Dance, Reggae spiritual ritual practices cultural studies Jamaican/Caribbean culture Music

This volume in the Routledge Key Guides series provides a round-up of the fifty musicals whose creations were seminal in altering the landscape of musical theater discourse in the English-speaking world. Each entry summarises a show, including a full synopsis, discussion of the creators' process, show's critical reception, and its impact on the landscape of musical theater. This is the ideal primer for students of musical theater - its performance, history, and place in the modern theatrical world - as well as fans and lovers of musicals.

This book provides a social and cultural history of Jewish art in Nazi Germany, with a focus on the Jewish artists, art critics, and audiences in Nazi Bavaria. From the time of its conceptualization in the autumn of 1933 until its final curtain call in November 1938, the Jewish Cultural League in Bavaria sustained three departments: music, visual arts, and adult education. The Bavarian example steps outside the highly professional cultural milieu of Jewish Berlin, and instead looks at relatively unknown efforts of Bavarian Jewish artists as they used art to define what it now meant, to them, to be Jewish under Nazism. Insightful and engaging, this book is ideal for advanced undergraduate students, graduate students, and scholars interested in social and cultural histories of Jews in Germany.

This book explores how three contemporary American artists through the mediums of film, literature and popular music have contributed to the tradition of American progressivism, and provides an invaluable companion to the understanding of complex issues such as inequality and social and economic decline that are apparent in America today. Connecting the works of these artists through a fictional country - the 'Other America' - the book shows how they have refuted middle-class values and goals of success, money and social affirmation to unveil the less celebrated, dark side of contemporary America, which, despite the troubles currently faced, never loses hope for a better future. This utopic vision in the face of adversity is explored through the plots, characters and mis-en-scene of Auster and Jarmusch's work and Waits's lyrics and sound. This vision challenges the dominant narratives of America as the land of opportunity and values democracy, civic engagement, communitarianism and egalitarianism. Offering an important new perspective to literature on contemporary American culture, this book will be of interest to students and scholars of American studies, film studies, popular music, postmodern literature, cultural studies and sociology.

theatre, philosophy, new materialism, environmental humanities, gesture, and the ontology of response.

Most known for her bold and darkly painted portraits, Brooks was revolutionary in her feminist renderings of women in resistance. Openly queer, she challenged conceptions of gender and sexuality in her art, which also served as her refuge. While many of her male counterparts were disfiguring and cubing their subjects-often women-Brooks gave personhood and power to the figures she painted. Her frank approach to her complicated relationship with her mother, faith, wealth, sexuality, and gender is complemented by a keen wit that echoes the gray tones of her work. Though her paintings are held in major collections, Brooks's influence in modernist circles of the early twentieth century is largely underexplored. This new publication, guided by Brooks's own impressionistic musings, bridges an important gap between the art and the artist. An introduction by Lauren O'Neill-Butler explores Brooks's role as an artist in the early twentieth century through the lens of gender and sexuality.

The 20th century was a dynamic period for the theatrical arts in China. Booming urban theatres, the interaction between commercial practice and theatre, dramas staged during the War of Resistance against Japan and a healthy dialogue between Western and Eastern theatres all contributed to the momentousness of this period. The four volumes of A History of Chinese Theatre in the 20th Century display the developmental trajectories of Chinese theatre over those 100 years. This volume deals with the development of Chinese theatre from 1949 to 2000, covering the fluctuations of 'drama reform', spectacles of the 'Cultural Revolution', and theatre in the immediate years before the opening up of the country. The author demonstrates how Chinese dramatic traditions endured and adapted in the face of modernity and how politics and art interacted. By combining academic rigour with a high degree of readability, this volume is both an essential guide for scholars and students in the history of the arts and general readers interested in Chinese theatre.

This book examines how circus and circus imaginary have shaped the historical avant-gardes at the beginning of the 20th century and the cultures they help constitute, to what extent this is a mutual shaping, and why this is still relevant today. This book aims to produce a better sense of the artistic work and cultural achievements that have emerged from the interplay of circus and avant-garde artists and projects, and to clarify both their transhistorical and trans-medial presence, and their scope for interdisciplinary expansion. Across 14 chapters written by leading scholars - from fields as varied as circus, theatre and performance studies, art, media studies, film and cultural history - some of which are written together with performers and circus practitioners, the book examines to what extent circus and avant-garde connections contribute to a better understanding of early 20th century artistic movements and their enduring legacy, of the history of popular entertainment, and the cultural relevance of circus arts. Circus and the Avant-Gardes elucidates how the realm of the circus as a model, or rather a blueprint for modernist experiment, innovation and (re)negotiation of bodies, has become fully integrated in our ways of perceiving avant-gardes today. The book does not only map the significance of circus/avant-garde phenomena for the past, but, through an exploration of their contemporary actualisations (in different media), also carves out their achievements, relevance, and impact, both cultural and aesthetic, on the present time.

dancehall, dance and performance studies, sociology, cultural geography, anthropology, post-colonial studies, diaspora studies, musicology, and gender studies.

Ranging from early twentieth century modernist appropriations of non-western art through to the ways in which Mexican muralists in the 1930s negotiated European avant-gardist strategies, and then up to contemporary installation and lens-based practices during the current period of globalisation, this book seeks to understand selected moments in the art of the last one hundred years through the prism of postcolonialism. -- .

Unlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused, or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the 'performance of extremity' as practices at the limits of the histories of performance and art, in performance art's most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance. -- .

Early twentieth-century Germany was a site of extremes, in which cultural production was entangled in the swiftly changing political and economic landscape. Radical utopias and pragmatic solutions for life and culture were proposed, modernism embraced and dramatically rejected. Britain in the same period can seem comparatively stable, a nation wedded to established cultural forms in the face of social change. Yet throughout the period, there remained a lively interchange between the two countries. This collection of essays, by scholars working between Britain and Germany, elsewhere in Europe and in North America, looks anew at the complicated cultural relationship between Britain and Germany in the years between 1919 and 1955. It sets out to explore the connections between the two countries during this time in the fields of fine art and arts institutions, architecture, design and craft, photography, art history and criticism. It explores how practitioners in the two countries learned from and influenced each other, seeking to highlight the relevance of these interchanges today.

Part of the popular and successful Routledge Performance Practitioners series Includes a wealth of both original exercises and invaluable primary material Written with input from Hart's close collaborators and company members

"Character Design Quarterly (CDQ) is a lively, creative magazine bringing inspiration, expert insights, and leading techniques from professional illustrators, artists, and character art enthusiasts worldwide. Each issue provides detailed tutorials on creating diverse characters, enabling you to explore the processes and decision making that go into creating amazing characters. Learn new ways to develop your own ideas, and discover from the artists what it is like to work for prolific animation studios such as Disney, Warner Bros., and DreamWorks. Among this issue's highlights are budding professional illustrator Amelia Bothe cover art featuring an exclusive animal character, and we go behind the scenes at London animation studio Blinkink. "

This book is about some of the ways we remember the dead through performance. It examines the dramaturgical techniques and strategies that enable artists to respond to the imperative: 'Remember Me' - the command King Hamlet's ghost gives to his son in Shakespeare's famous tragedy, Hamlet. The book develops the concept of hauntological dramaturgy by engaging with a series of performances that commemorate, celebrate, investigate, and sometimes seek justice for the dead. It draws on three interrelated discourses on haunting: Derrida's hauntology with its ethical exhortation to be with ghosts and listen to ghosts; Abraham and Torok's psychoanalytic account of the role spectres play in the transmission of intergenerational trauma; and, finally, Mark Fisher's and Simon Reynolds' development of Derrida's ideas within the field of popular culture. Taken together, these writers, in different ways, suggest strategies for reading and creating performances concerned with questions of commemoration. Case studies focus on a set of known and unknown figures, including Ian Charleson, Spalding Gray and David Bowie. This study will be of great interest to students, scholars and practitioners working within theatre and performance studies as well as philosophy and cultural studies.

Borderlands Children's Theatre highlights the social and performative construction of Chicana/o Mexican-American Childhood. Borderlands Children's Theatre teach and educate Anglo citizens on Chicana/o Mexican-American culture. Borderlands Children's Theatre explores traditional and contemporary literature and dramatic literature for Chicana/o Mexican-American children and youth. Borderlands Children's Theatre is a more in-depth analysis of Chicana/o Mexican-American childhood in the field of Childhood Studies. Borderlands Children's Theatre is a unique scholarly book that is the first to examine U.S. Chicana/o/Mexican-American childhood in Performance Studies.

Through a close re-examination of Eugene O'Neill's oeuvre, from minor plays to his Pulitzer-winning works, this study proposes that O'Neill's vision of tragedy privileges a particular emotional response over a more "rational" one among his audience members. In addition to offering a new paradigm through which to interpret O'Neill's work, this book argues that O'Neill's theory of tragedy is a robust account of the value of difficult theatre as a whole, with more explanatory scope and power than its cognitivist counterparts. This paradigm reshapes our understanding of live theatrical tragedy's impact and significance for our lives. The book enters the discussion of tragic value by way of the plays of Eugene O'Neill, and through this study, Killian makes the case that O'Neill has refused to allow Plato to define the terms of tragedy's merit, as the cognitivists have. He argues that O'Neill's theory of tragedy is non-cognitive and locates the value of a play in its ability to trigger certain emotional responses from the audience. This would be of great interest to students and scholars of performance studies, literature and philosophy.

This book looks to expand the definition of translation in line with Susan Bassnett and David Johnston's notion of the "outward turn", applying this perspective to contemporary art to broaden the scope of how we understand translation in today's global multisemiotic world. The book takes as its point of departure the idea that texts are comprised of not only words but other semiotic systems and therefore expanding our notions of both language and translation can better equip us to translate stories told via non-traditional means in novel ways. While the "outward turn" has been analyzed in literature, Vidal directs this spotlight to contemporary art, a field which has already engaged in disciplinary connections with Translation Studies. The volume highlights how the unpacking of such connections between disciplines encourages engagement with contemporary social issues, around identity, power, migration, and globalization, and in turn, new ways of thinking and bringing about wider cultural change. This innovative book will be of interest to scholars in translation studies and contemporary art.

In contrast to Henry Moore's well-known drawings depicting Londoners sheltering from the Blitz, little has been written about how this son of a Yorkshire coalminer tackled his second commission from the War Artists' Advisory Committee in 1941; drawing men in 'Britain's underground army', the miners of Wheldale colliery. Redressing this imbalance, Chris Owen's comprehensive account of the coalmining drawings explores every aspect of the commission - from Moore's return to his childhood home and the challenges associated with 'drawing in the dark' to the significant influence of the project on Moore's later work, including the Warrior and Helmet Head sculptures, and his little-known illustrations to W.H. Auden's poetry. With illustrations drawn from Moore's rich body of sketches and finished drawings, along with press photographs recording the commission and a range of contextual material, text and images combine to present the definitive study of this impressive body of work.

Fifty Key Figures in Latinx and Latin American Theatre is a critical introduction to the most influential and innovative theatre practitioners in the Americas, all of whom have been pioneers in changing the field. The chosen artists work through political, racial, gender, class, and geographical divides to expand our understanding of Latin American and Latinx theatre while at the same time offering a space to discuss contested nationalities and histories. Each entry considers the artist's or collective's body of work in its historical, cultural, and political context and provides a brief biography and suggestions for further reading. The volume covers artists from the present day to the 1960s-the emergence of a modern theatre that was concerned with Latinx and Latin American themes distancing themselves from an European approach. A deep and enriching resource for the classroom and individual study, this is the first book that any student of Latinx and Latin American theatre should read.

Fifty Key Figures in Latinx and Latin American Theatre is a critical introduction to the most influential and innovative theatre practitioners in the Americas, all of whom have been pioneers in changing the field. The chosen artists work through political, racial, gender, class, and geographical divides to expand our understanding of Latin American and Latinx theatre while at the same time offering a space to discuss contested nationalities and histories. Each entry considers the artist's or collective's body of work in its historical, cultural, and political context and provides a brief biography and suggestions for further reading. The volume covers artists from the present day to the 1960s-the emergence of a modern theatre that was concerned with Latinx and Latin American themes distancing themselves from an European approach. A deep and enriching resource for the classroom and individual study, this is the first book that any student of Latinx and Latin American theatre should read.

This revised third edition of The Male Dancer updates and enlarges a seminal book that has established itself as the definitive study of the performance of masculinities in twentieth century modernist and contemporary choreography. In this authoritative and lively study, Ramsay Burt presents close readings of dance works from key moments of social and political change in the norms around gender and sexuality. The book's argument that prejudices against male dancers are rooted in our ideas about the male body and behaviour has been extended to take into account recent interdisciplinary discussions about whiteness, intersectionality, disability studies, and female masculinities. As well as analysing works by canonical figures like Nijinsky, Graham, Cunningham, and Bausch, it also examines the work of lesser-known figures like Michio Ito and Eleo Pomare, as well as choreographers who have recently emerged internationally like Germaine Acogny and Trajal Harrell. The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural representation of gender. By reflecting on the latest studies in theory, performance, and practice, Burt has thoroughly updated this important book to include dance works from the last ten years and has renewed its timeliness for the 2020s.

The captivating biography of one of the most important designers of the twentieth century - adapted for Sky Cinema starring Phoebe Dynevor, Matthew Goode and David Morrissey Clarice Cliff was one of the most prominent ceramic designers of the twentieth century. Born in 1899 in the Staffordshire Potteries, she started work as just another factory girl, but by 1928 had launched her own range of pottery, 'Bizarre'. A 'gargantuan feast of colour', it blazed a trail through the homes of inter-war Britain. But if Clarice Cliff's rise from apprentice gilder to art director was remarkable - and all the more so for her being a woman - it was not without its tensions; for years she conducted a secret relationship with her married boss. Fusing art, design and industry and vividly conveying the texture of women's lives between the wars, this is a compelling study of the complex, talented woman whose work is for many the epitome of art deco.