Christoph Schlingensief, film & video, history, criticisim, theatre, performance

This collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. It investigates songlines, drama, opera, music theatre, dance, and circus-removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or obscure, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Touring Performance and Global Exchange takes a fresh look at such tracks-the material remains-demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often beenconceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns-ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies, and cultural history.

Routledge Performance Practitioners is a series of introductory guides to the key theatre-makers of the last century. Each volume explains the background to and the work of one of the major influences on twentieth- and twenty-first-century performance. Antonin Artaud was an active theatre-maker and theorist whose ideas reshaped contemporary approaches to performance. This is the first book to combine an overview of Artaud's life with a focus on his work as an actor and director; an analysis of his key theories, including the Theatre of Cruelty and the double; a consideration of his work as a director at the Theatre Alfred Jarry and his production of Strindberg's A Dream Play; and a series of practical exercises to develop an approach to theatre based on Artaud's key ideas. As a first step towards critical understanding and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.

This book examines Commedia dell'Arte as a performative genre, and one that should be analysed through the framework of dramaturgy and dramaturgical practice. This volume examines the way Commedia has been explored in the twentieth and twenty-first centuries, and details its reinventors' dramaturgic approaches, both focusing in on specific examples such as Jacques Lecoq, Dario Fo and Antonio Fava, and also suggesting how modern discoveries may aid the study of historical performance practice. It also discusses how audiences read and receive masks; the relationship between the different masked and unmasked roles; the range of performance activities that come under the umbrella term 'improvisation'; the performative construction of a role performed 'live' from a scenario; the role of language and embodied locality in performance; and the performative relationship between performative commedia and literary tragicomedy. Its focus is dramaturgy, and so it may be read both as a text describing various theatrical practices from 1946 onwards and as a way of creating one's own contemporary Commedia practice. It is an important read for any student or scholar of Commedia dell'Arte and theatre historians grappling with the status of this unique and influential performance form.

This book discusses the evolution of Commedia dell'Arte in the Asia-Pacific where through the process of reinvention and recreation it has emerged as a variety of hybrids and praxes, all in some ways faithful to the recreated European genre. The contributors in this collection chart their own training in the field and document their strategies for engaging with this form of theatre. In doing so, this book examines the current thoughts, ideas, and perceptions of Commedia - a long-standing theatre genre, originating in a European-based collision between neo-classical drama and oral tradition. The contributing artists, directors, teachers, scholars and theatre-makers give insight into working styles, performance ideas, craft techniques and ways to engage an audience for whom Commedia is not part of their day-to-day culture. The volume presents case studies by current practitioners, some who have trained under known Commedia 'masters' (e.g. Lecoq, Boso, Mazzone-Clementi and Fava) and have returned to their country of origin where they have developed their performance and teaching praxis, and others (e.g. travelling from Europe to Japan, Thailand, Singapore and China) who have discovered access points to share or teach Commedia in places where it was previously not known. This book will be of great interest to students and scholars in Performing arts, Italian studies, and History as well as practitioners in Commedia dell'Arte.

This book examines the French theatricalization of India from 1770 to 1865 and how a range of plays not only represented India to the French viewing public but also staged issues within French culture including colonialism, imperialism, race, gender, and national politics. Through examining these texts and available performance history, and incorporating historical texts and cultural theory, David Hammerback analyses these works to illustrate a complex of cultural representations: some contested Orientalism, some participated in Western colonialist discourses, while some can be placed somewhere between these two markers of ideology in Western culture and the arts. He also assesses the works which participated in shaping the theatrical face of Western hegemony, ones directly participating in Orientalism as delineated by Edward Said and others. This book will be of great interest to students and scholars in theatre, French literature, history and cultural studies.

- Includes a number of interviews with diverse practitioners, offering extensive case studies - Supplemented by a website to be hosted and developed by the author, including videos, practice files and additional interviews - Acts as a supplementary text to the bestselling 'Dance Music Manual', which does not include a section on performance/performance tech

Chinese Theatre: An Illustrated History Through Nuoxi and Mulianxi is the first book in any language entirely devoted to a historical inquiry into Chinese theatre through Nuoxi and Mulianxi, the two most representative and predominant forms of Chinese temple theatre. With a view to evaluating the role of temple theatre in the development of xiqu or traditional Chinese theatre and drama from myth to ritual to ritual drama to drama, Volume One provides a panoramic perspective that allows every aspect of Nuoxi to be considered, not in the margins of xiqu but in and of itself. Thus, this volume traces xiqu history from its shamanic roots in exorcism rituals of Nuo to various forms of ritual and theatrical performance presented at temple fairs, during community and calendrical festivals or for ceremonial functions over the course of imperial history, and into the twenty-first century, followed by an exploration of the scriptural origins and oral traditions of Mulianxi, with pivotal forms and functions of Nuoxi and Mulian storytelling, examined, explicated and illustrated in association with the development of corresponding genres of Chines performance literature and performing arts. This is an interdisciplinary book project that is aimed to help researchers and students of theatre history understand the ritual origins of Chinese theatre and the dynamic relationships among myth, ritual, religion, and theatre.

The classic game of Loter a drew a lot of inspiration from the ancient practice of Tarot. This deck explores the similarities between these two timeless traditions with a modern twist finally reuniting these long lost primos to help you reconnect with your Latinx magic. One common misconception is that Tarot is a practice used only to predict the future, but this Millennial Loter a Tarot Deck is specifically designed to help you better understand your present and get in touch with your heritage. The only person in charge of your future is you, so the guidebook accompanying this 78-card tarot deck focuses on self-reflection and inspiration for your goals, all done with a sprinkle of Millennial Loter a humour.

British painter William Tillyer (born 1938) is regarded as one of the most accomplished and consistently inventive artists working in watercolor. His work luxuriates in translucent color and sensuous brushwork. Some of his pieces, in their untrammeled expressive zeal and readily apparent love of color as a pure quality call to mind the canvases of Morris Louis; in other paintings, flamboyantly voluptuous shapes confront geometric abstractions and Minimalist blocks of color. With 224 full-color images, "William Tillyer: Watercolours" provides a comprehensive look at the titular aspect of Tillyer's oeuvre, looking back over nearly 40 years of work. It includes three texts by the American poet and art historian John Yau, an essay describing the development of Tillyer's watercolors and linking his work to the tradition of the English watercolor, an essay on the latest body of work and an interview with the artist.

For whom does the actor perform? To answer this foundational question of the actor's art, Grotowski scholar Kris Salata explores acting as a self-revelatory action, introduces Grotowski's concept of "carnal prayer," and develops an interdisciplinary theory of acting and spectating. Acting after Grotowski: Theatre's Carnal Prayer attempts to overcome the religious/secular binary by treating "prayer" as a pre-religious, originary deed, and ultimately situates theatre along with ritual in their shared territory of play. Grounded in theatre practice, Salata's narrative moves through postmodern philosophy, critical theory, theatre, performance, ritual, and religious studies, concluding that the fundamental structure of prayer, which underpins the actor's deed, can be found in any self-revelatory creative act.

Theatrical Speech Acts: Performing Language explores the significance and impact of words in performance, probing how language functions in theatrical scenarios, what it can achieve under particular conditions, and what kinds of problems may arise as a result. Presenting case studies from around the globe-spanning Argentina, Egypt, Germany, India, Indonesia, Korea, Kenya, Nigeria, Rwanda, Thailand, the UK and the US-the authors explore key issues related to theatrical speech acts, such as (post)colonial language politics; histories, practices and theories of translation for/in performance; as well as practices and processes of embodiment. With scholars from different cultural and disciplinary backgrounds examining theatrical speech acts-their preconditions, their cultural and bodily dimensions as well as their manifold political effects-the book introduces readers to a crucial linguistic dimension of historical and contemporary processes of interweaving performance cultures. Ideal for drama, theater, performance, and translation scholars worldwide, Theatrical Speech Acts opens up a unique perspective on the transformative power of language in performance.

1. Reconstructs historical performances in detail unavailable elsewhere. 2. Reveals a forgotten history of female celebrity. 3. The focus on history reveals a great deal about contemporary aerial and circus practice.

1. The book includes extensive context about the historical and newsworthy events that surround nuclear weapons and nuclear power plants in correlation to the plays analyzed. 2. The critically acclaimed HBO series Chernobyl is explored in chapter three and evaluated for the feeling of doom it creates for an audience watching. 3. The book makes comparisons of the pandemic to nuclear science history, acknowledging that culturally we do not always listen to scientific advice, and assessing how powerful governments often dismiss scientific dissent.

D'Oyly Carte, Opera, Classical, art management, Richard D'Oyly Carte, theatre production

performance, communication studies, literature, narratives strategies

Forms of Emotion analyses how drama, theatre and contemporary performance present emotion and its human and nonhuman diversity. This book explores the emotions, emotional feelings, mood, and affect, which make up a spectrum of 'emotion', to illuminate theatrical knowledge and practice and reflect the distinctions and debates in philosophy, neuroscience, psychology, and other disciplines. This study asserts that specific forms of emotion are intentionally unified in drama, theatre, and performance to convey meaning, counteract separation and subversively champion emotional freedom. The book progressively shows that the dramatic and theatrical representation of the nonhuman reveals how human dominance is offset by emotional connection with birds, animals, and the natural environment. This book will be of great interest to students and researchers interested in the emotions and affect in dramatic literature, theatre studies, performance studies, psychology, and philosophy as well as artists working with emotionally expressive performance.

performance theory, art and public policy, art and social justice, global catastrophes and local actions

* The program and philosophy described in the book is unique as it presents the concept with a basis in behavioral analysis, and how improvised theatre can be used as a tool, rather than as simply a recreational activity or social event * Includes a comprehensive listing of 80+ different games/activities. Each activity is clearly explained, including the methodology, process and insight for teachers, as well as the underlying purpose each game is designed to address * In addition to professionals teaching social skills to individuals with autism spectrum disorder, the content of the book is also designed so that parents of special needs students can easily access the activities for at-home instruction and recreational use with their children

This study of the Piscatorbuhne season of 1927-1928 uncovers a vital, previously neglected current of radical experiment in modern theater, a ghost in the machine of contemporary performance practices. A handful of theater seasons changed the course of 20th- and 21st-century theatre. But only the Piscatorbuhne of 1927-1928 went bankrupt in less than a year. This exploration tells the story of that collapse, how it predicted the wider collapse of the late Weimar Republic, and how it relates to our own era of political polarization and economic instability. As a wider examination of Piscator's contributions to dramaturgical and aesthetic form, The Piscatorbuhne Century makes a powerful and timely case for the renewed significance of the broader epic theater tradition. Drawing on a rich archive of interwar materials, Drew Lichtenberg reconstructs this germinal nexus of theory and praxis for the modern theatre. This book will be of great interest to students and scholars in theatre, performance, art, and literature.

performance environments, emerging and multisensational atmospheres hypersensorial scenographies

performance environments, emerging and multisensational atmospheres hypersensorial scenographies

Making a Performance traces innovations in devised performance from early theatrical experiments in the twentieth-century to the radical performances of the twenty-first century.

This introduction to the theory, history and practice of devised performance explores how performance-makers have built on the experimental aesthetic traditions of the past. It looks to companies as diverse as Australia's Legs on the Wall, Britain's Forced Entertainment and the USA-based Goat Island to show how contemporary practitioners challenge orthodoxies to develop new theatrical languages.

Designed to be accessible to both scholars and practitioners, this study offers clear, practical examples of concepts and ideas that have shaped some of the most vibrant and experimental practices in contemporary performance.

Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'bad girl' of the Young British Art (yBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves. In Art Into Life: Essays on Tracey Emin writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Art into Life will interest a broad readership.