This book is focused on the transcultural memory of the Mediterranean region and the different ways it is articulated by contemporary art practices and museum projects linked to migrations, exile, diaspora and transnationality. The artistic and curatorial examples analysed in this study articulate a critical relationship between the cultural representations and the sense of heritage, property and belonging, offering the opportunity of a more problematic and stimulating vision of the preservation of the European arts, traditions and histories. Artists and projects examined include the project Porto M in Lampedusa, Zineb Sedira, Ursula Biemann, Lara Baladi, Mona Hatoum, Emily Jacir, Kader Attia and Walid Raad.

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean. Consent in intimate relationships is front and center in today's conversations. This book re-examines the verbal and physical interactions of female-identified characters in Early Modern and contemporary cultures in Shakespeare's Mediterranean comedies and the sources from which he derived his plays. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare's Mediterranean plays and his probable sources sheds light on how Shakespeare's audiences might have perceived Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare's comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era. Given Shakespeare's impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare's Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.

Opera in Performance elucidates the performative dimension of contemporary opera productions. What are the most striking and decisive moments in a performance? Why do we respond so strongly to stagings that transform familiar scenes, to performers' bodily presence, and to virtuosic voices as well as ill-disposed ones? Drawing on phenomenology and performance theory, Clemens Risi explains how these moments arise out of a dialogue between performers and the audience, representation and presence, the familiar and the new. He then applies these insights in critical descriptions of his own experiences of various singers, stagings, and performances at opera houses and festivals from across the German-speaking world over the last twenty years. As the first book to focus on what happens in performance as such, this study shifts our attention to moments that have eluded articulation and provides tools for describing our own experiences when we go to the opera. This book will particularly interest scholars and students in theater and performance studies, musicology, and the humanities, and may also appeal to operagoers and theater professionals.

This book provides a fascinating study into the history of kingship, madness and masculinity that was acted out on the early modern stage. Providing students of early modern history, theatre and performance studies and disability studies with interesting case studies to inform their upper level seminars and research. Throughout the volume the authors engage with the field of disability studies to show how disability and mental health were portrayed and what that tells us about the period and the people who lived in it. Showing students, a new dimension of early modern Europe. The chapters uncover how, as the early modern understanding of mental illness re-focused on human, rather than supernatural, causes, the public stages became important arenas for playwrights, actors, and audiences to explore expressions of madness and to practice diagnoses. Enabling students from multiple disciplines such as the history of medicine, the history of theatre and performance and the history of early modern Europe to see the how attitudes formed and changed around kingship, madness and masculinity in this period.

- Spectatorship is a topic of increased relevance in theatre and performance studies and has been so for a while. Spectatorship is undergoing a huge transformation and its activation is hotly debated: participation, interactivity (including digital) and immersion are only some of the current trends.

This book explores the interrelation of contemporary French theatre and poetry. Using the pictorial turn in the various branches of art and science, its observable features, and the theoretical framework of the conceptual metaphor, this study seeks to gather together the divergent manners in which French poetry and theatre address this turn. Poetry in space and theatricality of poetry are studied alongside theatre, especially to the performative aspect of the originally theological concept of "kenosis". In doing so the author attempts to make use of the theological concept of kenosis, of central importance in Novarina's oeuvre, for theatrical and dramatological purposes. Within poetic rituals, kenotic rituals are also examined in the book in a few theatrical practices - Janos Pilinszky and Robert Wilson, Jerzy Grotowski and Eugenio Barba - facilitating a better understanding of Novarina's works. Accompanied by new English translations in the appendices, this is the first English language monograph related to the French essayist, dramaturg and director Valere Novarina's theatre, and will be of great interest to students and scholars in theatre and literature studies.

This book provides a fascinating study into the history of kingship, madness and masculinity that was acted out on the early modern stage. Providing students of early modern history, theatre and performance studies and disability studies with interesting case studies to inform their upper level seminars and research. Throughout the volume the authors engage with the field of disability studies to show how disability and mental health were portrayed and what that tells us about the period and the people who lived in it. Showing students, a new dimension of early modern Europe. The chapters uncover how, as the early modern understanding of mental illness re-focused on human, rather than supernatural, causes, the public stages became important arenas for playwrights, actors, and audiences to explore expressions of madness and to practice diagnoses. Enabling students from multiple disciplines such as the history of medicine, the history of theatre and performance and the history of early modern Europe to see the how attitudes formed and changed around kingship, madness and masculinity in this period.

This book is a case study into the affective history of Holocaust drama offering a new perspective on the impact of The Diary of Anne Frank, the pivotal 1950s play that was a turning point in Holocaust consciousness. Despite its overwhelming success, criticism of the Broadway makeover has been harsh, suggesting that the alleged Americanization would not do justice to the violence of the Holocaust or Anne Frank's budding Jewishness. This study revisits these issues by focusing on the play's European appropriation delving into the emotional intensity with which the play was produced and received. The core of the exploration is a history of the Dutch staging in ethnographic detail, based on unique archival material such as correspondence with Otto Frank, prompt books, original tapes, blueprints of the set and oral history. The microhistory of the first Dutch performance of the stage adaptation of Anne Frank's diary examines the staging in the context of the postwar hesitant development of publicly voiced Holocaust consciousness. Influenced by memory studies and affect theory, the emphasis is on the emotional impact of the drama on both the members of the cast and the audience and will be of great interest to students and scholars in theater and performance studies, memory studies, cultural history, Jewish studies, Holocaust studies and contemporary European history.

Performing Home is the first sustained study of the ways in which artists create artworks in, and in response to, domestic dwellings. In the context of growing interest in ideas and practices that cross between architecture, arts practice and performance, it is valuable to understand what happens when artists make work in and about specific buildings. This is particularly important with domestic dwellings, which can be bound up with experiences, issues, practices and understandings of home. The book focuses on a range of recent artistic projects to identify and investigate critical ways by which artists practise domestic dwellings. In doing so, it addresses the ways in which artists enquire into a dwelling, are resident in a dwelling, adapt the form of a dwelling, practise a mobile dwelling, and make a dwelling. By considering these practices together, Andrews demonstrates the breadth and significance of recent artistic engagement in and with domestic dwellings and highlights the contribution that artistic practice can make to the ways in which we understand the form and practice of a building. Performing Home will be of particular relevance to scholars, students and practitioners in architecture, art and performance, to those in geography, material culture and cultural studies, and to anyone seeking to make sense of the place in which they live.

1) This book presents a comprehensive narrative of North Indian Folk theatre as a counter culture. 2) Rich in empirical material, it shows how North Indian Folk theatres are challenging the cultural hegemony. 3) This book will be of interest to departments of South Asian studies and Cultural studies across UK and USA.

Unruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience. This study analyses how, out of anxiety that unruly audiences would destroy the nascent industry of professional drama in England, playwrights sought to limit the effect that their plays could have on the audience. They tried to construct playgoing through their drama in the hopes of creating a less-reactive, more pensive, and controlled playgoer. The result was the radical experimentation in dramaturgy that, in part, defines Renaissance drama. Written for scholars of Early Modern and Renaissance Drama and Theatre, Theatre History, and Early Modern and Renaissance History, this book calls for a new focus on the local economic concerns of the theatre companies as a way to understand the motivation behind the drama of early modern London.

This book undertakes a critical reappraisal of Minimalism through an examination of three key painters: Robert Mangold, David Novros, and Jo Baer. By establishing their substantive engagements with Minimalist discourse, as well as their often overlooked artistic exchanges with their sculptor peers, it demonstrates that painting crucially informed the movement's development, serving not only as an object of critique but also as a crucible for its most central tenets. It also poses broader disciplinary implications as it historicizes and challenges Minimalism's "death of painting" critiques that have been so influential to theories of modernism and postmodernism in the visual arts.

Intertwining art history, aesthetic theory, and Latin American studies, Aarnoud Rommens challenges contemporary Eurocentric revisions of the history of abstraction through this study of the Uruguayan artist Joaquin Torres-Garcia. After studying and painting (for decades) in Europe, Torres-Garcia returned in 1934 to his native home, Montevideo, with the dream of reawakening and revitalizing what he considered the true indigenous essence of Latin American art: "Abstract Spirit." Rommens rigorously analyses the paradoxes of the painter's aesthetic-philosophical doctrine of Constructive Universalism as it sought to adapt European geometric abstraction to the Americas. Whereas previous scholarship has dismissed Torres-Garcia's theories as self-contradictory, Rommens seeks to recover their creative potential as well as their role in tracing the transatlantic routes of the avant-garde. Through the highly original method of reading Torres-Garcia's artworks as a critique on the artist's own writings, Rommens reveals how Torres-Garcia appropriates the colonial language of primitivism to construct the artificial image of "pure" pre-Columbian abstraction. Torres-Garcia thereby inverts the history of art: this book teases out the important lessons of this gesture and the implications for our understanding of abstraction today.

Taking inspiration from artists of the Renaissance to Rococo periods, contemporary artist Arabella Proffer has re-imagined the mannerist portrait with a pop surrealist twist. After researching fashion history, heraldry, and peerage protocol, she went on to create her own world parallel to that of old world Europe. Concocting a family legacy -- ancestors that could belong to anyone it has become an impulse and a passion the artist continues to explore, adding characters and stories to her ever-growing private empire of punks, goths, and nobility behaving badly. Included are over 40 portraits created between 2000 and 2011, their stories, family trees, map and more, as well as a foreword by Josh Geiser of Creep Machine and Paper Devil.

Barrie Kosky on the Contemporary Australian Stage is the first book-length study of Kosky's adaptations of tragedy in Australia. The book charts the early parts of Kosky's career that came to impact upon his prolific work in opera in Europe. The book uses affect theory to draw critical attention to audience's experience of Kosky's work outside of traditional reception theories. The book provides a concept of 'post-tragedy' that can be productively taken up in relation to other directors radically adapting tragedy for contemporary performance.

This collection of essays explores activist performances, all connected to theater or performance training, that have changed the Americas-from Canada to the Southern Cone. Through the study of specific examples from numerous countries, the authors of this volume demonstrate a crucial, shared outlook: they affirm that ordinary people change the direction of history through performance. This project offers concrete, compelling cases that emulate the modus operandi of people like historian Howard Zinn. In the same spirit, the chapters treat marginal groups whose stories underscore the potentially unstoppable and transformative power of united, embodied voices. This book will be of great interest to students and scholars of theatre, performance, art and politics.

The essays in this book productively conjoin the fields of performance studies and American studies. The book will appeal to international programs and research projects in American Studies, Cultural Studies, Performance Studies, and Theater Studies. The book features the documentation of the performance Border Movement... by Marina Barsy Janer and Caro Ley, and an interview with the performance artist Denise Uyehara.

Girls, Performance, and Activism offers artists, activists, educators, and scholars a comprehensive analysis, celebration, and critique of the ways in which teenage girls create and perform activist theater. Girls, particularly Black and Latinx teenagers, are using the tools of performance to share their stories, devise new ones, and use the stage to advocate for social change. Interweaving interviews, poetic text, drama, and theory, this book provides readers with a comprehensive understanding of how and why this field erupted and the ways in which girls are using performance to transform themselves and enact change in their communities. As a white woman who has collaboratively created theater with hundreds of girls of color over the past 20 years, Dana Edell offers strategies for engaging with girls across difference through an intersectional lens in order to acknowledge the ways in which race, gender, age, class, ability, and sexuality influence girls' experiences and relationships with adult collaborators as they work to create meaningful, impactful, and often personal activist performances. This is the go-to handbook for teachers, theater directors, and performance makers who want to create politically engaged work with teenage girls.

This is the first sustained phenomenological approach to modern art, taking a new approach and drawing upon an unusual selection of thinkers. As a philosophical approach, phenomenology is concerned with structure in how phenomena are experienced. "The Phenomenology of Modern Art" uses phenomenological insights to explain the significance of style in modern art, most notably in Impressionism, Expressionism, Cezanne and Cubism, Duchampian conceptualism and abstract art. Paul Crowther explores this thematic in a new way, addressing specific visual artworks and tendencies in detail and introducing a new methodology - post-analytic phenomenology. It is this more critical, post-analytic orientation that allows the book to utilise some unexpected phenomenological resources. Gilles Deleuze, rarely associated with phenomenology, in fact employs an overriding phenomenological orientation in his focus on modern art. Crowther uses Deleuze's important phenomenological insights as a starting point and goes on to develop arguments found in two other thinkers, Nietzsche and Merleau-Ponty, as well as addressing those figures and tendencies in relation to whom twentieth-century critical appropriations of Kant have been most influential. Illustrated throughout, the book offers the first sustained phenomenological approach to modern art.

The book fills a niche in early modern scholarship, no such comprehensive treatment of hobby-horse allusions was published before. Relevant dictionaries and glossaries in critical editions will be much helped by the book, because it contextualizes and often corrects traditional explanations for the word 'hobby-horse.' The comprehensive treatment of hobby-horse allusions, ranging from cultural history to theatrical, print productions and images allows for a fuller understanding of how popular culture worked in early modern England. Comparative close readings of little known and canonical plays highlight differences between types of dramaturgical composition, and such conclusions may be useful for theatre practitioners even today. The book caters for the interests of people coming from various fields: theatre, cultural history, literature, art history, folklore studies. The book is written in an accessible language, guiding the reader informatively through a lot of early modern texts and concepts.

Jerzy Grotowski and Ludwik Flaszen wrap up their lifelong research. Art as a Vehicle as the set of tools to bring human life "one floor higher". Jerzy Grotowski's lifelong relations with his homeland, Poland. Jerzy Grotowski's lifelong relations with his "chosen homelands": Europe and India. Detailed description of various aspects of activity of Workcenter of Jerzy Grotowski and Thomas Richards in Pontedera (Italy) in 1990s.

Dramaturgies of Interweaving explores present-day dramaturgies that interweave performance cultures in the fields of theater, performance, dance, and other arts. Merging strategies of audience engagement originating in different cultures, dramaturgies of interweaving are creative methods of theater and art-making that seek to address audiences across cultures, making them uniquely suitable for shaping people's experiences of our entangled world. Presenting in-depth case studies from across the globe, spanning Australia, China, Germany, India, Iran, Japan, Singapore, Taiwan, Vietnam, the US, and the UK, this book investigates how dramaturgies of interweaving are conceived, applied, and received today. Featuring critical analyses by scholars-as well as workshop reports and artworks by renowned artists-this book examines dramaturgies of interweaving from multiple locations and perspectives, thus revealing their distinct complexities and immense potential. Ideal for scholars, students, and practitioners of theater, performance, dramaturgy, and devising, Dramaturgies of Interweaving opens up an innovative perspective on today's breathtaking plurality of dramaturgical practices of interweaving in theater, performance, dance, and other arts, such as curation and landscape design.

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