This book makes a significant contribution to recent scholarship on the ways in which women responded to the regulation of their behavior by focusing on representations of women speakers and their audiences in moments Smith identifies as "scenes of speech." This new approach, examining speech exchanges between a speaker and audience in which both anticipate, interact with, and respond to each other and each other's expectations, demonstrates that the prescriptive process involves a dynamic exchange in which each side plays a role in establishing and contesting the boundaries of acceptable speech for women. Drawing from a wide range of evidence, including pamphlets, diaries, illustrations, and plays, the book interprets the various and at times contradictory representations and reception of women's speech that circulated in early modern England. Speech scenes examined within include wives' speech to their husbands in private, private speech between women, public speech before death, and the speech of witches. Looking at scenes of women's speech from male and female authors, Smith argues that these early modern texts illustrate a means through which societal regulations were negotiated and modified. This book will appeal to those with an interest in early modern drama, including the playwrights Shakespeare, Cary, Webster, Fletcher, and Middleton, as well as readers of non-dramatic early modern literary texts. The volume is of particular use for scholars working in the areas of early modern literature and culture, women's history, gender studies, and performance studies.

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today's hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors-from the arts, art history, sociology, political science, and philosophy-to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

This book argues that today's professoriate has become increasingly theatrical, largely as a result of neoliberal policies in higher education, but also in response to an anti-intellectual scrutiny that has become pervasive throughout the Western world. The Theatrical Professoriate: Contemporary Higher Education and Its Academic Dramas examines how the Western professoriate increasingly finds itself enacting command performances that utilize scripting, characterization, surrogation, and spectacle-the hallmarks of theatricality-toward neoliberal ends. Roxworthy explores how the theatrical nature of today's professoriate and the resultant glut of performances about academia on stage and screen have contributed to a highly ambivalent public fascination with academia. She further documents the "theatrical turn" witnessed in American higher education, as academic institutions use performance to intervene in the diversity issues and disciplinary disparities fueled by neoliberalism. By analyzing academic dramas and their audience reception alongside theoretical approaches, the author reveals how contemporary academia drives the professoriate to perform in what seem like increasingly artificial ways. Ideal for practitioners and students of education, ethnic, and science studies, The Theatrical Professoriate deftly intervenes in Performance Studies' still-unsettled debates over the differential impact of live versus mediated performances.

This book offers a comprehensive account of the audiovisual translation (AVT) of humour, bringing together insights from translation studies and humour studies to outline the key theories underpinning this growing area of study and their applications to case studies from television and film. The volume outlines the ways in which the myriad linguistic manifestations and functions of humour make it difficult for scholars to provide a unified definition for it, an issue made more complex in the transfer of humour to audiovisual works and their translations as well as their ongoing changes in technology. Dore brings together relevant theories from both translation studies and humour studies toward advancing research in both disciplines. Each chapter explores a key dimension of humour as it unfolds in AVT, offering brief theoretical discussions of wordplay, culture-specific references, and captioning in AVT as applied to case studies from Modern Family. A dedicated chapter to audio description, which allows the visually impaired or blind to assess a film's non-verbal content, using examples from the 2017 film the Big Sick, outlines existing research to date on this under-explored line of research and opens avenues for future study within the audiovisual translation of humour. This book is key reading for students and scholars in translation studies and humour studies.

Cybernetic-Existentialism: Freedom, Systems, and Being-for-Others in Contemporary Arts and Performance offers a unique discourse and an original aesthetic theory. It argues that fusing perspectives from the philosophy of Existentialism with insights from the 'universal science' of cybernetics provides a new analytical lens and deconstructive methodology to critique art. In this study, Steve Dixon examines how a range of artists' works reveal the ideas of Existentialist philosophers including Kierkegaard, Camus, de Beauvoir, and Sartre on freedom, being and nothingness, eternal recurrence, the absurd, and being-for-others. Simultaneously, these artworks are shown to engage in complex explorations of concepts proposed by cyberneticians including Wiener, Shannon, and Bateson on information theory and 'noise', feedback loops, circularity, adaptive ecosystems, autopoiesis, and emergence. Dixon's groundbreaking book demonstrates how fusing insights and knowledge from these two fields can throw new light on pressing issues within contemporary arts and culture, including authenticity, angst and alienation, homeostasis, radical politics, and the human as system.

This lively introduction tells the ever-evolving story of abstract art, tracing its history from the early 1900s right up to the present day. Emerging out of western movements such as Cubism and Expressionism, abstract art quickly became a global phenomenon, changing the face of modern and contemporary art. Stephanie Straine weaves accounts of well-known pioneers with fascinating insights into lesser-known ground-breakers from across the world. Although abstraction in art is often associated with vagueness or the forbiddingly theoretical, for many artists the abstract represents pure simplicity. Straine's vivid discussion demystifies the work of over seventy innovative artists - from Wassily Kandinsky to Emma Kunz and Rana Begum - and develops our appreciation of their conceptual approach. A reference section includes a timeline of key exhibitions of abstract art, suggestions for further reading and a glossary of art terms.

The ultimate guide to 25 years of contemporary art, as seen through the filter of the world's leading contemporary art magazine frieze A to Z of Contemporary Art charts the dynamic, changing landscape of the contemporary art and culture of the past quarter century. Drawing on frieze magazine's exceptional back catalogue of articles, this book brings together a curated collection of over fifty engaging highlights. It features artist interviews; essays on subjects as varied as museums, photography, pre-historic art and television; and think pieces on broader cultural topics, such as fame, gentrification, nostalgia, and style. The book's content - selected from throughout the magazine's history - offers a guide to this dynamic era of visual culture, revealing the increasing internationalism, popularity, and market dominance of contemporary art.

What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live? In his new book A Body of Vision , R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context. Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder's razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

Painting is a continually expanding and evolving medium. The radical changes that have taken place since the 1960s and 1970s - the period that saw the shift from a modernist to a postmodernist visual language - have led to its reinvigoration as a practice, lending it an energy and diversity that persist today. In Contemporary Painting, renowned critic and art historian Suzanne Hudson offers an intelligent and original survey of the subject: a rigorous critical snapshot that brings together more than 250 renowned artists from around the world, whose ideas and aesthetics characterize the painting of our time. These luminaries include Cecily Brown, Theaster Gates, Josh Smith, Jenny Saville, Julie Mehretu, Takashi Murakami, Gabriel Orozco, Christina Quarles, Kara Walker, Kehinde Wiley, Zhang Xiaogang and many others. Organized into seven thematic chapters exploring aspects of contemporary painting, this is an essential volume for art history enthusiasts, students, critics and practitioners. With 245 illustrations in colour

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.

In this volume, Soe Marlar Lwin proposes a contextualized multimodal framework that brings together storytelling practitioners' and academic researchers' conceptions of storytelling. It aims to highlight the ways in which various institutions in contemporary society have been using live storytelling performances as an effective communicative, educative and meaning-making tool. Drawing on theories of narrative from narratology as well as from related fields such as discourse analysis, multimodal analysis, communication and performance studies, the author proposes a contextualized multimodal framework to (a) uncover the potential narrativity of a live storytelling performance through an analysis of narrative elements constituting the story, (b) capture the process of developing actual narrativity through a multimodal analysis of performance features in the storytelling discourse, and (c) highlight the importance of context and dynamics between the storyteller and audience for an achievement of optimal narrativity in a particular storytelling event. The sample analysis shows how the framework not only describes the system governing institutionalized storytelling performances in general but also serves as a useful model to examine individual performance as a unique realization of the general system. The book also offers implications for possible applications of such contextualized multimodal frameworks more broadly across the disciplines.

A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage. Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Serban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcarete, Mihai Maniutiu, Gianina Carbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists. Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.

This publication offers for the first time an inter-disciplinary and comparative perspective on Futurism in a variety of countries and artistic media. 20 scholars discuss how the movement shaped the concept of a cultural avant-garde and how it influenced the development of modernist art and literature around the world.

The art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture.

This book examines Shyam Benegal's films and alternative image(s) of India in his cinema, and traces the trajectory of changing aesthetics of his cinema in the post-liberalisation era. The book engages with the challenges faced by India as a nation-state in post-colonial times. Looking at hybrid and complex narratives of films like Manthan, Junoon, Kalyug, Charandas Chor, Sooraj Ka Satvaan Ghoda, Zubeidaa and Well Done Abba , among others, it analyses how these stories and characters, adapted and derived from mythology, folk-tales, historical fiction and novels, are rooted in the socio-political contexts of modern India. The author explores diverse themes in Benegal's cinema such as the loss of home and identity, women's sexuality, and the status of dalits and Muslims in India. He also focuses on how the filmmaker expertly weaves history with myth, culture, and contemporary politics and discusses the debate around the interpretive value of film adaptations, adaptation of history and the representations of marginalised communities and liminal spaces. The book will be useful for students and researchers of film studies, cultural studies, and the humanities. It will also interest readers of Indian cinema and the social and cultural history of India.

Videogame history is not just a history of one successful technology replacing the next. It is also a history of platforms and communities that never quite made it; that struggled to make their voices heard; that aggravated against the conventions of the day; and that never enjoyed the commercial success or recognition of their major counterparts. In Minor Platforms in Videogame History, Benjamin Nicoll argues that 'minor' videogame histories are anything but insignificant. Through an analysis of transitional, decolonial, imaginary, residual, and minor videogame platforms, Nicoll highlights moments of difference and discontinuity in videogame history. From the domestication of vector graphics in the early years of videogame consoles to the 'cloning' of Japanese computer games in South Korea in the 1980s, this book explores case studies that challenge taken-for-granted approaches to videogames, platforms, and their histories.

The meteoric rise of the largest unregulated financial market in the world -- for contemporary art -- is driven by a few passionate, guileful, and very hard-nosed dealers. They can make and break careers and fortunes. The contemporary art market is an international juggernaut, throwing off multimillion-dollar deals as wealthy buyers move from fair to fair, auction to auction, party to glittering party. But none of it would happen without the dealers-the tastemakers who back emerging artists and steer them to success, often to see them picked off by a rival. Dealers operate within a private world of handshake agreements, negotiating for the highest commissions. Michael Shnayerson, a longtime contributing editor to Vanity Fair, writes the first ever definitive history of their activities. He has spoken to all of today's so-called mega dealers -- Larry Gagosian, David Zwirner, Arne and Marc Glimcher, and Iwan Wirth -- along with dozens of other dealers -- from Irving Blum to Gavin Brown -- who worked with the greatest artists of their times: Jackson Pollock, Andy Warhol, Cy Twombly, and more. This kaleidoscopic history begins in the mid-1940s in genteel poverty with a scattering of galleries in midtown Manhattan, takes us through the ramshackle 1950s studios of Coenties Slip, the hipster locations in SoHo and Chelsea, London's Bond Street, and across the terraces of Art Basel until today. Now, dealers and auctioneers are seeking the first billion-dollar painting. It hasn't happened yet, but they are confident they can push the price there soon.

As he turns 100, the definitive monograph of Wayne Thiebaud's work is now available in a reformatted, accessibly priced edition, and including his most recent paintings. This is the most comprehensive monograph to date on Wayne Thiebaud, with new works added, in a reformatted size. Spanning the length of his career from the 1950s to the present, the book has been made in close collaboration with the artist. Thiebaud selected the works himself, making the book an act of autobiography in a sense. At age 100, he looks back over his life and his work, rich with breakthroughs in painting and masterful individuality. Required reading for those who have a healthy appetite for provocative art. -Bloomberg Business This comprehensive monograph of more than 200 illustrations can literally be considered eye candy. American artist Wayne Thiebaud is famed for his brightly coloured canvases of cakes, diner pies, pastries, ice cream cones, candy and brightly coloured gumball machines. . . . Whether still lifes or landscapes, Thiebaud's paintings are akin to visual Prozac; you simply cannot be in a bad mood looking at them. -Kansas City Magazine While Thiebaud is best known for his heavily pigmented still lifes of cakes, pies, and candies, [this] book shows his broader range, from vibrant landscapes depicting highways and farmland to portraits of solitary figures. . . The texts examine Thiebaud's influences as well as his impact on the art world and the individual viewers of his work. -Architectural Digest

After the Long Silence offers a ground-breaking, meticulously researched criticism of Brazilian contemporary performance created by its post-dictatorship generation, whose work expresses the consequences of decades of state-imposed censorship. By offering an in-depth examination of key artists and their works, Claudia Tatinge Nascimento highlights Brazil's political trajectory while never allowing the weight of historical events to offset key aesthetic trends. Brazilian theater artists born around the time of the nation's 1964 military coup experienced the oppressive rule of dictatorship throughout their formative years, but came of age as Brazil re-entered democracy some two decades later. This book showcases how the post-dictatorship generation developed performances that mapped the uncharted territories of Brazil's political trauma with new dramaturgies, site-specific and street productions, and aesthetic experimentation. The author's in-depth research into a wide array of archival materials and publications in both Portuguese and English demonstrates how the artistic practices of significant post-dictatorship artists such as Cia. dos Atores, Teatro da Vertigem, Grupo Galpao, Os Fofos Encenam, and Newton Moreno were driven by critical thinking and a postcolonial sentiment, proving symptomatic of the nation's shift from an ethos of half-truth telling into a transitional justice that fell short in affirming citizenship. Ideal for scholars of the intersection of theatre and politics, After the Long Silence: The Theater of Brazil's Post-Dictatorship Generation offers insight into the function of theater in times of political turmoil and artmaking practices that emerge in response to oppressive regimes.

Glorious catastrophe presents a detailed critical analysis of the work of Jack Smith from the early 1960s until his AIDS-related death in 1989. Dominic Johnson argues that Smith's work offers critical strategies for rethinking art's histories after 1960. Heralded by peers as well as later generations of artists, Smith is an icon of the New York avant-garde. Nevertheless, he is conspicuously absent from dominant histories of American culture in the 1960s, as well as from narratives of the impact that decade would have on coming years. Smith poses uncomfortable challenges to cultural criticism and historical analysis, which Glorious catastrophe seeks to uncover. The first critical analysis of Smith's practices across visual art, film, performance and writing, the study employs extensive, original archival research carried out in Smith's personal papers, and unpublished interviews with friends and collaborators. It will be essential reading for students and scholars interested in the life and art of Jack Smith, and the greater histories that he interrupts, including those of experimental arts practices and the development of sexual cultures. -- .

50 years Learning from Las Vegas From the bustle of Johannesburg to the neon of Las Vegas, Denise Scott Brown's advocacy for "messy vitality" has transformed the way we look at the urban landscape. Unconventional, eloquent, and with a profound sociopolitical message, Scott Brown is one of our era's most influential thinkers on architecture and urbanism. The anthology Denise Scott Brown. In Other Eyes - marking the 50th anniversary of the seminal treatise Learning from Las Vegas - paints a portrait of Scott Brown as seen through the eyes of leading architectural historians and practitioners. It features new scholarship on her education on three continents, her multidisciplinary teaching, and her use of urban patterns and forces as tools for architectural design - a practice documented in a new comment by Scott Brown, noting that sometimes "1+1>2." With contributions by Mary McLeod, Joan Ockman, Sylvia Lavin, Stanislaus von Moos, Jacques Herzog, Robin Middleton, and Denise Scott Brown, among others A comprehensive portrait of one of contemporary architecture's most significant personalities

At present, we are witnessing a significant transformation of established forms of spectatorship in theatre, performance art and beyond. In particular, immersive and participatory forms of theatre allow audiences and performers to interact in a shared performance space. Staging Spectators in Immersive Performances discusses forms and concepts of contemporary spectatorship and explores various modes of audience participation in theory as well as in practice. The volume also reflects on what new terms and methods must be developed in order to address the theoretical challenges of contemporary immersive performances. Split into three parts, Staging Spectators in Immersive Performances, respectively, focuses on various strategies for mobilising the audience, methodological questions for research on being a spectator in immersive and participatory forms of theatre, and thematising new modes of partaking and ways of spectating in contemporary art. Poignantly capturing experiences that can be viewed as manifestations of affective relationality in the strongest possible sense, this volume will appeal to students and researchers interested in fields such as Theatre and Performance Studies, Media Studies and Philosophy.