural Front6. Amateurs in the Spectacle State

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Book SynopsisFollowing World War II, German antifascists and nationalists in Buenos Aires believed theater was crucial to their highly politicized efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. Competing Germanies tracks the paths of several stage actors from European theaters to Buenos Aires and explores how two of Argentina''s most influential immigrant groups, German nationalists and antifascists (Jewish and non-Jewish), clashed on the city''s stages. Covered widely in German- and Spanish-language media, theatrical performances articulated strident Nazi, antifascist, and Zionist platforms. Meanwhile, as their thespian representatives grappled onstage for political leverage among emigrants and Argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. Publicly they projected unity, but offstage nationalist, antifascist, and Zionist populations were rife with infightingTrade ReviewAlthough Competing Germanies is a highly specialized study, it has broad implications and should elicit wide interest, especially given current global migrant and refugee crises. What this book illustrates so clearly is that anyone can become a refugee at any time and that all the world is but a stage wherein men and women are merely players with exit and entrance visas. * EuropeNow *A real strength of the book is the centering of theater and performance. It allows Kelz to document the nature of the German-speaking communities that emerged and to analyze how performance itself transmitted a sense of cultural identification. [...] Overall, this book's focus on theater allows Kelz to illuminate a broader history of German cultural production in Buenos Aires over three decades in the midtwentieth century and the interplay between institutions and larger communities * The German Quarterly *By offering insight into the workings of German immigrant theater in Argentina, Competing Germanies adds a much-needed cultural dimension and revives discourses over German-Argentine relations before and after 1945. The interdisciplinary and transnational nature of this text will be most useful to scholars working in history, Jewish culture and society, arts and/in exile, and theater and performance studies, and will establish a point of departure for related research projects in these and other areas * Central European History *In this impressive study, Robert Kelz portrays the cultural landscape and rivaling constituencies of German Argentina through the lens of theater performances. [...] In accessible and nuanced scholarly prose, Kelz presents the results of impeccable and extensive research, which he conducted in public archives and private collections in Argentina, Austria, and Germany * H-Net Reviews *It is a book overflowing with data, rich in the perspectives it opens up and with new information, an original contribution to studies on Nazis and anti-Nazis in Argentina * Iberoamericana America Latina-Espana-Portugal *Robert Kelz provides a quite different and novel slant in his splendid study of German exile literature from an earlier age. [...] Keltz offers a cross-cultural, polyglot blend of German, Jewish and Latin-American polemic that will be welcomed by cultural historians and students of international affairs.Table of ContentsIntroduction: Argentina's Competing German Theaters 1. German Buenos Aires Asunder 2. Theater on the Move: Routes to Buenos Aires 3. Staging Dissidence: The Free German Stage 4. Hyphenated Hitlerism: Transatlantic Nazism Confronts Cultural Hybridity 5. Enduring Competition: German Theater in Argentina, 1946–1965 Epilogue

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Book SynopsisFollowing World War II, German antifascists and nationalists in Buenos Aires believed theater was crucial to their highly politicized efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. Competing Germanies tracks the paths of several stage actors from European theaters to Buenos Aires and explores how two of Argentina''s most influential immigrant groups, German nationalists and antifascists (Jewish and non-Jewish), clashed on the city''s stages. Covered widely in German- and Spanish-language media, theatrical performances articulated strident Nazi, antifascist, and Zionist platforms. Meanwhile, as their thespian representatives grappled onstage for political leverage among emigrants and Argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. Publicly they projected unity, but offstage nationalist, antifascist, and Zionist populations were rife with infightingTrade ReviewAlthough Competing Germanies is a highly specialized study, it has broad implications and should elicit wide interest, especially given current global migrant and refugee crises. What this book illustrates so clearly is that anyone can become a refugee at any time and that all the world is but a stage wherein men and women are merely players with exit and entrance visas. * EuropeNow *A real strength of the book is the centering of theater and performance. It allows Kelz to document the nature of the German-speaking communities that emerged and to analyze how performance itself transmitted a sense of cultural identification. [...] Overall, this book's focus on theater allows Kelz to illuminate a broader history of German cultural production in Buenos Aires over three decades in the midtwentieth century and the interplay between institutions and larger communities * The German Quarterly *By offering insight into the workings of German immigrant theater in Argentina, Competing Germanies adds a much-needed cultural dimension and revives discourses over German-Argentine relations before and after 1945. The interdisciplinary and transnational nature of this text will be most useful to scholars working in history, Jewish culture and society, arts and/in exile, and theater and performance studies, and will establish a point of departure for related research projects in these and other areas * Central European History *In this impressive study, Robert Kelz portrays the cultural landscape and rivaling constituencies of German Argentina through the lens of theater performances. [...] In accessible and nuanced scholarly prose, Kelz presents the results of impeccable and extensive research, which he conducted in public archives and private collections in Argentina, Austria, and Germany * H-Net Reviews *It is a book overflowing with data, rich in the perspectives it opens up and with new information, an original contribution to studies on Nazis and anti-Nazis in Argentina * Iberoamericana America Latina-Espana-Portugal *Robert Kelz provides a quite different and novel slant in his splendid study of German exile literature from an earlier age. [...] Keltz offers a cross-cultural, polyglot blend of German, Jewish and Latin-American polemic that will be welcomed by cultural historians and students of international affairs.Table of ContentsIntroduction: Argentina's Competing German Theaters 1. German Buenos Aires Asunder 2. Theater on the Move: Routes to Buenos Aires 3. Staging Dissidence: The Free German Stage 4. Hyphenated Hitlerism: Transatlantic Nazism Confronts Cultural Hybridity 5. Enduring Competition: German Theater in Argentina, 1946–1965 Epilogue

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Book SynopsisWays of the World explores cosmopolitanism as it emerged during the Restoration and the role theater played in both memorializing and satirizing its implications and consequences. Rooted in the Stuart ambition to raise the status of England through two crucial investmentsglobal traffic, including the slave trade, and cultural sophisticationthis intensified global orientation led to the creation of global mercantile networks and to the rise of an urban British elite who drank Ethiopian coffee out of Asian porcelain at Ottoman-inspired coffeehouses. Restoration drama exposed cosmopolitanism''s most embarrassing and troubling aspects, with such writers as Joseph Addison, Aphra Behn, John Dryden, and William Wycherley dramatizing the emotional and ethical dilemmas that imperial and commercial expansion brought to light.Altering standard narratives about Restoration drama, Laura J. Rosenthal shows how the reinvention of theater in this periodincluding technical innovations Trade ReviewThis well-argued, thought-provoking book argues for the key role of theater in the development of English cosmopolitanism and imperialism during the Restoration and 18th century. Well written and persuasive, the book significantly furthers the study of Restoration theater and its connections to the politics of empire. -- L. S. Stanavage, SUNY Potsdam * Choice *With regard to the study of emotions as culturally and temporally specific phenomena, Ways of the World has much on offer. * Emotions: History, Culture & Society *Table of ContentsIntroduction 1. All Roads Lead to Rhodes: William Davenant, Ottomanphilia, and the Reinvention of Theater in the Restoration 2. Travestie: William Wycherley, the Fop, and the Provincial Girl 3. Indian Queens and the Queen Who Brought the Indies: Dryden, Settle, and the Tragedies of Empire 4. Restoration Legacies: Tragic Monarchs, Exotic and Enslaved 5. "Have You Not Been Sophisticated?": The Afterlife of the Restoration Actress 6. Histories of Their Own Times: Burnet, Cibber, and Rochester Epilogue: Mr. Spectator, Adam Smith, and the New Global Citizenship

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Book SynopsisSince its Broadway debut, Hamilton: An American Musical has infused itself into the American experience: who shapes it, who owns it, who can rap it best. Lawyers and legal scholars, recognizing the way the musical speaks to some of our most complicated constitutional issues, have embraced Alexander Hamilton as the trendiest historical face in American civics. Hamilton and the Law offers a revealing look into the legal community''s response to the musical, which continues to resonate in a country still deeply divided about the reach of the law. A star-powered cast of legal mindsfrom two former U.S. solicitors general to leading commentators on culture and societycontribute brief and engaging magazine-style articles to this lively book. Intellectual property scholars share their thoughts on Hamilton''s inventive use of other sources, while family law scholars explore domestic violence. Critical race experts consider how Hamilton furthers our understaTrade ReviewWhether or not readers have a strong grounding in the law, they'll be stirred by the connections the book draws among Hamilton, current events, and history. * Library Journal *Hamilton and the Law shows us a look in the mirror and asks – can we abandon the founder myths so that we can realize our present-day reality and strive towards substantive equity for all? Hamilton, adored by millions, may be the pop culture medium that helps us heal our inconsistent conceptualizations of America's past, present, and future. Applause to you, Professor Tucker. * Hedgehogs and Foxes Blog *The collection has the seemingly incongruous effect of simultaneously drawing you into our formative history and the making of "Hamilton: An American Musical," while also contemplating the intractable issues facing us today. In this way, it invites readers to think not only about the relationships between art, law and society, but also the possible narratives one can tell about the America of days gone by and the ways in which those narratives can shape our future. * Law360 *Lisa A. Tucker has succeeded in using the innovation and exuberance of Lin-Manuel Miranda's ground-breaking musical to explore a wide range of legal, social, and historical issues. A smart and original book. * Los Angeles Review of Books *The book would be good for collections on law and current affairs. * Choice *Although the musical is not without its historical inaccuracies and criticisms, it is an undeniable reminder of the powers of storytelling, representation, and the arts. Books such as Hamilton and the Law amplify said powers by bringing the material to new audiences and providing scholarly commentaries on a mix of legal, social, political, and cultural topics. * Criminal Law & Criminal Justice Books Review *Table of ContentsPart 1: "And so the American Experiment Begins": The Constitution and the Three Branches of Government 1. Lin-Manuel Miranda and the Future of Originalism, Richard Primus 2. Some Alexander Hamilton, but Not So Much Hamilton, in the New Supreme Court, John Q. Barrett 3. Tragedy in the Supreme Court: "I'd Rather Be Divisive Than Indecisive", Lisa A. Tucker 4. Alexander Hamilton's "One Shot" before the U.S. Supreme Court, Gregory G. Garre 5. "Never Gon' Be President Now", Michael Gerhardt 6. Hamilton: Child Laborer and Truant, Paul M. Secunda Part 2: "America, You Great Unfinished Symphony" 7. Hamilton's America—and Ours, Kermit Roosevelt III 8. Hamilton and Washington at War and a Vision for Federal Power, Elizabeth B. Wydra 9. Two Oaths: Supporting and Defending the Constitution with Hamilton, Jill I. Goldenziel Part 3: "We'll Never Be Truly Free": Hamilton and Race 10. Finding Constitutional Redemption through Hamilton, Christina Mulligan 11. Race, Nation, and Patrimony, or, the Stakes of Diversity in Hamilton, Anthony Paul Farley 12. "The World Turned Upside Down": Employment Discrimination, Race, and Authenticity in Hamilton, Marcia L. McCormick 13. Hamilton and the Power of Racial Fables in Examining the U.S. Constitution, Danielle Holley-Walker Part 4: "I'm 'a Compel Him to Include Women in the Sequel" 14. On Women's Rights, Legal Change, and Incomplete Sequels, Eloise Pasachoff 15. When Your Job Is to Marry Rich: Marriage as a Market in Hamilton, Kimberly Mutcherson 16. "Love" Triangles: Romance or Domestic Violence?, Rosa Frazier Part 5: "Immigrants, We Get the Job Done" 17. Hamilton's Dissent to the Travel Ban, Neal Katyal 18. Hamilton and the Limits of Contemporary Immigration Narratives, Anil Kalhan 19. Hamilton's Immigrant Story Today, Elizabeth Keyes Part 6: "The Ten Duel Commandments" 20. Hamilton, Hip-Hop, and the Culture of Dueling in America, Glenn Harlan Reynolds 21. Alexander Hamilton, Citizen-Protector?, Jody Madeira 22. We Will Never Be Satisfied: Hamilton and Jefferson's Duel Over Constitutional Meaning, Ian Millhiser 23. Hamilton, Burr, and Defamation: Physical versus Verbal Duels, Benjamin Barton 24. Elections as Duels: "You Know What? We Can Change That. You Know Why?" 'Cuz We Have the Support of Two-Thirds of Each House of Congress and Three-Quarters of the States!, Joshua A. Douglas 25. Modern-Day Protests: As American as Apple Pie, Kimberly Jade Norwood Part 7: "Who Tells Your Story?" 26. Every Action's an Act of Creation: Hamilton and Copyright Law, Rebecca Tushnet 27. Hollering to Be Heard: Copyright and the Aesthetics of Voice, Zahr K. Said 28. Taking Law School Musicals Seriously: A Little Love Letter to Legal Musicals and the Lawyers Who Love Them, Robin J. Effron 29. "The World Turned Upside Down": Hamilton and Deconstruction, Bret D. Asbury Part 8: "What Is a Legacy?": Lessons from Hamilton beyond the Libretto 30. "Cabinet Battle #1": The Structure of Federalism, Erwin Chemerinsky 31. Hamilton's Bank and Jefferson's Nightmare, Mehrsa Baradaran 32. Alexander Hamilton's Legacy: The American Board of Directors, M. Todd Henderson 33. I Never Thought I'd Live Past Twenty": Hamilton through the Lens of Anticipated Early Death, Sarah Fishel

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Book SynopsisSince its Broadway debut, Hamilton: An American Musical has infused itself into the American experience: who shapes it, who owns it, who can rap it best. Lawyers and legal scholars, recognizing the way the musical speaks to some of our most complicated constitutional issues, have embraced Alexander Hamilton as the trendiest historical face in American civics. Hamilton and the Law offers a revealing look into the legal community''s response to the musical, which continues to resonate in a country still deeply divided about the reach of the law. A star-powered cast of legal mindsfrom two former U.S. solicitors general to leading commentators on culture and societycontribute brief and engaging magazine-style articles to this lively book. Intellectual property scholars share their thoughts on Hamilton''s inventive use of other sources, while family law scholars explore domestic violence. Critical race experts consider how Hamilton furthers our understaTrade ReviewWhether or not readers have a strong grounding in the law, they'll be stirred by the connections the book draws among Hamilton, current events, and history. * Library Journal *Hamilton and the Law shows us a look in the mirror and asks – can we abandon the founder myths so that we can realize our present-day reality and strive towards substantive equity for all? Hamilton, adored by millions, may be the pop culture medium that helps us heal our inconsistent conceptualizations of America's past, present, and future. Applause to you, Professor Tucker. * Hedgehogs and Foxes Blog *The collection has the seemingly incongruous effect of simultaneously drawing you into our formative history and the making of "Hamilton: An American Musical," while also contemplating the intractable issues facing us today. In this way, it invites readers to think not only about the relationships between art, law and society, but also the possible narratives one can tell about the America of days gone by and the ways in which those narratives can shape our future. * Law360 *Lisa A. Tucker has succeeded in using the innovation and exuberance of Lin-Manuel Miranda's ground-breaking musical to explore a wide range of legal, social, and historical issues. A smart and original book. * Los Angeles Review of Books *The book would be good for collections on law and current affairs. * Choice *Although the musical is not without its historical inaccuracies and criticisms, it is an undeniable reminder of the powers of storytelling, representation, and the arts. Books such as Hamilton and the Law amplify said powers by bringing the material to new audiences and providing scholarly commentaries on a mix of legal, social, political, and cultural topics. * Criminal Law & Criminal Justice Books Review *Table of ContentsPart 1: "And so the American Experiment Begins": The Constitution and the Three Branches of Government 1. Lin-Manuel Miranda and the Future of Originalism, Richard Primus 2. Some Alexander Hamilton, but Not So Much Hamilton, in the New Supreme Court, John Q. Barrett 3. Tragedy in the Supreme Court: "I'd Rather Be Divisive Than Indecisive", Lisa A. Tucker 4. Alexander Hamilton's "One Shot" before the U.S. Supreme Court, Gregory G. Garre 5. "Never Gon' Be President Now", Michael Gerhardt 6. Hamilton: Child Laborer and Truant, Paul M. Secunda Part 2: "America, You Great Unfinished Symphony" 7. Hamilton's America—and Ours, Kermit Roosevelt III 8. Hamilton and Washington at War and a Vision for Federal Power, Elizabeth B. Wydra 9. Two Oaths: Supporting and Defending the Constitution with Hamilton, Jill I. Goldenziel Part 3: "We'll Never Be Truly Free": Hamilton and Race 10. Finding Constitutional Redemption through Hamilton, Christina Mulligan 11. Race, Nation, and Patrimony, or, the Stakes of Diversity in Hamilton, Anthony Paul Farley 12. "The World Turned Upside Down": Employment Discrimination, Race, and Authenticity in Hamilton, Marcia L. McCormick 13. Hamilton and the Power of Racial Fables in Examining the U.S. Constitution, Danielle Holley-Walker Part 4: "I'm 'a Compel Him to Include Women in the Sequel" 14. On Women's Rights, Legal Change, and Incomplete Sequels, Eloise Pasachoff 15. When Your Job Is to Marry Rich: Marriage as a Market in Hamilton, Kimberly Mutcherson 16. "Love" Triangles: Romance or Domestic Violence?, Rosa Frazier Part 5: "Immigrants, We Get the Job Done" 17. Hamilton's Dissent to the Travel Ban, Neal Katyal 18. Hamilton and the Limits of Contemporary Immigration Narratives, Anil Kalhan 19. Hamilton's Immigrant Story Today, Elizabeth Keyes Part 6: "The Ten Duel Commandments" 20. Hamilton, Hip-Hop, and the Culture of Dueling in America, Glenn Harlan Reynolds 21. Alexander Hamilton, Citizen-Protector?, Jody Madeira 22. We Will Never Be Satisfied: Hamilton and Jefferson's Duel Over Constitutional Meaning, Ian Millhiser 23. Hamilton, Burr, and Defamation: Physical versus Verbal Duels, Benjamin Barton 24. Elections as Duels: "You Know What? We Can Change That. You Know Why?" 'Cuz We Have the Support of Two-Thirds of Each House of Congress and Three-Quarters of the States!, Joshua A. Douglas 25. Modern-Day Protests: As American as Apple Pie, Kimberly Jade Norwood Part 7: "Who Tells Your Story?" 26. Every Action's an Act of Creation: Hamilton and Copyright Law, Rebecca Tushnet 27. Hollering to Be Heard: Copyright and the Aesthetics of Voice, Zahr K. Said 28. Taking Law School Musicals Seriously: A Little Love Letter to Legal Musicals and the Lawyers Who Love Them, Robin J. Effron 29. "The World Turned Upside Down": Hamilton and Deconstruction, Bret D. Asbury Part 8: "What Is a Legacy?": Lessons from Hamilton beyond the Libretto 30. "Cabinet Battle #1": The Structure of Federalism, Erwin Chemerinsky 31. Hamilton's Bank and Jefferson's Nightmare, Mehrsa Baradaran 32. Alexander Hamilton's Legacy: The American Board of Directors, M. Todd Henderson 33. I Never Thought I'd Live Past Twenty": Hamilton through the Lens of Anticipated Early Death, Sarah Fishel

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Book SynopsisWhile European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own. Trade Review"Elegantly and engagingly written, The Singing Turk is the first exhaustive and definitive investigation of the largely forgotten body of operas on Turkish themes. It is also an intellectual history of European identity as it variously rejected, resisted, flirted with, but never genuinely embraced Turkey and the Turks, with far-reaching present-day relevance." -- Maria Todorova * University of Illinois at Urbana-Champaign *"Larry Wolff's book combines in the best way imaginable the study of history and of opera. I have never hummed and drummed as much when reading a book." -- Philipp Ther * University of Vienna *"This tome is a vigorous, literate and well-informed examination of the place of Ottoman- Turks in European operatic traditions that succeeds in making sense of a complicated, intricate and otherwise fragmented page in Western history. A remarkable feat, The Singing Turk is the first full account of a musicological phenomenon that, following centuries of conflict, underwent unprecedented changes to its fundamental intellectual roots following the defeat of the Ottoman army outside Vienna in 1683 and the transformation of their portrayal in popular culture across Christian Europe in the eighteenth century...It is likely to become the standard text on the subject for English- speaking readers, and can be warmly recommended to graduate and undergraduate students with an interest in opera, music, history and the dynamic tensions of Christian– Muslim relations." -- Abdullah Drury * Islam and Christian-Muslim Relations *"The Ottoman Empire, seen in stage characters called Turks, served as an important vehicle for musical theater during the last four hundred years. Larry Wolff has produced a remarkably wide-ranging survey that suggests how the characters, the settings, and the music reflect social and political contexts of the time. Knitting together the work of musicologists, historians, and political scientists, Wolff establishes what members of the public inferred about the evolution of the Ottoman Empire within international affairs from watching these shows." -- William Weber * American Historical Review *"Wolff has a gift for contextualizing his subject without being reductive. This quality enables him to historicize perceptions of Turkishness instead of seeing them simply as emanations of some static "Other." Although not a professional musicologist, he deserves praise for venturing into a field usually confined to specialists. Here his status as an outsider may well be an asset. His forays into the strictly musical dimensions of his subject are erudite and well-informed, but his lucid style is accessible to nonspecialists. The result is a book that general historians as well as music scholars will find rewarding." -- James Van Horn Melton * Journal of Modern History *"Engagingly written and judiciously illustrated, The Singing Turk follows the evolution of Ottoman themes in Italian, German, and French opera during the long eighteenth century (roughly 1680–1820)...This book is rich in cultural and historical detail that somehow never threatens to overwhelm the author's overall analysis, which engages not only with geopolitics but with Orientalism and the history of emotions." -- Jane Hathaway * Canadian Journal of History *"In this penetrating study, Larry Wolff suggests not only how operatic representations of Turkish themes and characters might have reflected transformations in perceptions of Ottoman power, but also how – as in, say, Montesquieu's Lettres persanes, yet closer to 'home' – they enabled Enlightened criticism of European 'reality.'" -- Mark Berry * European History Quarterly *"As a general historian, Wolff can ignore the boundaries that generally surround—and defend—musical studies, and the result is refreshing, as well as confident in its command of musical terminology." -- Paul Griffiths * Times Literary Supplement *"[T]he brilliant idea of opening a website (www.singingturk.com) bringing together musical and operatic excerpts for every chapter with brief commentary about each clip raises the status of this work from an academic reading to an operatic experience on its own right."--Yasir Yılmaz, Austrian History Yearbook"Wolff combines history and music at an extraordinarily deep level and on a particularly large scale....[He shows] that the Singing Turk and associated figures, values, and musical elements had, indeed, played a paramount role in the construction of European identity, and that operatic stages had been primary venues for the articulation of that process....Never before has a study been able to illustrate this intricate process with such completeness and richness." -- Alessandra Palidda * H-France Review *Table of ContentsContents and AbstractsIntroduction chapter abstractThe introduction sets the problem of operatic representation in the context of the Triplex Confinium, the adjacency of the Ottoman, Venetian, and Habsburg states in the eighteenth century, creating circumstances of war and hostility, but also coexistence and familiarity. Venice and Vienna were significant both as capitals of the Triplex Confinium and as operatic centers for works on Turkish themes. Some familiarity and fascination with elements of Turkish musical style— Janissary or alla turca style— was one aspect of this geopolitical situation, and the introduction makes the case for thinking about musical issues in the context of international relations and the dynamics of war and peace. Finally, the introduction considers how the singing Turk on the operatic stage addressed issues of European identity in the age of Enlightenment, in matters of political theory, emotional discipline, and the presumption of civilization. 1The Captive Sultan: Operatic Transfigurations of the OttomanMenace after the Siege of Vienna chapter abstractThis chapter suggests that, following the failed Ottoman siege of Vienna in 1683, a lessening of fear and anxiety in Europe coincided with the emergence of operas about Turks as European entertainment—even as Ottoman territorial recession was articulated in the treaties of Karlowitz (1699) and Passarowitz (1718). The most important subject of such operas, initially, was Tamerlane's capture of Sultan Bajazet, with the sultan singing in captivity as the emblem of Ottoman defeat, engaging European sympathy rather than dread. Such operas appeared first in Venice and Hamburg in 1689 and 1690, and then found definitive form with the libretto by Agostino Piovene and music by Francesco Gasparini in Venice in 1711, revised for Reggio Emilia in 1719. The most celebrated such work was Handel's Tamerlano, in London in 1724, borrowing Gasparini's tenor Francesco Borosini for the role of Bajazet. Vivaldi also set the Piovene libretto as Bajazet in 1735. 2The Generous Turk: Captive Christians and Operatic Comedy in Paris chapter abstractThis chapter considers Paris as an operatic perspective on the Ottoman empire, conditioned both by the relative remoteness of Paris from Istanbul and the longterm French solidarity with the Ottomans against the Habsburgs. The Paris fairs of the early eighteenth century served as a matrix for the emergence of new musical comedies on Turkish themes, including the comical figure of Arlequin (Harlequin). The Ottoman embassy to Paris in 1720-1721 stimulated a fashionable cultural interest in Turquerie, while the publication of Montesquieu's Persian Letters in 1721 as a foundational work of the French Enlightenment encouraged a philosophical perspective on the Muslim world. These new attitudes received their most important and influential operatic expression in Rameau's Les Indes galantes of 1735, with one act titled Le Turc généreux. The "generous Turk" was a magnanimous and sympathetic pasha who ultimately emancipated a female European captive from his harem. 3The Triumphant Sultana: Suleiman and His Operatic Harem chapter abstractThis chapter presents the French musical comedy phenomenon of Charles-Simon Favart's The Three Sultanas (Les Trois Sultanes) of 1761, about Sultan Suleiman the Magnificent and the favorite of his harem, Roxelana, as performed by Marie-Justine Favart. In this Parisian work the Ottoman sultan was triumphantly "civilized" by Roxelana, who was fictively imagined as a Frenchwoman in Suleiman's harem. The work was staged and costumed in the spirit of cultural Turquerie, and was politically meaningful in relation to the court of Louis XV and the influence and precedence of his mistress Madame Pompadour. There was also a roughly concurrent opera seria libretto concerning Suleiman, titled Solimano, and first composed by Johann Adolph Hasse for Dresden in 1753. Favart's Three Sultanas was translated, recomposed, and restaged all over Europe, including notable versions composed by Joseph Martin Kraus for Stockholm in 1789, and by Franz Xaver Süssmayr for Vienna in 1799. 4The Turkish Subjects of Gluck and Haydn: Comic Opera in War And Peace chapter abstractThis chapter focuses on the 1760s and 1770s, especially in the Habsburg monarchy, as Gluck and Haydn began to compose comic operas on Turkish themes making use of Janissary percussion and alla turca style. Cultural interest in the Ottomans was conditioned by the presence of Ottoman envoys in Vienna in the age of Maria Theresa and, especially, by the international circumstances of the Russian-Turkish war of 1768 to 1774. Gluck's and Haydn's French and Italian versions of the same subject, Les Pèlerins de la Mecque and L'incontro improvviso, are discussed with reference to the comical figure of the Kalender. Haydn's comic opera Lo speziale, performed at Esterháza in 1768, is considered in relation to operatic Turkish travesty and disguise. The news of the ongoing war between the Turks and Russians created a climate encouraging for comic operas about Turks, including works by Niccolò Jommelli and Georg Joseph Vogler. 5Osmin in Vienna: Mozart's Abduction and the Centennial of the Ottoman Siege chapter abstractThis chapter discusses the creation of Mozart's Abduction from the Seraglio in 1781 and 1782 in the context of the approaching centennial of the Ottoman siege of Vienna in 1783. Mozart turned from a serious Turkish subject in the unfinished opera Zaide to a comic Turkish subject in the Abduction, using alla turca musical style. In the Abduction the issue of Osmin's rage, his inability to master his emotions, was also relevant to Mozart's own recent conditions of service under Archbishop Colloredo in Salzburg. Singing in the deepest part of the basso range, Ludwig Fischer in the role of Osmin offered a representation of Turkish masculinity that removed all suspicion that Osmin, as overseer of the sultan's harem, might actually be a eunuch. In fact, eighteenth-century culture kept carefully distinct the dangerously related discourses concerning harem eunuchs, on the one hand, and operatic castrati, on the other. 6"To Honor the Emperor": Pasha Selim and Emperor Joseph Ii in the Age of Enlightened Absolutism chapter abstractThis chapter considers the political and emotional dynamics of Mozart's Sultan Soliman in Zaide, and then addresses the dramatic portrait of Pasha Selim in the Abduction as a very purposeful effort by the composer to bring himself to the attention of Habsburg Emperor Joseph II. Pasha Selim was made to appear as a model of Ottoman magnanimity which was intended to reflect upon the emperor in the audience at the first performance in 1782. The course of Josephine enlightened absolutism was closely correlated with Mozart's career in Vienna, and Mozart showed himself a dedicated Josephine with his musical attentions to Joseph's Turkish war of 1787. This chapter also considers the enormous and persistent success of Grétry's La Caravane du Caire as a French counterpart to the Abduction in the 1780s, with parallel political implications. The Ottoman accession of Sultan Selim III is discussed in relation to European enlightened absolutism. 7The Ottoman Adventures of Rossini and Napoleon: Kaimacacchi and Missipipi at La Scala chapter abstractThis chapter considers Napoleonic Europe as the context for the formation of the young Rossini as an opera composer, with particular attention to Napoleon's invasion of Ottoman Egypt, which coincided with the first Parisian production of Mozart's Abduction in 1798. There were new attentions to Ottoman themes in Napoleonic Paris during the first decade of the century, not only at the Paris Opéra, but also in musical comedies and burlesque satires. In 1812 Rossini brought his own brand of Turkishness to La Scala in Napoleonic Milan with La pietra del paragone and its immensely popular comical scene of Turkish disguise. Stendhal, as an ardent admirer of Rossini, hailed the composer as Napoleon's successor, making his very own musical conquest of Europe. 8Pappataci and Kaimakan: Reflections in a Mediterranean Mirror chapter abstractThis chapter focuses on Rossini's L'Italiana in Algeri, considered as a Venetian triumph for Rossini in 1813, employing Turkish themes that resonated with Venetian-Ottoman history. The libretto by Angelo Anelli had been composed earlier by Luigi Mosca. Rossini's opera is considered in the context of Mediterranean piracy and captivity, and interpreted as an opera of conquest in which the heroine Isabella executes a successful European campaign against the Algerian Mustafa Bey— in some sense anticipating the French invasion of Algeria in 1830. The farce of reciprocal Ottoman-European honors— Pappataci and Kaimakan— is shown to reflect not the unbridgeable differences but rather the Mediterranean resemblances between the Napoleonic Italians and the Ottoman Algerians. Isabella's famous aria "Pensa alla patria" presented Italian patriotism within an Ottoman scenario. The basso Filippo Galli sang the role of Mustafa Bey, as he sang all of Rossini's leading Turkish roles. 9An Ottoman Prince in the Romantic Imagination: The Libertine Adventures of Rossini's Turkish Traveler chapter abstractThis chapter focuses on the Romantic conception of the singing Turk in Rossini's Il Turco in Italia. After centuries of European warfare with the Ottomans, Rossini in 1814, working with the librettist Felice Romani, conjured a traveling Turkish protagonist who not only embraced the beauty of Italy and the Italians, but also exercised a musical charisma that made him the conqueror of hearts without resort to any weaponry at all. As the Napoleonic Kingdom of Italy collapsed in 1814, Prince Selim, played by Filippo Galli, made his entrance at La Scala, singing a greeting to "Bella Italia"— which enabled Italians to see their own politically problematic peninsula reflected in the gaze of an admiring Turk. For the heroine Fiorilla the libertine Turk was irresistible, and Rossini's music suggested the transgressive compatibility between the Italian woman and the Turkish man who both made love in exactly the same Mediterranean way. 10Maometto in Naples and Venice: The Operatic Charisma of the Conqueror chapter abstractThis chapter focuses on Rossini's Maometto Secondo, presenting the Ottoman conqueror of Constantinople, Mehmed II, at the Teatro San Carlo in Naples in 1820. The sultan appeared as a charismatic and romantic singing Turk, performed by Filippo Galli. Enthusiasm for Rossini is discussed in the political context of Restoration Europe in the age of Metternich. Rossini's Maometto Secondo is analyzed in relation to Peter Winter's Maometto at La Scala in 1817, an opera about Mohammed the Prophet, based on Voltaire's tragedy Mahomet. Rossini's Maometto Secondo also conjured memories of Napoleon, the man whose seemingly endless ambitions for conquest were reflected in the operatic ambitions of Maometto on the operatic stage. Finally, since the plot of the opera deals with the sultan's specific conquest of Venetian Negroponte, Rossini's revision of the opera for Venice in 1822 is considered in relation to the long history of Venetian-Ottoman relations. 11Rossini's Siege of Paris: Ottoman Subjects in the French Restoration chapter abstractThis chapter considers the flourishing of operas on Turkish themes in Restoration France, including Rossini's Turkish operas in Paris— especially as Rossini became director of the Théâtre-Italien in the 1820s. His most important contribution to Turkishness in Paris was his refashioning of Maometto Secondo as Le Siège de Corinthe for the Paris Opéra in 1826, and this was powerfully shaped by the ongoing Greek War of Independence and the potency of French Philhellenism. The Venetians of Maometto Secondo were now made into Greeks, at war with the Ottomans, and the opera was thus made relevant to contemporary Greece. Public response to Rossinian orchestration suggested that what was once considered "Janissary" percussion was now being generally absorbed into the percussion section of the modern orchestra. In 1824 Beethoven allowed for the brief nostalgic appearance of a Janissary band playing a Turkish march in the score of the Ninth Symphony. 12The Decline and Disappearance of the Singing Turk: Ottoman Reform, the Eastern Question, and the European Operatic Repertory chapter abstractThis chapter considers European opera after Rossini and the waning presence of Turkish figures and themes in nineteenth-century opera. Ottoman reform under Mahmud II and Abdülmecid I (including the reform of Ottoman music, led by "Donizetti Pasha," the brother of the famous composer), brought about some cultural convergence with Europe. At the same time the modern Eastern Question transformed European-Ottoman relations into an unoperatic calculus of the balance of power, and introduced modern European colonialism in the Ottoman lands, beginning with the French seizure of Algeria in 1830. The presence of the singing Turk in the operatic repertory became less and less viable, as was notably apparent in the cases of Verdi's I Lombardi and Il Corsaro in the 1840s. The chapter concludes by observing subliminal traces of Turkishness in the modern operatic repertory without Turks and the lingering presence of Turkishness in ballet and operetta. Conclusion chapter abstractThe conclusion argues that the singing Turk, beginning with the figure of Bajazet in captivity, participated in a discourse of absolute power and political abjection, exploring issues of sovereignty that were deeply relevant for European princes. The singing Turk could also reflect the magnanimity of princes across Europe, from Rameau in Paris in the 1730s to Mozart in Vienna in the 1780s, contributing musically to a discourse about enlightened absolutism as embodied in the figure of the Generous Turk. The musical expression of extreme emotions— especially rage, as in the case of Mozart's Osmin— was seen as closely related to the presumptions and frustrations of absolute power. The musical mastery of operatic emotions contributed to a discourse on the civilizing process, with Turkishness posing questions of civilization that were thoroughly relevant to Europe. The singing Turk must be understood and interpreted in the historical context of European-Ottoman relations.

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Book SynopsisThe Enlightenment remains widely associated with the rise of scientific progress and the loss of religious faith, a dual tendency that is thought to have contributed to the disenchantment of the world. In her wide-ranging and richly illustrated book, Tili Boon Cuillé questions the accuracy of this narrative by investigating the fate of the marvelous in the age of reason. Exploring the affinities between the natural sciences and the fine arts, Cuillé examines the representation of natural phenomena—whether harmonious or discordant—in natural history, painting, opera, and the novel from Buffon and Rameau to Ossian and Staël. She demonstrates that philosophical, artistic, and emotional responses to the "spectacle of nature" in eighteenth-century France included wonder, enthusiasm, melancholy, and the "sentiment of divinity." These "passions of the soul," traditionally associated with religion and considered antithetical to enlightenment, were linked to the faculties of reason, imagination, and memory that structured Diderot's Encyclopédie and to contemporary theorizations of the sublime. As Cuillé reveals, the marvelous was not eradicated but instead preserved through the establishment and reform of major French cultural institutions dedicated to science, art, religion, and folklore that were designed to inform, enchant, and persuade. This book has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.Trade Review"Genuinely interdisciplinary and drawing on an astonishing range of sources, Divining Nature is a remarkable achievement. Tili Boon Cuillé demonstrates that enchantment and the sentiment of the divine lie at the heart of scientific and aesthetic debates in the eighteenth century and are in no way antithetical to the spirit of the Enlightenment." -- Joanna Stalnaker * Columbia University *"Overturning a number of critical and historical clichés about the Enlightenment's role in disenchanting the world, Tili Boon Cuillé recovers a bold and original vision of the continuing role that enchantment played in the Age of Reason in France." -- Göran Blix * Princeton University *"Divining Nature is laudably ambitious. In a moment of strident and sometimes caricatural critique of the Enlightenment as a bastion of whiteness, colonial violence, and epistemic imperialism, Divining Nature offers a more capacious, nuanced, and agile vision, one based on epistemological humility, the transcendence of personal, cultural, and conceptual boundaries, and the rooting of aesthetic pleasure in the sympathetic identification with the other." -- Ryan Whyte * Eighteenth-Century Fiction *"Tili Boon Cuillé's newest book, Divining Nature, is a truly valuable contribution to the state of French Enlightenment studies today, convincingly demonstrating what is becoming increasingly apparent: that this movement was neither a clean break with the past, nor a definitive rejection of religion and spirituality, nor a neat split between the sciences and the arts." -- Hanna Roman * H-France *Table of ContentsContents and AbstractsIntroduction: The Spectacle of Nature chapter abstractOpening with the Abbé Pluche's best selling Spectacle de la nature, the introduction distinguishes characterizations of nature as book, clock, and spectacle. Questioning lingering associations of the Enlightenment with disenchantment, it considers the fate of the marvelous in eighteenth-century France. Affective responses to nature's spectacle—traditionally associated with religion or religious fanaticism—including wonder, enthusiasm, and melancholy, were systematically linked to the faculties of reason, imagination, and memory that structured Diderot and D'Alembert's Encyclopédie. The introduction lays the groundwork for this study by surveying developments in Enlightenment science and aesthetics, particularly empiricism, sensationalism, vitalism, and the theorization of the sublime, traced not to Longinus but to Lucretius. 1The Marvels of Nature in Buffon and Rameau chapter abstractTaking Fontenelle's famed comparison of nature to the opera somewhat literally, Chapter 1 considers the representation of natural phenomena in the Comte de Buffon's Histoire naturelle and Jean-Philippe Rameau's opera Zoroastre, which coincided in 1749. Lorraine Daston and Katherine Park have argued that wonder gave way to a more scientific curiosity in the Enlightenment. This chapter demonstrates that Buffon and Rameau to the contrary sought to sustain the wonder of the reader/spectator when confronted with natural marvels on the page and the stage. Wonder constituted the affective counterpart to encounters with the marvelous, which Rameau's librettist Louis de Cahusac considered a defining feature of French tragic opera. The chapter likens plans for the improvement of special effects, the renovation of the opera, and the establishment of the National Museum of Natural History in the course of the century, designed to reconcile enlightenment and enchantment. 2The Philosophy of Nature in Diderot and Rousseau chapter abstractDenis Diderot and Jean-Jacques Rousseau were avid readers of Buffon's Histoire naturelle and active participants in the quarrels prompted by Rameau's operas. To date, scholarship has focused primarily on their theorization of physiological and moral sensibility. Chapter 2 investigates Diderot's and Rousseau's response to the spectacle of nature, focusing on the affinity between the inspiration of the artist and the identification of the spectator. Jan Goldstein has characterized "enthusiasm" and "imagination" as eighteenth-century smear words. These terms are recuperated in Diderot's writings on painting and the theater and Rousseau's writings on opera and the novel, however. Enthusiasm, like pity, necessitates a movement outside oneself that facilitates union with the other and the forging of the ideal model. The chapter concludes by considering the alternate forms of natural spectacle that Diderot and Rousseau envision in their writings. 3The Harmony of Nature in Paul et Virginie chapter abstractRousseau's protégé, Jacques-Henri Bernardin de Saint-Pierre, conceived of his Études de la nature as a complement to Buffon's Histoire naturelle. Chapter 3 traces the generation of his novel Paul et Virginie from his travelogue to its publication as the fourth book of his natural history. Bernard de Lacépède's Poétique de la musique provides a missing link between Bernardin's novel and its operatic adaptation by Jean-François Le Sueur. Reading Bernardin's natural history, full of advice for artists, alongside Le Sueur's essays on church music, full of tips for composers, reveals that author and composer both sustained and sought to foster mixed emotions in response to the spectacle of nature that led to the "sentiment of divinity." The chapter concludes with a consideration of French cathedrals, redesigned along lines reminiscent of the opera and the natural history museum in the course of the century. 4The Poetics of Nature in Ossian and Staël chapter abstractFrance's frame of reference shifted northward when James Macpherson went in search of the Scots national epic, returning with poems attributed to the third-century bard Ossian. Though denounced as a hoax, Macpherson's reconstruction of a lost epic from surviving fragments has since been compared to scientific endeavors such as geology and cartography. Chapter 4 explores Macpherson's use of similes interrelating the natural and the spiritual realms and the relationship between melancholy and memory in the epics before turning to their favorable French reception. Both Napoleon and Germaine de Staël embraced France's northern heritage, hailing Ossian as the new Homer. Privileging northern melancholy over southern enthusiasm, Staël looked to the philosophical poetry of the north as the source of French spiritual regeneration. Ironically, anxieties about the epics' authenticity led to the establishment of the Académie Celtique and the science of folklore. Epilogue: A Theater of Enchantment chapter abstractThe epilogue considers E.T.A. Hoffmann and François-René de Chateaubriand's retrospective reflections on the marvelous in art and nature. Evidence that the marvelous survived the century can be found in the glories used to transport Greek gods, Christian angels, and Scots ghosts in opera, on altarpieces, and in history painting. The cognitive and emotional responses to the spectacle of nature, including wonder, enthusiasm, melancholy, and the "sentiment of divinity," which contributed to the theorization of the sublime, also pertain to current discussions of environmental aesthetics. chapter abstract

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Book SynopsisA beguiling exploration of the last Habsburg monarchs' grip on Europe's historical and cultural imagination. In 1919 the last Habsburg rulers, Emperor Karl and Empress Zita, left Austria, going into exile. That same year, the fairy-tale opera Die Frau ohne Schatten (The Woman Without a Shadow), featuring a mythological emperor and empress, premiered at the Vienna Opera. Viennese poet Hugo von Hofmannsthal and German composer Richard Strauss created Die Frau ohne Schatten through the bitter years of World War I, imagining it would triumphantly appear after the victory of the German and Habsburg empires. Instead, the premiere came in the aftermath of catastrophic defeat. The Shadow of the Empress: Fairy-Tale Opera and the End of the Habsburg Monarchy explores how the changing circumstances of politics and society transformed their opera and its cultural meanings before, during, and after the First World War. Strauss and Hofmannsthal turned emperors and empresses into fantastic fairy-tale characters; meanwhile, following the collapse of the Habsburg monarchy after the war, their real-life counterparts, removed from political life in Europe, began to be regarded as anachronistic, semi-mythological figures. Reflecting on the seismic cultural shifts that rocked post-imperial Europe, Larry Wolff follows the story of Karl and Zita after the loss of their thrones. Karl died in 1922, but Zita lived through the rise of Nazism, World War II, and the Cold War. By her death in 1989, she had herself become a fairy-tale figure, a totem of imperial nostalgia. Wolff weaves together the story of the opera's composition and performance; the end of the Habsburg monarchy; and his own family's life in and exile from Central Europe, providing a rich new understanding of Europe's cataclysmic twentieth century, and our contemporary relationship to it.Trade Review"In Larry Wolff's brilliant telling, an opera's fairy-tale empress and a real-life Habsburg empress come to embody the phantom political culture of an empire that to this day maintains a powerful hold over Central and Eastern European institutions and imagination."—Pieter M. Judson, author of The Habsburg Empire: A New History"This alluring and original work of history explores the parallel lives of a twentieth century opera, the twilight of the Habsburg Empire, and its last emperor and empress. Politics is woven into the opera's creation and its later life. In this brilliant book, art imitates life, and life art, through mirror images, shadows and the unexpected destinies of historic personages."—Leon Botstein, Bard College"Larry Wolff's dual biography of Richard Strauss and Hugo von Hofmannsthal's fictional empress (The Woman without a Shadow, premiered in 1919) and the last Habsburg empress Zita, who lived until 1989, is a silver rose of a book—a brilliant account of an imperfect operatic masterpiece, its allegorical investments, and its call for the repopulation and humanization of Europe in the wake of World War I."—Michael P. Steinberg, author of The Afterlife of MosesTable of ContentsIntroduction: Pulling Roots 1. Giving Language Time 2. The Transported Word: Wheatley's Part 3. Voices of the Ground: Blake's Language in Deep Time 4. Radical Diversions: Wordsworth's Overgrowth 5. The Primitive Today: Thoreau in the Wild Conclusion: Deracination

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Book SynopsisIn Malicious Deceivers, Ioana B. Jucan traces a genealogy of post-truth intimately tied to globalizing modernity and connects the production of repeatable fakeness with capitalism and Cartesian metaphysics. Through case studies that cross times and geographies, the book unpacks the notion of fakeness through the related logics of dissimulation (deception) and simulation (performativity) as seen with software/AI, television, plastics, and the internet. Specifically, Jucan shows how these (dis)simulation machines and performative objects construct impoverished pictures of the world, ensuring a repeatable sameness through processes of hollowing out embodied histories and lived experience. Through both its methodology and its subjects-objects of study, the book further seeks ways to counter the abstracting mode of thinking and the processes of voiding performed by the twinning of Cartesian metaphysics and global capitalism. Enacting a model of creative scholarship rooted in the tradition of writing as performance, Jucan, a multimedia performance-maker and theater director, uses the embodied "I" as a framing and situating device for the book and its sites of investigation. In this way, she aims to counter the Cartesian voiding of the thinking "I" and to enact a different kind of relationship between self and world from the one posited by Descartes and replayed in much Western philosophical and — more broadly — academic writing: a relationship of separation that situates the "I" on a pedestal of abstraction that voids it of its embodied histories and fails to account for its positionality within a socio-historical context and the operations of power that define it.Trade Review"Beautifully argued and judiciously organized, Malicious Deceivers moves seamlessly from philosophical exegesis to haunting personal reflection to elegant close readings. This book makes an exciting and critical intervention in philosophy, media studies, performance studies, and critical internet studies."—Alexandra Juhasz, Brooklyn College, CUNY"Expertly synthesizing debates shared by philosophy, performance studies, and media theory, Malicious Deceivers advances a provocative reframing of the age-old problem of simulation. Jucan offers new insight into a contemporary era profoundly shaped by the anxieties and challenges of separating true from false, real from fake, human from machine—from the ethics of AI to the 'post-truth' media environment."—Anna Watkins Fisher, University of MichiganTable of ContentsPrologue: Beginning Philosophy 1. Enter the Malicious Deceiver 2. (Dis)simulating Thinking Machines Interlude: Auto-History 3. Synthetica: (Un)picturing Plastic Worlds 4. On Circulation: Virality and Internet Performances Epilogue: Notes Toward a Living Practice

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Book SynopsisIn Malicious Deceivers, Ioana B. Jucan traces a genealogy of post-truth intimately tied to globalizing modernity and connects the production of repeatable fakeness with capitalism and Cartesian metaphysics. Through case studies that cross times and geographies, the book unpacks the notion of fakeness through the related logics of dissimulation (deception) and simulation (performativity) as seen with software/AI, television, plastics, and the internet. Specifically, Jucan shows how these (dis)simulation machines and performative objects construct impoverished pictures of the world, ensuring a repeatable sameness through processes of hollowing out embodied histories and lived experience. Through both its methodology and its subjects-objects of study, the book further seeks ways to counter the abstracting mode of thinking and the processes of voiding performed by the twinning of Cartesian metaphysics and global capitalism. Enacting a model of creative scholarship rooted in the tradition of writing as performance, Jucan, a multimedia performance-maker and theater director, uses the embodied "I" as a framing and situating device for the book and its sites of investigation. In this way, she aims to counter the Cartesian voiding of the thinking "I" and to enact a different kind of relationship between self and world from the one posited by Descartes and replayed in much Western philosophical and — more broadly — academic writing: a relationship of separation that situates the "I" on a pedestal of abstraction that voids it of its embodied histories and fails to account for its positionality within a socio-historical context and the operations of power that define it.Trade Review"Beautifully argued and judiciously organized, Malicious Deceivers moves seamlessly from philosophical exegesis to haunting personal reflection to elegant close readings. This book makes an exciting and critical intervention in philosophy, media studies, performance studies, and critical internet studies."—Alexandra Juhasz, Brooklyn College, CUNY"Expertly synthesizing debates shared by philosophy, performance studies, and media theory, Malicious Deceivers advances a provocative reframing of the age-old problem of simulation. Jucan offers new insight into a contemporary era profoundly shaped by the anxieties and challenges of separating true from false, real from fake, human from machine—from the ethics of AI to the 'post-truth' media environment."—Anna Watkins Fisher, University of MichiganTable of ContentsPrologue: Beginning Philosophy 1. Enter the Malicious Deceiver 2. (Dis)simulating Thinking Machines Interlude: Auto-History 3. Synthetica: (Un)picturing Plastic Worlds 4. On Circulation: Virality and Internet Performances Epilogue: Notes Toward a Living Practice

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Book SynopsisScripts of Blackness shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism. In this book, Noémie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniques—black-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)—in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this book, operated across national borders and constituted resources, as they provided spectators and participants with new ways of thinking about the Afro-diasporic people who lived or could/would ultimately live in their midst. Those scripts were often gendered and hinged on notions of demonization, exclusion, exploitation, animalization, commodification, sexualization, consensual enslavement, misogynoir, infantilization, and evocative association with other racialized minorities. Scripts of Blackness attempts to grasp the stories that Western Europeans told themselves through performative blackness, and the effects of those fictions on early modern Afro-diasporic subjects.Trade Review"It’s not every day that you read a text that reshapes its field in extraordinary ways while opening exciting perspectives to adjacent fields of study; not every day that you read a document that you know, page after page, will be central for generations to come. Scripts of Blackness is a rigorous, interactive, beautifully-written and generous text that takes from pasts (largely understudied or unknown) to speak of and dialogue with our presents, in order to open windows to multiple futures...Scripts of Blackness is an extraordinary gift for scholars of race in contemporary France. It shines a light on the national and trans-European forges that produced the iron masks currently constraining Afro-French. The book is an exceptional tool for us and for generations to come, in our effort to indigenize and define blackness in French." * H-France *"[A] groundbreaking investigation into three modes of racialization—cosmetic, acoustic, and kinetic—that were produced in the theaters of Spain, France, and England across two centuries. The book enriches existing studies of race and performance by departing from the conventional focus on a single nation and limited period and instead highlighting the correspondences between the racial paradigms produced in these countries...[E]ssential reading for students and scholars of early modern studies." * Shakespeare Bulletin *"[R]ich [and] thought-provoking...This important book issues a compelling call to reassess early modern European performances of blackness in the harsh light of their effects on Afro-descendant subjects." * Journal 18 *"This is the first study to my knowledge that puts English, French, and Spanish early modern literatures in conversation with each other through a comparatist method that discusses the history of the African diaspora in each country’s colonial development. Noémie Ndiaye’s scholarship is the soundest I have seen on the topic of early modern race theory." * Baltasar Fra-Molinero, Bates College *"Studies of blackface performance in the early modern world have focused mostly on English plays, masques, and pageants. As Noémie Ndiaye convincingly demonstrates, those performances did not exist in isolation, and the early modern formation of blackness as a racial category was a transnational European endeavor. Scripts of Blackness is original in that it goes beyond the cosmetics and prosthetics of blackface to consider the ways black characters were made to speak and to move." * Virginia Mason Vaughan, Clark University *Table of ContentsContents Introduction. Performative Blackness in Early Modern Europe Chapter 1. A Brief History of Baroque Black-Up: Cosmetic Blackness and Religion Chapter 2. A Brief Herstory of Baroque Black-Up: Cosmetic Blackness, Gender, and Sexuality Chapter 3. Blackspeak: Acoustic Blackness and the Accents of Race Chapter 4. Black Moves: Race, Dance, and Power Post/Script. Ecologies of Racial Performance Appendix. Selection of Early Modern Plays Featuring Black Characters Notes Bibliography Index Acknowledgments

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Book SynopsisBad Blood explores representations of race in early modern English and Spanish literature, especially drama. It addresses two different forms of racial ideology: one concerned with racialized religious difference—that is, the notion of having Jewish or Muslim “blood”—and one concerned with Blackness and whiteness. Shakespeare’s Othello tells us that he was “sold to slavery” in his youth, a phrase that evokes the Atlantic triangle trade for readers today. For many years, however, scholars have asserted that racialized slavery was not yet widely understood in early modern England, and that the kind of enslavement that Othello describes is related to Christian-Muslim conflict in the Mediterranean rather than the rise of the racialized enslavement of Afro-diasporic subjects. Bad Blood offers a new account of early modern race by tracing the development of European racial vocabularies from Spain to England. Dispelling assumptions, stemming from Spain’s historical exclusion of Jews and Muslims, that premodern racial ideology focused on religious difference and purity of blood more than color, Emily Weissbourd argues that the context of the Atlantic slave trade is indispensable to understanding race in early modern Spanish and English literature alike. Through readings of plays by Shakespeare, Lope de Vega, and their contemporaries, as well as Spanish picaresque fiction and its English translations, Weissbourd reveals how ideologies of racialized slavery as well as religious difference come to England via Spain, and how both notions of race operate in conjunction to shore up fantasies of Blackness, whiteness, and “pure blood.” The enslavement of Black Africans, Weissbourd shows, is inextricable from the staging of race in early modern literature.Trade Review"Essential, bracing, inspiring reading, brimming with fresh and surprising insights and groundbreaking discoveries, many hiding in plain sight but—like whiteness itself—long rendered invisible, requiring a comparative, transnational approach to race studies and the rigor, shrewdness, measure, and skepticism of Emily Weissbourd to reveal them." * Robert B. Hornback, Oglethorpe University *"Bad Blood provides the first meaningful analysis of how literary presentations of blood purity and blackness in Spain were mistranslated in an English context. Emily Weissbourd exhibits an impressive breadth and depth in her engagement with primary and secondary sources." * Christina H. Lee, Princeton University *

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Book SynopsisHow early modern theatrical practice helped construct the category of "pagan" as a tool of European self-definition and colonial ambition In Making Pagans, John Kuhn argues that drama played a powerful role in the articulation of religious difference in the seventeenth century. Tracing connections between the history of stagecraft and ethnological disciplines such as ethnography, antiquarianism, and early comparative religious writing, Kuhn shows how early modern repertory systems that leaned heavily on thrift and reuse produced an enduring theatrical vocabulary for understanding religious difference through the representation of paganisma key term in the new taxonomy of world religions emerging at this time, and a frequent subject and motif in English drama of the era. Combining properties such as triumphal chariots, trick altars, and moving statues with music, special effects, and other elements, the spectacular set-pieces that were mostly developed for plays set in antiquity, depicting England's pre-Christian past, were frequently repurposed in new plays, in representations of Native Americans and Africans in colonial contact zones. Kuhn argues that the recycling of these set-pieces encouraged audiences to process new cultural sites through the lens of old performance tropes, and helped produce fictitious, quasi-ethnographic knowledge for spectators, generating the idea of a homogeneous, trans-historical, trans-geographical "paganism." Examining the common scenes of pagan ritual that filled England's seventeenth-century stagesmagical conjurations, oracular prophecies, barbaric triumphal parades, and group suicidesKuhn traces these tropes across dozens of plays, from a range of authors including Ben Jonson, Christopher Marlowe, John Dryden, and Philip Massinger. Drawing together theater history, Atlantic studies, and the history of comparative religion, Making Pagans reconceptualizes the material and iterative practices of the theater as central to the construction of radical religious difference in early modernity and of the category of paganism as a tool of European self-definition and colonial ambition.

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Book SynopsisScripts of Blackness shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism.In this book, Noémie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniquesblack-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this book, operated across national borders and constitut

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