Dances of Jose Limon and Erick Hawkins examines stagings of masculinity, whiteness, and Latinidad in the work of US modern dance choreographers, Jose Limon (1908-1972) and Erick Hawkins (1908-1994). Focusing on the period between 1945 to 1980, this book analyzes Limon and Hawkins' work during a time when modern dance was forming new relationships to academic and governmental institutions, mainstream markets, and notions of embodiment. The pre-war expressionist tradition championed by Limon and Hawkins' mentors faced multiple challenges as ballet and Broadway complicated the tenets of modernism and emerging modern dance choreographers faced an increasingly conservative post-war culture framed by the Cold War and Red Scare. By bringing the work of Limon and Hawkins together in one volume, Dances of Jose Limon and Erick Hawkins accesses two distinct approaches to training and performance that proved highly influential in creating post-war dialogues on race, gender, and embodiment. This book approaches Limon and Hawkins' training regimes and performing strategies as social practices symbiotically entwined with their geo-political backgrounds. Limon's queer and Latino heritage is put into dialogue with Hawkins' straight and European heritage to examine how their embodied social histories worked co-constitutively with their training regimes and performance strategies to produce influential stagings of masculinity, whiteness, and Latinidad.

This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noel Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema's biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy.

Anselm Kiefer, born in 1945, is one of the most important and controversial artists at work in the world today. Through such diverse mediums as painting, photography, artists books, installations, and sculpture, he has interpreted the great political and cultural issues at the heart of the modern European sensibility: the connections between memory, history, and mythology; war; the Holocaust; and ethnic and national identity. In this extensively illustrated, thoughtful survey of his work, available again in a new and compact format, author Daniel Arasse analyzes Kiefer s education, influences, philosophy, and art, while demonstrating the unity and continuity of his work. Arasse takes as his starting point the 1980 Venice Biennale, a key moment in Kiefer s career that marked the birth of both his international reputation and the controversy over the strong focus on German civilization that characterized much of his work. Equal parts eloquent tribute and respected monograph, Anselm Kiefer is organized both chronologically and to reflect the artist s recurrent motifs, including Nordic and Germanic mythologies, Jewish mysticism, the cosmos, the legends of the ancient world, and many more. Approximately 250 full-color images reproduce his art at the highest possible quality, to trace Kiefer s creative evolution and reveal as fully as possible his works scope and power."

Can fine art survive in an age of mass media? If so, in what forms and to what purpose? And can radical art still play a critical role in today's divided world? These are the questions addressed in the Art in the Age of Mass Media, as John Walker examines the fascinating relationship between art and mass media, and the myriad interactions between

Drama in Medieval and Early Modern Europe moves away from the customary conceptual framework that artificially separates 'medieval' from 'early modern' drama to explore the role of drama and spectacle in England, France, the Low Countries, Spain, Italy, Switzerland, and the German-speaking areas that now constitute Austria and Germany. This book investigates the ranges of dramatic and performative techniques and strategies that playmakers across Europe used to adapt their work to the changing contexts in which they performed, and to the changing or expanding audiences that they faced. It considers the different views expressed through drama and spectacle on shared historical events, how communities coped with similar issues and why they ritually recycled these themes through reinvented or alternative forms that replaced or existed alongside their predecessors. A wide variety of genres of play are discussed throughout, including visitatio sepulchri (visit to the tomb) plays; Easter and Passion plays and morality plays; the French civic mystere; Italian sacre rappresentazioni performed by choirboys in the context of the church; Burgertheater from the Swiss Confederacy; drama performed for the purpose of royal entertainment and propaganda; May and summer games; and the commercial, professional theatre of Shakespeare and Lope de Vega. Examining the strength of drama in relation to the larger cultural forces to which it adapted, and demonstrating the use of social, political, economic, and artistic networks to educate and support the social structures of communities, Drama in Medieval and Early Modern Europe offers a broader understanding of a shared European past across the traditional chronological divide of 1500. It is ideal for students of social history, and the history of medieval and early modern drama or literature.

Drama in Medieval and Early Modern Europe moves away from the customary conceptual framework that artificially separates 'medieval' from 'early modern' drama to explore the role of drama and spectacle in England, France, the Low Countries, Spain, Italy, Switzerland, and the German-speaking areas that now constitute Austria and Germany. This book investigates the ranges of dramatic and performative techniques and strategies that playmakers across Europe used to adapt their work to the changing contexts in which they performed, and to the changing or expanding audiences that they faced. It considers the different views expressed through drama and spectacle on shared historical events, how communities coped with similar issues and why they ritually recycled these themes through reinvented or alternative forms that replaced or existed alongside their predecessors. A wide variety of genres of play are discussed throughout, including visitatio sepulchri (visit to the tomb) plays; Easter and Passion plays and morality plays; the French civic mystere; Italian sacre rappresentazioni performed by choirboys in the context of the church; Burgertheater from the Swiss Confederacy; drama performed for the purpose of royal entertainment and propaganda; May and summer games; and the commercial, professional theatre of Shakespeare and Lope de Vega. Examining the strength of drama in relation to the larger cultural forces to which it adapted, and demonstrating the use of social, political, economic, and artistic networks to educate and support the social structures of communities, Drama in Medieval and Early Modern Europe offers a broader understanding of a shared European past across the traditional chronological divide of 1500. It is ideal for students of social history, and the history of medieval and early modern drama or literature.

This volume looks at the politics of communication and culture in contemporary South Asia. It explores languages, signs and symbols reflective of current mythologies that underpin instances of performance in present-day India and its neighbouring countries. From gender performances and stage depictions to protest movements, folk songs to cinematic reconstructions and elections to war-torn regions, the chapters in the book bring the multiple voices embedded within the grand theatre of popular performance and the cultural landscape of the region to the fore. Breaking new ground, this work will prove useful to students and researchers in sociology and social anthropology, art and performance studies, political studies and international relations, communication and media studies and culture studies.

Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art. Moving beyond the exhibition of immaterial art and its documents, as well as re-enactment in gallery contexts, Guy's book articulates an emerging field of arts practice distinct from but related to increasing curatorial provision for 'live' performance. Drawing on a recent proliferation of object-centric events of display that interconnect with theatre, the book approaches artworks in terms of their curation together and re-theorizes the exhibition as a dynamic context in which established traditions of display and performance interact. By examining the current traffic of ideas and aesthetics moving between theatricality and curatorial practice, the study reveals how the reception of a specific form is often mediated via the ontological expectations of another. It asks how contemporary visual arts and exhibition practices display performance and what it means to generalize the 'theatrical' as the optic or directive of a curatorial concept. Proposing a symbiotic relation between theatricality and display, Guy presents cases from international arts institutions which are both displayed and performed, including Tate Modern and the Guggenheim, and assesses their significance to the enduring relation between theatre and the visual arts. The book progresses from the conventional alignment of theatricality and ephemerality within performance research and teases out a new temporality for performance with which contemporary exhibitions implicitly experiment, thereby identifying supplementary modes of performance which other discourses exclude. This important study joins the fields of Theatre and Performance Studies with exciting new directions in curation, aesthetics, sociology of the arts, visual arts, the creative industries, the digital humanities, cultural heritage, and reception and audience theories.

1. This book is a crucial conversation about how racialized bodies and power intersect within actor training spaces. 2. this book specifically examines race from various and diverse points of view. 3. the book looks at acting training and race from a voice and movement perspective.

A seminal text on what live performance is, what it means, and how it can be theorised. Its second edition is required reading on many theatre and performance studies courses. Uniquely controversial on a subject which continues to be topical. Thoroughly updated to take into account changes in media, scholarship and digital technologies.

A new and controversial account of English theatre in the early Twentieth Century, emphasising its previously overlooked avant-garde credentials. Relevant as a foundational text to any courses in English theatre history and Twentieth Century theatre more generally. Goes against the existing literature on this topic by framing English theatre of the period as much more experimental, queer and postmodern than previously believed.

This collection of short, accessible essays serves as a supplementary text to Morgan Lloyd Malcolm's play, Emilia. Critically acclaimed and beloved by audiences, this innovative and ground-breaking show is a speculative history, an imaginative (re)telling of the life of English Renaissance poet Aemilia Bassano Lanyer. This book features essays by theatre practitioners, activists, and scholars and informed by intersectional feminist, critical race, queer, and postcolonial analyses will enable students and their teachers across secondary school and higher education to consider the play's major themes from a wide variety of theoretical and interdisciplinary perspectives. This volume explores the current events and cultural contexts that informed the writing and performing of Emilia between 2017 and 2019, various aspects of the professional London productions, critical and audience responses, and best practices for teaching the play to university and secondary school students. It includes a foreword by Emilia playwright Morgan Lloyd Malcolm This book will be of great interest to students and scholars of theatre, arts activism, feminist literature, and theory.

Breaks down a dramaturgy's key roles and competencies, mapping out the profession for both current and future dramaturgs. The Basics format ensures a clear, accessible and jargon-free explanation of every aspect of the craft, making this the ideal introduction. Dramaturgy itself is one of the main theatrical skills, distinct from acting and directing but only relatively recently having begun to receive proper attention and recognition.

This book offers a unique Australian perspective on the global crisis in refugee protection. Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children's theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, the role of the canon in art history and the spectacle of bordering practices. In doing so, it illuminates the strategic performativity-and nonperformativity-of the law, philosophy, the state and the academy more broadly in the exclusion and control of refugees. Taken together, the chapters in this volume draw on, and contribute to, a wide range of disciplines including theatre and performance studies, cultural studies, border studies and forced migration studies, and will be of great interest to students and scholars in all four fields.

* This anthology has been curated by a seasoned playwright, academic, director and actor who has lived experience of being deaf. * Would be recommended reading in deaf studies and deaf culture courses across the world. * This book is the first anthology of its kind.

This book focuses on experimental theatre company, GAle GAtes, credited as "the true innovator" of the contemporary immersive movement. The Immersive Theatre of GAle GAtes is a case-study of this little-known but visionary company, with a focus on its development and dramaturgy. Through rare archival and primary research, as well as historical context, the text chronicles company narrative and celebrates the artistic impulse. The book employs descriptive-narrative and dramaturgical analysis and is composed of historical research, rare archives, and primary source interviews. Chapters focus on the trajectory of the avant-garde leading up to the climate in which the company formed, company formative years, and major works and a discussion on the interdisciplinary and theoretical frameworks critical to its understanding. This study will be of great interest to students and scholars in theatre and performance studies and essential reading for theatre artist and historian alike, with a focus on the experimental theatre landscape.

1. This interdisciplinary volume brings together scholars from across the world who have raised pertinent issues regarding the role of stand-up comedy in contemporary times especially with increased presence of OTT platforms and internet penetration that allows for easy access to this art form. 2. It looks at the theoretical understanding of the different aspects of the humour, aesthetics and politics of stand up comedy, as well as case studies of various forms of stand up comedy such as Finnish, Persian, Indonesian, Indian, etc. 3. It will be of interest to departments of media, popular culture, digital culture, sociology, digital sociology/anthropology, and English literature across the US and UK. IT will also appeal to proplr interested in performance and performance studies as it looks at the genre of stand-up comedy in the global context with chapters on Finnish, Australian, Persian and Indian stand-up comedy, to name a few.

* This collection builds a broad basis for a possible and necessary paradigmatic shift in the field of theater and performance historiography. * Would be recommended reading in for any undergraduate or master's level students studying theatre history, drama and dance. * The closest competitors do not explore the term 'entangled histories'. Therefore this collection breaks new ground by looking at this concept as a new paradigm in the field.

Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the 'right' time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance.

A Psychoanalytic Perspective on Tragedy, Theater and Death shines a spotlight on what theater, and especially tragedy, tells us about our ontological selves, by exploring both Euripides' Bacchae and the work of Tadeusz Kantor. Focusing on the theatrical tradition of the West, the book examines Euripides' Bacchae, a tragedy about the nature of tragedy, suggesting that the tragic can be defined as an ontological duality rooted in the early experience of the infant's separation from mother, with whom s/he had, until then, formed a fused Unit. The traumatic rupture of this primal Unit is inscribed in the unconscious as death. The book then considers the defining binary structure of the theatrical setting - (spectator/spectated or fantasy/reality) - before arguing that in staging our ontological dividedness, theater shows its relation to death to be organic. The book concludes by examining in detail the principal works of Polish theater director Tadeusz Kantor, whose search for theater's identity was, essentially, a search for human identity. Erudite and far-reaching, A Psychoanalytic Perspective on Tragedy, Theater and Death will interest psychoanalysts as well as students, scholars and researchers across the dramatic arts wishing to draw on psychoanalytic ideas.

David Hockney introduces his two dachshunds, Stanley and Boodgie, in this delightful new book. The result of both sharp observation and affection, these paintings and drawings are lyrical studies in form and color. A text by the artist himself gives a behind-the-scenes glimpse of how to work with models who don't necessarily want to sit still. Hockney has provided additional drawings made specially on the page, and has been largely involved in the layout of the book, creating a charming and unified whole.

* The book will include high quality contributions from practitioners and researchers that consider the ethics and aesthetics of the work, investigating the role of sound in community building, wellbeing, education, and social or environmental justice. * Would be recommended reading in leading applied and socially engaged theatre courses, in sound studies and sonic art courses and in media and communication courses. * The closest competitors are more a broad survey of sound art while this book looks to the future, building possibilities, and imagining what might be through the creative acts of inquiry and sound. Contribution from Brandon LaBelle (key theorist in sound studies) First book to address community engaged arts through a sound studies lens An area of community engaged arts that has exploded recently since the COVID-19 pandemic

This title was first published in 1988: In this book the author has translated five postwar experimental Japanese plays and recreated the artistic, social and spiritual milieu in which they were created. He describes the turning point in Japanese thinking about the nature and limitations of a Western-oriented modern culture, and the creation of "underground" theatres which in which evolved a new mythology of history. Professor Goodman sees these developments as an interplay between personal and political (ie revolutionary) salvation.