This ground-breaking book is the first to bring an ecological focus to theatre and performance design, both in scholarship and in practice. Ecoscenography weaves environmental philosophies and practices across genres and fields to provide a captivating vision for the future of sustainable theatre production. The book forefronts leading designers that are driving this emerging field into the mainstream through their relational and reciprocal engagement with place, audiences, materials, and processes. Beyond its radical philosophy and framework, Ecoscenography makes a compelling case for pursuing an ecological ethic in theatre and performance design, not only as a moral imperative, but for the extraordinary possibilities that it offers for more-than-human engagement. Based on her personal insights as a leading ecological researcher and practitioner, Beer offers a rich resource for scholars, students and practitioners alike, opening up new processes and aesthetics of theatrical design that enhance the environmental and social advocacy of the field.

"Ghosts of Theatre and Cinema in the Brain" focuses on the staging of Self and Other as phantom characters inside the brain (in the "mind's eye," as Hamlet says). It explores the brain's anatomical evolution from animal drives to human consciousness to divine aspirations, through distinctive cultural expressions in stage and screen technologies. Even-numbered chapters look at specific dramas with ghost characters from the ancient Egyptians, Greeks, and Romans to Shakespeare, Japanese Noh, modern drama, and recent films. Odd-numbered chapters examine various intersections of psychoanalytic and neuroscientific theories to explore the brain's inner theatre, regarding ghosts and gods performed onstage and onscreen, as extensions of and connections between different brains in particular cultures.

Winner! 1993 Olivier Award, Best Musical Revival Winner! Five 1994 Tony Awards, including Best Revival of a Musical Winner! Three 1994 Drama Desk Awards Nominee: Seven 1994 Drama Desk Awards, including Outstanding Musical Revival Winner! Two 2018 Tony Awards Nominee: Eleven 2018 Tony Awards, including Best Revival of a Musical Winner! Five 2018 Drama Desk Awards, including Outstanding Orchestrations Nominee: Twelve 2018 Drama Desk Awards, including Outstanding Musical Revival In a Maine coastal village toward the end of the 19th century, the swaggering, carefree carnival barker, Billy Bigelow, captivates and marries the gentle millworker, Julie Jordan. Billy loses his job just as he learns that Julie is pregnant and, desperately intent upon providing a decent life for his family, he is coerced into being an accomplice to a robbery. Caught in the act and facing the certainty of prison, he takes his own life and is sent 'up there.' Billy is allowed to return to earth for one day fifteen years later, and he encounters the daughter he never knew. She is a lonely, friendless teenager, her father's reputation as a thief and bully having haunted her throughout her young life. How Billy instills in both the child and her mother a sense of hope and dignity is a dramatic testimony to the power of love.

This book examines a series of contemporary plays where writers put theatre itself on stage. The texts examined variously dramatize how theatre falls short in response to the demands of violence, expose its implication in structures of violence-including racism and gender-based violence-and illustrate how it might effectively resist violence through reconfiguring representation. Case studies, which include Jackie Sibblies Drury's We Are Proud to Present and Fairview, Ella Hickson's The Writer and Tim Crouch's The Author, provide a range of practice-based perspectives on the question of whether theatre is capable of accounting for and expressing the complexities of structural and interpersonal violence as both lived in the body and borne out in society. The book will appeal to scholars and artists working in the areas of violence, theatre and ethics, witnessing, memory and trauma, spectatorship and contemporary dramaturgy, as well as to those interested in both the doubts and dreams we have about the role of theatre in the twenty-first century.

MARIONETTES MASKS and SHADOWS BY WINIFRED H. JVIILLS Head of Art Department, Fairmount Junior High Training School, Cleveland, Ohio LOUISE M. DUNN Assistant Curator of Education, the Cleveland Museum of Art, Cleveland, Ohio Illustrated by CORYDON BELL Garden City, New York DOUBLEDAY, DORAN COMPANY, INC. 1928 To Adventurers among Puppets and Plays CONTENTS MARIONETTES I. The Marionette Its Family Tree . II. The Marionette Its Famous Friends III. Choosing Your Play IV. Making Your Stage V. Making Your Marionette VI. Making Your Scenery .... VII. Making Your Properties VIIL Lighting Your Stage .... IX Training Your Puppeteers . X. Presenting Your Play . . i 25 33 47 S 84 1 02 112 VII Contents MASKS . I. The Map of the Mask 143 II. Occasions for Wearing the Mask . . 152 III. Making the Mask ....... 160 IV. The Costume and Setting for the Mask. 168 V. The Mask with Pantomime, Music and Dance . 196 SHADOWS I. The Mystery of the Shadow ., II. Making a Shadow Play . III. Producing Cut-out Shadow Plays IV. Producing Human Shadow Plays Bibliography . . . Index 205 212 215 225 24 265 Vlll ILLUSTRATIONS Tree of the Marionettes .... Frontispiece HALFTONES MARIONETTES FACING PAGE Marionette play, Men of Iron given by ninth year pupils, Fairmount Junior High School, Cleveland, Ohio 18 Scenes from Marionette play, cc Adventures of Alice, given by ninth year pupils Fairmount Junior High School at the Cleveland Museum of Art. Marionettes made by Tuesday Marionette Club 34 ix Illustrations FACING PAGE Scenes from the Marionette play, Men of Iron 98 Marionette Ballet, Tetrouchka .... 114 Upper. Marionettes from The Adventures of Alice. Lower Left. Bear and Trainer from Men of Iron Lower Right. Marionettefrom Tetrouchka. 130 MASKS Masks made by students in Summer School, Cleveland School of Education. Indian Corn Maidens. Clowns. Japanese Characters Old Woman, Devil Mask, Old Man. .... 146 Upper Row. Bishop, Queen, King, Middle Row. Lady in Waiting, Crusader, Child Lower Row. Jester, Old Woman, Little Jack, 1 50 Masks. Upper Mummer, Queen, Jester Middle Egyptian Priest, Persian Poet, Greek Maiden Lower. Columbine and Pierrot . . 158 Characters from Christmas Mask . ., . 162 Scene from Christmas Mask given by ninth year Fairmount Junior High School pupils at the Cleveland Museum of Art. Lady in Waiting, King . 178 SHADOWS Upper Scene from cut out shadow play, The Traveling Musicians of Bremen-Lower Behind the scene in a cut out shadow play, given by eighth grade pupils of Fairmount Junior High School, Cleveland, Ohio . . 210 Illustrations FACING PAGE Scenes from the cut out shadow play, The Traveling Musicians of Bremen. . . . 214 Behind the scenes in the human shadow play The Indian and the Oki. 222 Scenes from the human shadow play, c The Indian and the Old 226 More scenes from the human shadow play, The Indian and the Oki 232 Scenes from the human shadow play, The Shepherdess 236 FULL PAGE LINE DRAWINGS PAGE Constructional drawing of Marionette stage, back view 50 Side view of Marionette stage, with lighting 51 Knight Marionette 77 FACING PAGE The Map of the Mask . 144 XI

This collection brings together studies of popular performance and politics across the nineteenth century, offering a fresh perspective from an archivally grounded research base. It works with the concept that politics is performative and performance is political. The book is organised into three parts in dialogue regarding specific approaches to popular performance and politics. Part I offers a series of conceptual studies using popular culture as an analytical category for social and political history. Part II explores the ways that performance represents and constructs contemporary ideologies of race, nation and empire. Part III investigates the performance techniques of specific politicians - including Robert Peel, Keir Hardie and Henry Hyndman - and analyses the performative elements of collective movements. -- .

In this selection of research articles Butterworth focuses on investigation of the practical and technical means by which early English theatre, from the fifteenth to the early seventeenth century, was performed. Matters of staging for both 'pageant vehicle' and 'theatre-in-the-round' are described and analysed to consider their impact on playing by players, expositors, narrators and prompters. All these operators also functioned to promote the closely aligned disciplines of pyrotechnics and magic (legerdemain or sleight of hand) which also influence the nature of the presented theatre. The sixteen chapters form four clearly identified parts-staging, playing, pyrotechnics and magic-and drawing on a wealth of primary source material, Butterworth encourages the reader to rediscover and reappreciate the actors, magicians, wainwrights and wheelwrights, pyrotechnists, and (in modern terms) the special effects people and event managers who brought these early texts to theatrical life on busy city streets and across open arenas. The chapters variously explore and analyse the important backwaters of material culture that enabled, facilitated and shaped performance yet have received scant scholarly attention. It is here, among the itemised payments to carpenters and chemists, the noted requirements of mechanics and wheelwrights, or tucked away among the marginalia of suppliers of staging and ingenious devices that Butterworth has made his stamping ground. This is a fascinating introduction to the very 'nuts and bolts' of early theatre. Staging, Playing, Pyrotechnics and Magic: Conventions of Performance in Early English Theatre is a closely argued celebration of stagecraft that will appeal to academics and students of performance, theatre history and medieval studies as well as history and literature more broadly. It constitutes the eighth volume in the Routledge series Shifting Paradigms in Early English Drama Studies and continues the valuable work of that series (of which Butterworth is a general editor) in bringing significant and expert research articles to a wider audience.

The idea of American musical theatre conjures up images of bright lights and big city, but its lifeblood is found in local and amateur productions at schools, community theatres, summer camps, and more. In Beyond Broadway, author Stacy Wolf considers the widespread presence and persistence of musical theatre in U.S. culture, and examines it as a live, pleasurable, participatory experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do so many Americans passionately engage in a century-old artistic practice that requires intense, person-to-person collaboration? Why do audiences flock to see musicals in their hometowns? How do corporations like Disney and Music Theatre International enable musical theatre's energetic movement through American culture? Touring from Maine to California, Wolf visits elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres, and conducts over 200 interviews with practitioners and spectators, licensors and Disney creatives. In Beyond Broadway, Wolf tells the story of musical theatre's abundance and longevity in the U.S. as a thriving, joyful activity that touches millions of lives.

Many of the greatest avant-garde artists of the early twentieth century were Ukrainians or came from Ukraine. Whether living in Paris, St. Petersburg or Kyiv, they made major contributions to painting, sculpture, theatre, and film-making. Because their connection to Ukraine has seldom been explored, English-language readers are often unaware that figures such as Archipenko, Burliuk, Malevich, and Exter were inspired both by their country of origin and their links to compatriots. This book traces the avant-garde development from its pre-war years in Paris to the end of the 1920s in Kyiv. It includes chapters on the political dilemmas faced by this generation, the contribution of Jewish artists, and the work of several emblematic figures: Mykhailo Boichuk, David Burliuk, Kazimir Malevich, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov.

The Routledge Companion to Interdisciplinary Studies in Singing, Volume III: Wellbeing explores the connections between singing and health, promoting the power of singing-in public policy and in practice-in confronting health challenges across the lifespan. These chapters shape an interdisciplinary research agenda that advances singing's theoretical, empirical, and applied contributions, providing methodologies that reflect individual and cultural diversities. Contributors assess the current state of knowledge and present opportunities for discovery in three parts: Singing and Health Singing and Cultural Understanding Singing and Intergenerational Understanding In 2009, the Social Sciences and Humanities Research Council of Canada funded a seven-year major collaborative research initiative known as Advancing Interdisciplinary Research in Singing (AIRS). Together, global researchers from a broad range of disciplines addressed three challenging questions: How does singing develop in every human being? How should singing be taught and used to teach? How does singing impact wellbeing? Across three volumes, The Routledge Companion to Interdisciplinary Studies in Singing consolidates the findings of each of these three questions, defining the current state of theory and research in the field. Volume III: Wellbeing focuses on this third question and the health benefits of singing, singing praises for its effects on wellbeing.

In his latest book, John Russell Brown sets out the grounds for a new and revealing way of studying Shakespeare's plays. By considering the entire theatrical event and not only what happens on stage, he takes his readers back to the major texts with a fuller understanding of their language and an enhanced view of a play's theatrical potential. Chapters on theatre-going, playscripts, acting, parts to perform, interplay, stage space, off-stage space, and the use of time all bring recent developments in Theatre Studies together with Shakespeare Studies.

The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as the barometer of the times and acts as the tour guide on this excursion through the worlds of African American vaudeville, black and white America during the swing era, the European touring circuit, and pre-Civil Rights era racial etiquette.

'See that's the problem with this family innit, we never wanna talk real about Ife.' In the wake of the sudden death of their eldest son, Ife, one family is forced to confront the traumas they've long tried to bury. As the sun beats down on their cramped North London flat, and the head of the family arrives from Ethiopia for the funeral, tensions rise, cultures clash and past betrayals are unearthed. A tense, funny and explosive drama exploring what it means to belong, and what happens when a family's secrets shake its foundations. House of Ife premiered at the Bush Theatre, London, in April 2022, directed by Artistic Director Lynette Linton. Beru Tessema is an Ethiopian-British writer based in London. His stage play, Exile in North Weezy, was shortlisted for the prestigious Papatango Playwriting Prize 2020. He began his relationship with the Bush on their Emerging Writers' Group, and House of Ife was written on commission.

This innovative, theoretical work focuses on temporal issues in theatre and the 'chemistry' of theatre - the ways in which a variety of factors in performance combine to make up what we call 'theatre'. Discussing a range of canonical plays, from Shakespeare to Beckett, the book makes a unique contribution to theatre and performance studies.

The first International Festival of Women in Experimental Theatre, the Magdalena Project, took place in Cardiff in 1986. Fifteen countries were represented by 30 women. This illustrated volume documents the unique event and offers insight into the origins and organization of the workshop, probes into the problems of authority and power relations within the group, records individual training sessions and presents short profiles of each performer. The author explores some of the theoretical issues relating to women's theatre and the state of experimental theatre, which emerged from the festival.

Applied Shakespeare is attracting growing interest from practitioners and academics alike, all keen to understand the ways in which performing his works can offer opportunities for reflection, transformation, dialogue regarding social justice, and challenging of perceived limitations. This book adds a new dimension to the field by taking an interdisciplinary approach to topics which have traditionally been studied individually, examining the communication opportunities Shakespeare's work can offer for a range of marginalized people. It draws on a diverse range of projects from across the globe, many of which the author has facilitated or been directly involved with, including those with incarcerated people, people with mental health issues, learning disabilities and who have experienced homelessness. As this book evidences, Shakespeare can be used to alter the spatial constraints of people who feel imprisoned, whether literally or metaphorically, enabling them to speak and to be heard in ways which may previously have been elusive or unattainable. The book examines the use of trauma-informed principles to explore the ways in which consistency, longevity, trust and collaboration enable the development of resilience, positive autonomy and communication skills. It explores this phenomenon of creating space for people to find their own way of expressing themselves in a way that mainstream society can understand, whilst also challenging society to 'see better' and to hear better. This is not a process of social homogenisation but of encouraging positive interactions and removing the stigma of marginalization.

This monograph is the first study to critically examine works of performance made for an audience of one. Despite being a prolific feature of the performance scene since the turn of the millennium, critical writing about this area of contemporary practice remains scarce. This book proposes a genealogy of the curious relationship between solo performer and lone spectator through lineages in the histories of live art, visual art and theatre practices. Drawing on one-to-one performances by artists including Marilyn Arsem, Oreet Ashery, Franko B, Rosana Cade, Jess Dobkin, Karen Finley, David Hoyle, Adrian Howells, Kira O'Reilly, Barbara T Smith and Julie Tolentino, Rachel Zerihan produces research that is both affective and critical. This performance analysis proposes four frameworks through which to examine the significance and challenge of this work: cathartic, social, explicit and economic. One-to-one performance is proposed as a rich portal for examining the cultural politics of contemporary society. The book will appeal to students and scholars from performance studies, theatre, visual art and cultural studies.

This book examines the effects of translation on theatrical performance. The author adapts and applies Kershaw et al.'s Practice as Research model to an empirical investigation analysing the effects of translation on the rhythm and gesture of a playtext in performance, using the contemporary plays Convincing Ground and The Gully by Australian playwright David Mence which have been translated into Italian. The book is divided into two parts: a theoretical exegesis encompassing Translation Studies, Performance Studies and Gesture Studies, and a practical investigation comprising of a workshop where excerpts of the plays are explored by two groups of actors. The chapters are accompanied by short clips of the performance workshop hosted on SpringerLink. The book will be of interest to students and scholars in the fields of Translation Studies (and Theatre Translation more specifically), Theatre and Performance, and Gesture Studies.

There is extraordinary diversity, depth, and complexity in the encounter between theatre, performance, and human rights. Through an examination of a rich repertoire of plays and performance practices from and about countries across six continents, the contributors to this volume seek to open the way toward understanding the character and significance of this encounter. Divided into three interrelated sections, the book focuses on a range of critical and timely human rights questions as they relate to transitional justice, memory politics, citizenship, the 'War on Terror, ' transnational spectatorship, and the global economic order. Authors ask what artists, audiences and readers imagine, expect, and desire from the engagement of theatre and performance with these crucial questions. Ultimately, this book aims to provide nuanced, global perspectives on the emerging and transformative aesthetics, ethics and effects of this encounter at the turn of the twenty-first century.

Provides concrete strategies for designing for devised productions that haven't yet been collected in one resource. Offers lessons learned from multiple experiences and perspectives through interviews with working practitioners. Gives step by step instructions that can streamline costume design and construction processes.

Inspired by the podcast Dear Multi-Hyphenate, this book explores how to be a multi-hypenate - an artist with multiple proficiencies - in the entertainment industry. Answers questions about individual mission-driven entrepreneurship in the Theatre industry. Each chapter features an interview with a notable theatre artist.

Happy's junkie brother Timmy is found dead. Now Happy must return to his former life as a clown to ask a few questions. But will Happy be able to go home again without getting sucked into the seedy clown underbelly of vice and violence?