Affective Movements, Methods and Pedagogies invites readers to think with affect about performance, pedagogies and their inherent activist, embodied and collective natures. It works across multiple spheres to help readers understand how to deploy affective approaches rather than to simply think with affect theory about traditional methods. The book is structured and curated across three main thematic sections: affective movements, methods and pedagogies, each of which treats the core explorations of affect and performance through a different perspective. It is concerned with the ways performance and theatrical methods work with and through a theoretics of affect. The sixteen chapters include work that models theoretical practices in writing, and demonstrates how theorising affect and its methods is itself a performative practice. The contributors offer rich examples from diverse geopolitical as well as disciplinary contexts, innovative methods, and finally, intersectional theoretics. This collection will be of interest to higher education students exploring methodologies, and academic researchers and teachers in the fields of performance studies, communication, critical studies, sociology and the arts.

This book presents a ground-breaking, comprehensive study of the modern performance history of plays in the John Fletcher canon, excluding his collaborations with Shakespeare. It examines how seventeen of Fletcher's plays have been interpreted in British productions. In addition, the book offers a consideration of the contexts in which these productions took place, from the early twentieth century 'Elizabethan Revival' to the more politicized theatrical cultures of the 1960s and beyond. Revived with Care opens a window on some of the theatrical developments of the past 135 years, in the context of radical changes in the presentation and reception of early modern drama, while for theatre practitioners it provides ideas and inspiration for exploring little-known but powerful plays in exciting new productions. The book will be of great interest to students, scholars and practitioners working in the field of theatre and performance studies.

Floating Bones charts the author's journey into tensegrity, which begins in ballet and culminates in a model for addressing one's body as a teacher. Tensegrity flips traditional biomechanical models such that instead of support coming from the bones, the bones float, and it is the muscles and other soft connective tissue that provide support for the moving body. Using the model of tensegretic experience, Roses-Thema connects somatics, cognition, rhetoric, and reflective practices detailing the means that constructed approaching the body as a teacher. This study presents the argument for extending the models of thinking to include bodily thinking, by citing how the experiential perspective of tensegrity constructs physical evidence of the rhetorical concept, metis, where the body thinks as it moves. This book will be of great interest to students, scholars, and practitioners of dance, theater, and sociology.

Commedia dell'Arte, its Structure and Tradition chronicles a series of discussions between two renowned experts in commedia dell'arte - master practitioners Antonio Fava and John Rudlin. These discussions were recorded during three recent visits by Fava to Rudlin's rural retreat in south west France. They take in all of commedia dell'arte's most striking and enduring elements - its masks, its scripts and scenarios, and most outstandingly, its cast of characters. Fava explores the role of each stock Commedia character and their subsequent incarnations in popular culture, as well as their roots in prominent figures of their time. The lively and wide-ranging conversations also take in methods of staging commedia dell'arte for contemporary audiences, the evolution of its gestures, and the collective nature of its theatre-making. This is an essential book for any student or practitioner of commedia dell'arte - provocative, expansive wisdom from the modern world's foremost exponent of the craft.

Partners of the Imagination is the first in-depth study of the work of John Arden and Margaretta D'Arcy, partners in writing and cultural and political campaigns. Beginning in the 1950s, Arden and D'Arcy created a series of hugely admired plays performed at Britain's major theatres. Political activists, they worked tirelessly in the peace movement and the Northern Ireland 'Troubles', during which D'Arcy was gaoled. She is also a veteran of the Greenham Common Women's Peace camp. Their later work included Booker-listed novels, prize-winning stories, essays and radio plays, and D'Arcy founded and ran a Woman's Pirate Radio station. Raymond Williams described Arden as 'the most genuinely innovative' of the playwrights of his generation, and Chambers and Prior claimed that 'The Non-Stop Connolly Show', D'Arcy and Arden's six-play epic, 'has fair claim to being one of the finest pieces of post-war drama in the English language'. This study explores the connections between art and life, and between the responsibilities of the writer and the citizen. Importantly, it also evaluates the range of literary works (plays, poetry, novels, essays, polemics) created by these writers, both as literature and drama, and as controversialist activity in its own right. This work is a landmark examination of two hugely respected radical writers.

Non-representational Theory explores a range of ideas which have recently engaged geographers and have led to the development of an alternative approach to the conception, practice, and production of geographic knowledge. Non-representational Theory refers to a key body of work that has emerged in geography over the past two and a half decades that emphasizes the importance of practice, embodiment, materiality, and process to the ongoing formation of social life. This title offers the first sole-authored, accessible introduction to this work and its impact on geography. Without being prescriptive the text provides a general explanation of what Non-representational Theory is. This includes discussion of the disciplinary context it emerged from, the key ideas and themes that characterise work associated with Non-representational Theory, and the theoretical points of reference that inspires it. The book then explores a series of conjunctions of 'Non-representational Theory and...', taking an area of geographic enquiry and exploring the impact Non-representational Theory has had on how it is researched and understood. This includes the relationships between Non-representational Theory and Practice, Affect, Materiality, Landscape, Performance, and Methods. Critiques of Non-representational Theory are also broached, including reflections on issues on identity, power, and difference. The text draws together the work of a range of established and emerging scholars working on the development of non-representational theories, allowing scholars from geography and other disciplines to access and assess the animating potential of such work. This volume is essential reading for undergraduates and post-graduate students interested in the social, cultural, and political geographies of everyday living.

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.

Antonio Lopez Garcia's Everyday Urban Worlds: A Philosophy of Painting is the first book to give the famed Spanish artist the critical attention he deserves. Born in Tomelloso in 1936 and still living in the Spanish capital today, Antonio Lopez has long cultivated a reputation for impressive urban scenes-but it is urban time that is his real subject. Going far beyond mere artist biography, Benjamin Fraser explores the relevance of multiple disciplines to an understanding of the painter's large-scale canvasses. Weaving selected images together with their urban referents-and without ever straying too far from discussion of the painter's oeuvre, method and reception by critics-Fraser pulls from disciplines as varied as philosophy, history, Spanish literature and film, cultural studies, urban geography, architecture, and city planning in his analyses. The book begins at ground level with one of the artist's most recognizable images, the Gran Via, which captures the urban project that sought to establish Madrid as an emblem of modernity. Here, discussion of the artist's chosen painting style-one that has been referred to as a 'hyperrealism'-is integrated with the central street's history, the capital's famous literary figures, and its filmic representations, setting up the philosophical perspective toward which the book gradually develops. Chapter two rises in altitude to focus on Madrid desde Torres Blancas, an urban image painted from the vantage point provided by an iconic high-rise in the north-central area of the city. Discussion of the Spanish capital's northward expansion complements a broad view of the artist's push into representations of landscape and allows for the exploration of themes such as political conflict, social inequality, and the accelerated cultural change of an increasingly mobile nation during the 1960s. Chapter three views Madrid desde la torre de bomberos de Vallecas and signals a turn toward political philosophy. Here, the size of the artist's image itself foregrounds questions of scale, which Fraser paints in broad strokes as he blends discussions of artistry with the turbulent history of one of Madrid's outlying districts and a continued focus on urban development and its literary and filmic resonance. Antonio Lopez Garcia's Everyday Urban Worlds also includes an artist timeline, a concise introduction and an epilogue centering on the artist's role in the Spanish film El sol del membrillo. The book's clear style and comprehensive endnotes make it appropriate for both general readers and specialists alike.

This book tells the story of teaching Kathakali, a seventeenth century Indian dance-drama, to contemporary performers in Australia. A rigorous analysis and detailed documentation of the teaching of multiple learners in Melbourne, both in the group workshop mode and one-on-one, combined with the author's ethnographic research in India, leads to a unique insight into what the author argues persuasively is at the heart of the art's aesthetic- a practical realisation of the theory of rasa as first articulated in the ancient Sanskrit treatise on drama The Natyashastra. The research references the latest discoveries in neuroscience on 'mirror neurons' and argues for a reconceptualization of Kathakali's imitative methodology, advancing it from the reductive category of 'mimicry' to a more contemporary and complex mirroring which is where its value lies in Australian actor performer training. The Teaching of Kathakali in Australia will be of great interest to students and scholars of theatre and dance, intercultural actor training, practice-led research, and interdisciplinary studies of neuroscience and performance.

In this study, Josefine Wikstroem challenges a concept of performance that makes no difference between art and non-art and argues for a new concept. This book confronts and criticises the way in which the dominating concept of performance has been used in art theory and performance and dance studies. Through an analysis of 1960s performance practices, Wikstroem focuses specifically on task-dance and event-score practices and provides an examination of the key philosophical concepts that are inseparable from such a concept of art and are necessary for the reconstruction of a critical concept of performance, such as "practice", "experience", "object", "abstraction" and "structure". This book will be of great interest to scholars, students and practitioners across dance, performance art, aesthetics and art theory.

Involuntary Motion contributes to the study of refugee flight by using movement as a lens to explore problems in refugee performance and understand the experience of bodies in motion. Drawing from somatics, movement analysis, and dance praxis, the chapters explore forces that set bodies in motion; the spaces in which forced movement occurs; the movement of refugee identity arcs; the monstrosity of refugee performance; and the relationship between writing and body culture. How does forced movement impact identity? What are the philosophical implications of robbing individuals of agency over motion? What performances does involuntary motion necessitate? These questions are important as the world confronts the threat of a return of the horrors of the twentieth century. Bringing together debates in migration studies and movement studies, the book argues that refugees are akin to dancers performing on disappearing stages not of their choosing. It will be of great interest to students and scholars of performance, dance, and politics.

Brecht in India analyses the dramaturgy and theatrical practices of the German playwright Bertolt Brecht in post-independence India. The book explores how post-independence Indian drama is an instance of a cultural palimpsest, a site celebrating a dialogue between Western and Indian theatrical traditions, rather than a homogenous and isolated canon. Analysing the dissemination of a selection of Brecht's plays in the Hindi belt between the 1960s and the 1990s, this study demonstrates that Brecht's work provided aesthetic and ideological paradigms to modern Hindi playwrights, helping them develop and stage a national identity. The book also traces how the reception of Brecht was mediated in India, how it helped post-independence Indian playwrights formulate a political theatre, and how the dissemination of Brechtian aesthetics in India addressed the anxiety related to the stasis in Brechtian theatre in Europe. Tracking the dialogue between Brechtian aesthetics in India and Europe and a history of deliberate cultural resistance, Brecht in India is an invaluable resource for academics and students of theatre studies and theatre historiography, as well as scholars of post-colonial history and literature.

Aotearoa New Zealand in the Global Theatre Marketplace offers a case study of how the theatre of Aotearoa has toured, represented and marketed itself on the global stage. How has New Zealand work attempted to stand out, differentiate itself, and get seen by audiences internationally? This book examines the journeys of a dynamic range of culturally and theatrically innovative works created by Aotearoa New Zealand theatre makers that have toured and been performed across time, place and theatrical space: from Moana Oceania to the Edinburgh Festival Fringe, from a Maori Shakespeare adaptation to an immersive zombie theatre experience. Drawing on postcolonialism, transnationalism, cosmopolitanism and globality to understand how Aotearoa New Zealand has imagined and conceived of itself through drama, the author investigates how these representations might be read and received by audiences around the world, variously reinforcing and complicating conceptions of New Zealand national identity. Developing concepts of theatrical mobility, portability and the market, this study engages with the whole theatrical enterprise as a play travels from concept and scripting through to funding, marketing, performance and the critical response by reviewers and commentators. This book will be of global interest to academics, producers and theatre artists as a significant resource for the theory and practice of theatre touring and cross-cultural performance and reception.

The mention of the term "melodrama" is likely to evoke a response from laymen and musicians alike that betrays an acquaintance only with the popular form of the genre and its greatly heightened drama, exaggerated often to the point of the ridiculous. Few are aware that there exists a type of melodrama that contains in its smaller forms the beauty of the sung ballad and, in the larger-scale works, the appeal of the spoken play. This category of melodrama is one that surfaced in many cultures but was perhaps never so enthusiastically cultivated as in the Czech lands. The melodrama varied greatly at the hands of its Czech advocates. While the works of Zdenek Fibich and his contemporary Josef Bohuslav Foerster, a composer best known for his songs, remained closely bound to the text, those of conductor/composer Otakar Ostrcil reveal a stance that privileged the music and, given their creator's orchestral experience, are more reminiscent of the symphonic poem. Fibich in his staged works and Josef Suk (composer/violinist and Dvorak's son-in-law), in his incidental music reflect variously late nineteenth-century Romanticism, the influence of Wagner, and early manifestations of Impressionism. In its more recent guise, the principles of the staged melodrama reside quite comfortably in the film score. Judith A. Mabary's important volume will be of interest not only to musicologists, but those working in Central and East European studies, voice studies, European theatre, and those studying music and nationalism.

In answering the question posed by its title, and drawing on his twenty year relationship with the artists, Michael Bracewell is the first writer to engage directly with Gilbert & George to understand why they have devoted their lives exclusively and continuously - to the vision of art they conceived within months of first meeting. What emerges piece by piece is a portrait of Gilbert & George as two men who are infinitely more intense, strange, determined and alone than their longstanding public image suggests.

This book investigates Jimmie Durham's community-building process of making and display in four of his projects in Europe: Something ... Perhaps a Fugue or an Elegy (2005); two Neapolitan nativities (2016 and ongoing); The Middle Earth (with Maria Thereza Alves, 2018); and God's Poems, God's Children (2017). Andrea Feeser explores these artworks in the context of ideas about connection set forth by writers Ann Lauterbach, Franz Rosenzweig, Pamela Sue Anderson, Vinciane Despret, and Hirokazu Miyazaki, among others. Feeser argues that the materials in Durham's artworks; the method of their construction; how Durham writes about his pieces; how they exist with respect to one another; and how they address viewers, demonstrate that we can create alongside others a world that embraces and sustains what has been diminished. The book will be of interest to scholars working in contemporary art, animal studies, new materialism research, and eco-criticism.

Offering a roadmap for practicing verbatim theatre (plays created from oral histories), this book outlines theatre processes through the lens of oral history and draws upon oral history scholarship to bring best practices from that discipline to theatre practitioners. This book opens with an overview of oral history and verbatim theatre, considering the ways in which existing oral history debates can inform verbatim theatre processes and highlights necessary ethical considerations within each field, which are especially prevalent when working with narrators from marginalised communities. It provides a step-by-step guide to creating plays from interviews and contains practical guidance for determining the scope of a theatre project: identifying narrators and conducting interviews, developing a script from excerpts of interview transcripts and outlining a variety of ways to create verbatim theatre productions. By bringing together this explicit discussion of oral history in relationship to theatre based on personal testimonies, the reader gains insight into each field and the close relationship between the two. Supported by international case studies that cover a wide range of working methods and productions, including The Laramie Project and Parramatta Girls, this is the perfect guide for oral historians producing dramatic representations of the material they have sourced through interviews, and for writers creating professional theatre productions, community projects or student plays.

Offering a roadmap for practicing verbatim theatre (plays created from oral histories), this book outlines theatre processes through the lens of oral history and draws upon oral history scholarship to bring best practices from that discipline to theatre practitioners. This book opens with an overview of oral history and verbatim theatre, considering the ways in which existing oral history debates can inform verbatim theatre processes and highlights necessary ethical considerations within each field, which are especially prevalent when working with narrators from marginalised communities. It provides a step-by-step guide to creating plays from interviews and contains practical guidance for determining the scope of a theatre project: identifying narrators and conducting interviews, developing a script from excerpts of interview transcripts and outlining a variety of ways to create verbatim theatre productions. By bringing together this explicit discussion of oral history in relationship to theatre based on personal testimonies, the reader gains insight into each field and the close relationship between the two. Supported by international case studies that cover a wide range of working methods and productions, including The Laramie Project and Parramatta Girls, this is the perfect guide for oral historians producing dramatic representations of the material they have sourced through interviews, and for writers creating professional theatre productions, community projects or student plays.

Lee Miller: Photography, surrealism, and beyond offers a major new critical discussion of the work of one of the most significant twentieth-century photographers. Applying art-theoretical analyses and insights afforded by previously unseen material in archives and collections, Patricia Allmer undertakes revisionary readings of many of Miller's works, including Portrait of Space, Severed Breast from Radical Mastectomy and the famous series of war photographs produced for Vogue. At the same time she sheds new light on Miller's relations with surrealist groups and American avant-gardes, on her experiences in Paris, Egypt and World War II Europe and on her critically neglected post-war activities. Above all, Lee Miller: Photography, surrealism, and beyond focuses critical attention on the works themselves. As a result it will be of great interest to students and scholars of twentieth-century photography, modernism and surrealism. -- .

Honorable Mention, Latin American Studies Association Mexico Section Best Book in the HumanitiesA Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico's postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance-the emulation of Diaghilev's Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortola Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico's theatrical dance world, including Diego Rivera's collaborations with ballet composer Carlos Chavez; Carlos Merida's leadership of the National School of Dance; Jose Clemente Orozco's involvement in the creation of the Ballet de la Ciudad de Mexico; and Miguel Covarrubias, who led the "golden age" of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.

This is a very readable, useful and above all, deeply historical account of some of the defining tropes in art history and performance today. Written by world renowned feminist art historian, Amelia Jones, this genealogy is a key work bridging art historical and performance studies approaches. Each chapter includes 'Ruptures' - bursts of intimately written accounts of experiences of performance (and related interludes) - which help make the content accessible.

Reclaiming Greek Drama for Diverse Audiences features the work of Native-American, African-American, Asian-American, Latinx, and LGBTQ theatre artists who engage with social justice issues in seven adaptations of Sophocles' Antigone, Euripides' Trojan Women, Hippolytus, Bacchae, Alcestis, and Aristophanes' Frogs, as well as a work inspired by the myth of the Fates. Performed between 1989 and 2017 in small theatres across the US, these contemporary works raise awareness about the trafficking of Native-American women, marriage equality, gender justice, women's empowerment, the social stigma surrounding HIV, immigration policy, and the plight of undocumented workers. The accompanying interviews provide a fascinating insight into the plays, the artists' inspiration for them, and the importance of studying classics in the college classroom. Readers will benefit from an introduction that discusses practical ways to teach the adaptations, ideas for assignments, and the contextualization of the works within the history of classical reception. Serving as a key resource on incorporating diversity into the teaching of canonical texts for Classics, English, Drama and Theatre Studies students, this anthology is the first to present the work of a range of contemporary theatre artists who utilize ancient Greek source material to explore social, political, and economic issues affecting a variety of underrepresented communities in the US.

Situated Knowing aims to critically examine performance studies' ideological and socio-political underpinnings while also challenging the Anglo-centrism of the discipline. This book reworks the concept of situated knowledges put forward over thirty years ago by American biologist and philosopher Donna Haraway in order to challenge the Enlightenment paradigm of objectivity in sciences by emphasising the role of the embodied and partial socio-cultural perspective of the scholar in the production of knowledge. Through carefully selected case studies of contemporary natural, cultural and technological performances, contributors to this volume show that the proposed approach requires new genealogies of traditional concepts, emerges from encounters with contemporary performative arts or contact zones and may potentially go beyond the human in order to include non-human ways of being in the world. It will be of great interest to students and scholars of performance studies, cultural studies, media studies and theatre studies.

Western Theatre in Global Contexts explores the junctures, tensions, and discoveries that occur when teaching Western theatrical practices or directing English-language plays in countries that do not share Western theatre histories or in which English is the non-dominant language. This edited volume examines pedagogical discoveries and teaching methods, how to produce specific plays and musicals, and how students who explore Western practices in non-Western places contribute to the art form. Offering on-the-ground perspectives of teaching and working outside of North American and Europe, the book analyzes the importance of paying attention to the local context when developing theatrical practice and education. It also explores how educators and artists who make deep connections in the local culture can facilitate ethical accessibility to Western models of performance for students, practitioners and audiences. Western Theatre in Global Contexts is an excellent resource for scholars, artists, and teachers that are working abroad or on intercultural projects in theatre, education and the arts.