The book is a biographical study establishing Ernie McClintock as a leading figure of the Black Theatre Movement In this contemporary moment in education and political consciousness, McClintock's biography and the impact on the Black Arts Movement will resonate with undergraduate students and serve as a powerful case study for theatre professors to integrate into their course curriculum. Contributes to the growing discourse of Black Arts Movement scholarship, Black acting theory, and queer studies.

This book celebrates and seeks to understand the overlooked appearances of hybrid forms in visual culture; artefacts and practices that meld or interweave incongruous elements in innovative ways. And with an emphasis on the material aspects of such entities, the book adopts the term 'mixed form' for them. Focusing on key phenomena in the last half millennium such as the cabinet of curiosities, the broadside ballad and the chapbook as early forms of image-text, the scrapbook, assemblage, and, in digital times, so-called 'mixed reality,' the book argues that while the quality of inconsistency is traditionally dismissed, its expression nevertheless plays a vital role in social life. Crucially, Mixed Forms of Visual Culture relates its phenomena to the emergence of the division of labour under capitalism and addresses the shifting relationships between art and life, when singularity and uniformity are variously valued and dismissed in the two arenas, and at different points in history. Two of the book's chapters take the form of visual essays, with one comprising an anthology of found scrapbook pages and the other offering an analysis of artists' scrapbooks. The book is richly illustrated throughout.

Dramaturgy of Form examines verse in twenty-first-century theatre practice across different languages, cultures, and media. Through interdisciplinary engagement, Kasia Lech offers a new method for verse analysis in the performance context. The book traces the dramaturgical operation of verse in new writings, musicals, devised performances, multilingual dramas, Hip Hop theatre, films, digital projects, and gig theatre, as well as translations and adaptations of classics and new theatre forms created by Irish, Spanish, Nigerian, Polish, American, Canadian, Australian, British, Russian, and multinational artists. Their verse dramaturgies explore timely issues such as global identities, agency and precarity, global and local politics, and generational and class stories. The development of dramaturgy is discussed with the focus turning to the new stylized approach to theatre, whose arrival Hans-Thies Lehmann foretold in his Postdramatic Theatre, documenting a turning point for contemporary Western theatre. Serving theatre-makers, scholars, and students working with classical and contemporary verse and poetry in performance contexts; practitioners and academics of aural and oral dramaturgies; voice and verse-speaking coaches; and actors seeking the creative opportunities that verse offers, Dramaturgy of Form reveals verse as a tool for innovation and transformation that is at the forefront of contemporary practices and experiences.

In Staging and Re- cycling , John Keefe and Knut Ove Arntzen re-visit and reappraise a selection of their work to explore how the retrieval, re-approaching and re-framing of material can offer pathways for new work and new thinking. The book includes a collection of reprinted and first-published (although previously presented) textual material interspersed with editorial material - reflective essays from John and Knut on these pieces from the archives and original essays from invited scholars that explore the theme of repetition and re-cycling. The project has a number of aims: to suggest how the status of 'new' with regard to academic and staged dramaturgical materials may be reframed; to re-examine these through certain lenses and concepts (re-cycling; re-working; the spectator; landscape, post- and other dramaturgies); to explore the possibilities of critique offered by particular modes of juxtaposition, dialogue and dialectic; to offer further provocations to received ideas; and to retrieve and re-approach material, once published or presented, that becomes 'lost' in archives or on library shelves. As shown here, the role of the hyphen acts as an indicator to the status of 're-' in relation to the 'new'. Written for scholars and academics, researchers, undergraduate and postgraduate students, and practitioners working in all forms for theatre and performance, Staging and Re-cycling suggests a new form of dialogue between work, authors and readers, and draws out threads that extend back into the past and potentially forward into the future.

Asian City Crossings is the first volume to examine the relationship between the city and performance from an Asian perspective. This collection introduces "city as method" as a new conceptual framework for the investigation of practices of city-based performing arts collaboration and city-to-city performance networks across East- and Southeast Asia and beyond. The shared and yet divergent histories of the global cities of Hong Kong and Singapore as postcolonial, multiethnic, multicultural, and multilingual sites, are taken as points of departure to demonstrate how "city as method" facilitates a comparative analytical space that foregrounds in-betweenness and fluid positionalities. It situates inter-Asian relationality and inter-city referencing as centrally significant dynamics in the exploration of the material and ideological conditions of contemporary performance and performance exchange in Asia. This study captures creative dialogue that travels city-based pathways along the Hong Kong-Singapore route, as well as between Hong Kong and Singapore and other cities, through scholarly analyses and practitioner reflections drawn from the fields of theatre, performance, and music. This book combines essays by scholars of Asian studies, theatre studies, ethnomusicology, and human geography with reflective accounts by Hong Kong and Singapore-based performing arts practitioners to highlight the diversity, vibrancy, and complexity of creative projects that destabilise notions of identity, belonging, and nationhood through strategies of collaborative conviviality and transnational mobility across multi-sited networks of cities in Asia. In doing so, this volume fills a considerable gap in global scholarly discourse on performance and the city and on the production and circulation of the performing arts in Asia.

The Self-Centred Art is a study of the plays of Ben Jonson and the actors who first performed in them. Jakub Boguszak shows how the idiosyncrasies of Jonson's comic characters were thrown into relief in actors' part-scripts-scrolls containing a single actor's lines and cues-some five hundred of which are reconstructed here from Jonson's seventeen extant plays. Reading Jonson's spectating parts, humorous parts, apprentice parts, and plotting parts, Boguszak argues that the kind of self-absorption which defines so many of Jonson's famous comic creations would have come easily to actors relying on these documents. Jonson's actors would have moreover worked on their cues, studied their speeches, and thought about the information excluded from their parts differently, depending on the type they had to play. Boguszak thus shows that Jonson brilliantly adapted his comedies to the way the actors worked, making the actors' self-centredness serve his art. This book addresses Jonson's dealings with the actors as well as the printers of his plays and supplements the discussion of different types of parts with a colourful range of case studies. In doing so, it presents a new way of understanding not just Ben Jonson, but early modern theatre at large.

Staging Detection reveals how the new figure of the stage detective emerged in nineteenth-century Britain. The first book to explore the productive intersections between detection and performance across a range of Victorian plays, Staging Detection foregrounds the role of the stage detective in shaping important theatrical modes of the period, from popular melodrama to society comedy. Beginning in 1863 with Tom Taylor's blockbuster play, The Ticket-of-Leave Man, the book criss-crosses London following the earliest performances of stage detectives. Centring the work of playwrights, novelists, critics and actors, from Sarah Lane and Horace Wigan to Wilkie Collins and Oscar Wilde, Staging Detection sheds new light on Victorian acting styles, furthers our understanding of melodrama, and resituates the famous Wildean dandy as a successor to the stage detective. Drawing on histories of masculinity and gender performance as well as developing scientific theory and nineteenth-century visual culture, Staging Detection shows how the earliest stage portrayals of the detective shaped broader Victorian debates concerning fraud, omniscience and earned authority. This book will be of great interest to students and scholars of theatre history, Victorian literature and popular culture - as well as anyone with an interest in the figure of the detective.

The Problems of Viewing Performance challenges long-held assumptions by considering the ways in which knowledge is received by more than a single audience member, and breaks new ground by, counterintuitively, claiming that viewing performance is not a shared experience. Given that viewers come to each performance with differing amounts and types of knowledge, they each make different assumptions as to how the performance will unfold. Often modified by other viewers and often after the performance event, knowledge of performance is made more accurate by superimposing the experiences and justified beliefs of multiple viewers. These differences in the viewing experience make knowledge surrounding a performance intersubjective. Ultimately, this book explains the how and the why audience members have different viewing experiences. The Problems of Viewing Performance is important reading for theatre and performance students, scholars and practitioners, as it unpacks the dynamics of spectatorship and explores how audiences work.

Discover art that dared to be different, risked reputations and put careers in jeopardy. This is what happens when artists take tradition and rip it up. ArtQuake tells the stories of 50 pivotal works that shook the world, telling the fascinating stories behind their creation, reception and legacy. The books begin with the rebels who struck out against Victorian conformism, daring painters and sculptors like Manet and Rodin, Van Gogh and Courbet, who experimented with expressionist and realist art styles as well as controversial subjects. Moving into the fin de siecle and the 20th century, we study the truly iconic works and turbulent lives of artists like Munch and Klimt, Picasso and Egon Schiele, whose work into abstraction, surrealism and cubism shocked and scandalized, but ultimately changed the course of western art forever. Moving into the second half of the 20th Century, we see spectacular works of conceptual rebellion, absurdity and political protest, from Andy Warhol and the Pop Art movement to Marina Abramovic, whose often visceral and violent works of performance art laid bare the savagery of the patriarchy and the human condition. In the 21st century, we see how iconoclastic creators have pushed the boundaries of art even further, from Banksy to Louise Bourgeoise, from self-destructing paintings to experimental works of computerized art. Complete with beautiful reproductions of their iconic works, as well as a glossary of terms and movements at the back, meet the huge egos, uncompromising feminists, gifted recluses, spiritualists, anti-consumerists, activists and satirists who have irrevocably carved their names into the history of art around the world. In telling the history of modern and contemporary art through the works that were truly disruptive, and explaining the context in which each was created, ArtQuake demonstrates the heart of modern art, which is to constantly question and challenge expectation. This book is from the Culture Quake series, which looks into iconic moments of culture which truly created paradigm shifts in their respective fields. Also available is FilmQuake, which tells the stories of 50 key films that consciously questioned the boundaries, challenged the status quo and made shockwaves we are still feeling today.

Emerging technologies enable a wide variety of creative expression, from music and video to innovations in visual art. These aesthetics, when properly explored, can enable enhanced communication between all kinds of people and cultures. The Handbook of Research on Digital Media and Creative Technologies considers the latest research in education, communication, and creative social expression using digital technologies. By exploring advances in art and culture across national and sociological borders, this handbook serves to provide artists, theorists, information communication specialists, and researchers with the tools they need to effectively disseminate their ideas across the digital plane.

Politics as Public Art presents a keystone collection that pursues new frameworks for a critical understanding of the relationship between public art and protest movements through the utilization of socially engaged and choreopolitical approaches. This anthology draws from a unique combination of interdisciplinary scholarship and activism where it integrates geographically rich perspectives from political and grassroots community contexts spanning the United States, Europe, Australia, and Southeastern Africa. The volume questions, and reimagines, not only how public art practice can be integral to politics, including forms of surveillance and control of bodily movement. It also probes into how political participation itself can be construed as a form of public artmaking for radical social change and just worlds. This collection advocates for scholar-activist inquiry into how socially engaged public art practices can pave the way for thinking through-and working toward-championing more inclusive futures and, as such, choreographing greater intersectional justice. This book provides a wide appeal to audiences across humanities and social science scholarship, arts practice, and activism seeking conceptual and empirically informed tools for moving from public art and choreopolitical theory into modes of praxis: critical reflection and action.

WHY PUBLISH: - The author applies over 15 years experience and insights as a theatre practitioner to her argument. - The book offers a fresh vantage point for a play that has been exhaustively analysed. - Shakespeare scholarship travels well globally, and so the work will appeal to a broad, international, English-speaking audience.

This book addresses the mind-body dichotomy in movement and dance. This book includes a description of the often-forgotten kinesthetic sense, body awareness, somatic practices, body-based way of thinking, mental imagery, nonverbal communication, human empathy, and symbol systems, what occurs in the brain during learning, and why and how movement and dance should be part of school curricula. This exploration arguers that becoming more aware of bodily sensations serves as a basis for knowing, communicating, learning, and teaching through movement and dance. This book will be of great interest to scholars and students interested in teaching methodology and for courses in physical education, dance, and education.

Analyzing sport through the lens of performance and theorizing performance through the lens of sport, Sport and Performance in the Twenty-First Century offers a field intervention, a series of in-depth performance analyses, and an investigation of the intersection between sport performances and public life in the historical present in the global north. The objectives of this book are three-fold. First, the book advocates for the study of sport in the fields of Theatre and Performance Studies and, through in-depth performance analyses, demonstrates how the critical language and methods of performance studies help illuminate the manifold impacts of the practices, activities, and events of sport. Second, the book introduces new critical language that was originally developed in conjunction with sport but is also designed for cross-genre performance analysis. In introducing novel terminology, the book aims to simultaneously facilitate analysis of sport performances and to demonstrate how the study of sport can contribute to the fields of Theatre and Performance Studies. Finally, the book investigates the epistemological, affective, and socio-political effects of sport performances in order to illuminate how sport performances influence, and are influenced by, their historical conditions. This study will be of great interest to students and scholars in Theatre and Performance Studies, Physical Culture Studies, and Socio-Cultural Sports Studies.

This volume explores the relationship between the emphasis on performance in Elizabethan humanist education and the flourishing of literary brilliance around the turn of the sixteenth century. This study asks us what lessons we can learn today from Shakespeare's Latin grammar school. What were the cognitive benefits of an education so deeply rooted in what Demosthenes and Quintilian called "actio"-acting? Because of the vast difference between educational practice then and now, we have not often followed one essential thread: the focus on performance. This study examines the connections relevant to the education offered in schools today. This book will be of great interest to teachers, scholars, and administrators in performing arts and education.

This book is an ethnographic case study of Sufi ritual practice and embodied experience amongst female members of the Naqshbandi community. Drawing on fieldwork in Cape Town, South Africa, and Lefke, Cyprus (2013/2014), the author examines women's experiences within a particular performance of Sufi tradition. The focus is on the ritual named hadra, involving the recital of sacred texts, music, and body movement, where the goal is for the individual to reach a state of intimacy with God. The volume considers Sufi practice as a form of embodied cultural behavior, religious identity, and selfhood construction. It explains how Muslim women's participation in hadra ritual life reflects religious and cultural ideas about the body, the body's movement, and embodied selfhood expression within the ritual experience. Sufi Women, Ritual Embodiment and the 'Self' engages with studies in Sufism, symbolic anthropology, ethnography, dance, and somatic studies. Contributing to discussions of religion, gender, and the body, the book will be of interest to scholars from anthropology, sociology, religious ritual studies, Sufism and gender studies, and performance studies.

Alchemy, Jung, and Remedios Varo offers a depth psychological analysis of the art and life of Remedios Varo, a Spanish surrealist painter. The book uses Varo's paintings in a revolutionary way: to critique the patriarchal underpinnings of Jungian psychology, alchemy, and Surrealism, illuminating how Varo used painting to address cultural complexes that silence female expression. The book focuses on how the practice of alchemical psychology, through the power of imagination and the archetypal Feminine, can lead to healing and transformation for individuals and culture. Alchemy, Jung, and Remedios Varo offers the first in-depth psychological treatment of the role alchemy played in the friendship between Varo and Leonora Carrington-a connection that led to paintings that protest the pitfalls of patriarchy. This unique book will be of great interest for academics, scholars, and post-graduate students in the fields of analytical psychology, art history, Surrealism, cultural criticism, and Jungian studies.

The only academic study of the role of theatre in towns, focusing on post-industrial, market and seaside towns. Written for theatre academics and students, with a secondary readership in cultural geography and cultural/social policy. Draws on historical and existing experiences of volunteer-led, community, professional theatre in towns, and offers ways in which the relationship between theatre and towns can continue to be assessed in the future.

Pailthorpe's important contributions to the development of psychoanalysis are largely overlooked now * Many of her key writings are published here for the first time * Her work ties into the contemporary interest in links between psychoanalysis and creative endeavour

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.
There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Volz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.
With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

In What a Body Can Do, Ben Spatz develops, for the first time, a rigorous theory of embodied technique as knowledge. He argues that viewing technique as both training and research has much to offer current debates over the role of practice in the university, including the debates around "practice as research." Drawing on critical perspectives from the sociology of knowledge, phenomenology, dance studies, enactive cognition, and other areas, Spatz argues that technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.

This is the first major critical study of the art of Cornish painter Kurt Jackson. Jackson's landscapes have been exhibited widely, and are becoming more popular.

Futurist Women broadens current debates on Futurism and literary studies by demonstrating the expanding global impact of women Futurist artists and writers in the period succeeding the First World War. This study initially focuses on the local: the making of the self in the work by the women who were affiliated with the journal L'Italia futurista during World War I in Florence. But then it broadens its field of inquiry to the global. It compares the achievements of these women with those of key precursors and followers. It also conceives these women's work as an ongoing dialogue with contemporary political and scientific trends in Europe and North America, especially first wave feminism, eugenics, naturism and esotericism. Finally, it examines the vital importance and repercussions of these women's ideas in current debates on gender and the posthuman condition. This ground-breaking study will prove invaluable for all scholars and upper-level students of modern European literature, Futurism, and gender studies.