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.

Staging Violence explores gender violence in Spanish early modern short theater. This book deals with domestic violence against women, extortion of prostitutes, and violence against men who display non-conventional forms of masculinity. The author argues that many "jacaras" and "entremeses" stage subversive discourses that repudiate or complicate official narratives of gender and the use of violence as a tool for achieving gender compliance. Short comic pieces are read against comedias. Each section of the book is expertly contextualized through an overview of the legal and moral contexts and the analysis of a variety of primary sources (law codes, manuals of conduct, church rulings, transcripts of civil and religious trials, and medical manuals) as well as statistical information. Staging Violence invites the reader to consider the transgressive potential of performance. As the first monograph entirely dedicated to the study of gender in this genre, this book is a vital resource for students and scholars interested in gender studies and theatre.

This volume explores whether theatre pedagogy can and should be transformed in response to the global climate crisis. Conrad Alexandrowicz and David Fancy present an innovative re-imagining of the ways in which the art of theatre, and the pedagogical apparatus that feeds and supports it, might contribute to global efforts in climate protest and action. Comprised of contributions from a broad range of scholars and practitioners, the volume explores whether an adherence to aesthetic values can be preserved when art is instrumentalized as protest and considers theatre as a tool to be employed by the School Strike for Climate movement. Considering perspectives from areas including performance, directing, production, design, theory and history, this book will prompt vital discussions which could transform curricular design and implementation in the light of the climate crisis. Theatre Pedagogy in the Era of Climate Crisis will be of great interest to students, scholars and practitioners of climate change and theatre and performance studies.

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.

Cultural Management and Policy in Latin America provides in-depth insights into the education and training of cultural managers from interdisciplinary and comparative perspectives. The book focuses on the effects of neoliberalism on cultural policies across the region, and questions how cultural managers in Latin America deal not only with contemporary political challenges but also with the omnipresent legacy of colonialism. In doing so, it unpacks the methods, formats, and narratives employed. Reflecting on emerging and contemporary research topics, the book analyses the key literature and scholarly contexts to identify impacts in the region and beyond. The volume provides scholars, students and reflective practitioners with a comprehensive resource on international cultural management that helps to overcome Western-centric methods and theories.

This book conceptualizes Mizrahi (Middle Eastern Jewish) theatre, unfolding its performances in the field of Israeli theatre with a critical gaze. It covers the conceptualization and typology, not along a chronological axis, but rather through seven theatrical forms. The author suggests a defi nition of Mizrahi theatre that has fl uid boundaries and it can encompass various possibilities for self-representation onstage. Although Mizrahi theatre began to develop in the 1970s, the years since the turn of the millennium have seen an intense flowering of theatrical works by second- and third-generation artists dealing with issues of identity and narrative in a diverse array of forms. Mizrahi theatre is a cultural locus of self-representation, generally created by Mizrahi artists who deal with content, social experiences, cultural, religious, and traditional foundations, and artistic languages derived from the history and social reality of Mizrahi Jews in both Israel and their Middle Eastern countries of origin. Critically surveying Mizrahi theatre in Israel, the book is a key resource for students and academics interested in theatre and performance studies, and Jewish and Israeli studies.

Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. The volume is organized into four main sections: I Art and Improvisation: Theoretical Perspectives II Art and Improvisation: Aesthetical, Ethical, and Political Perspectives III Improvisation in Musical Practices IV Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts Key Features: Treats improvisation not only as a stylistic feature, but also as an aesthetic property of artworks and performances as well as a core element of artistic creativity. Spells out multiple aspects of the concept of improvisation, emphasizing its relevance in understanding the nature of art. Covers improvisation in a wide spectrum of artistic domains, including unexpected ones such as literature, visual arts, games, and cooking. Addresses key questions, such as: - How can improvisation be defined and what is its role in different art forms? - Can improvisation be perceived as such, and how can it be aesthetically evaluated? - What is the relationship between improvisation and notions such as action, composition, expressivity, and authenticity? - What is the ethical and political significance of improvisation?

This book identifies and examines three years of Beyonce's career as a pop mega star using critical race, feminist, and performance studies methodologies. This book explores how the careful choreography of Beyonce's image, voice, and public persona, coupled with her intelligent use of audio and visual mediums, makes her one of the most influential entertainers of the 21st century. Keleta-Mae proposes that 2013 to 2016 was a pivotal period in Beyonce's career and looks at three artistic projects that she created during that time: her self-titled debut visual album Beyonce, her video and live performance of 'Formation', and her second visual album Lemonade. By examining the progression of Beyonce's career during this period, and the impact it had politically, culturally, and socially, the author demonstrates how Beyonce brought 21st Century feminism into the mainstream through layered explorations of female blackness. Ideal for scholars and students of performance in the social and political spheres, and of course fans of Beyonce herself, this book examines the mega superstar's transition into a creator of art that engages with Black culture and Black life with increased thoughtfulness.

Following a period of ideological and practical change in museums, this book outlines new attitudes in curating and display, education and learning, text and interpretation, access, inclusion, participation, space, and the sustainability of the encyclopaedic collection. Focused on the contemporary period, the author questions the extent to which the museum visitor has become reliant on interpretative text and examines the development of new museum spaces where visitor interaction and engagement is welcomed. Changes of attitude have transformed our museums into modern spaces that reflect current needs and modern expectations and yet our permanent collections remain relatively unchanged, sometimes an uncomfortable reminder of a time when values, ethics and attitudes were very different. The author will discuss these conflicts of ideology. Written by a researcher with expertise in museum practice, this shortform book offers a new approach that will be valuable reading for students and scholars of cultural management and policy, as well as providing insights for reflective museum practitioners.

What are cultural centres for? This book offers a unique and dynamic guide to managing these organizations, and the challenge of reconciling cultural aims with business success. Drawing on research and practice, it provides case-based insights into common managerial problems and their solutions. Although international research demonstrates that culture has positive economic impact and many cultural institutions are multi-million dollar institutions, there has been little research on how cultural centres are managed to combine cultural and economic impact. Due to the diversity of their missions and purpose, cultural centres in Europe often struggle to find business success. By drawing on recent cases from Finland and Sweden, and focusing on the challenges which face both managers and organizations, this book explores the incentives which underpin the foundation of cultural centres, and what is needed to make them a success, By defining the complex challenges which face cultural centres, this book enables managers to move beyond administrating an organization to becoming cultural entrepreneurs, turning good ideas into good business. In this under-researched area, this book will be essential reading for researchers, policy makers and managers working in cultural centers and museum management.

A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. It demanded the most sensitive attention to the opportunities inscribed in the script, and to the ongoing dramatic moment. Here is where the young actor Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam.
This is the story of Shakespeare in Parts. As Shakespeare developed his playwriting, the apparent limitations of the medium get transformed into expressive opportunities. Both cue and speech become promise-crammed repositories of meaning and movement, and of individually discoverable space and time. Writing always for the same core group of players, Shakespeare could take - and insist upon - unprecedented risks. The result is onstage drama of astonishing immediacy. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's mould-altering work of historical and imaginative recovery provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.

The automaton, known today as the robot, can be seen as a metaphor for the historical period in which it is explored. Chapters include examinations of Iconoclasm's fear that art might surpass nature, the Cartesian mind/body divide, automata as objects of courtly desire, the uncanny Olympia, and the revolutionary Robots in post-WWI drama.

From authors used to operating between the commercial, public and independent sectors of the mixed cultural economy, Understanding Creative Business bridges the gap between creative practice and mainstream business organisation, entrepreneurship and management. Using stories, case studies and exercises it discusses the positioning of creative practice within professional and business development, cultural policy-making and the wider cultural economy, and suggests what the broader field of business and management studies can learn from the informal structure and working practices of creative industries networks. Consideration is given to how ethical and moral value orientations animate creative practice and how they play into the wider debate about social responsibilities within business and public policy. The authors also explore the way creative business practices often coalesce around emergent and self-organized networks and how this signals alternative approaches to management, entrepreneurship, business organisation and collaboration. Above all else this book is about relationships; the practical examples expose the ways creative business can professionalise research, develop and sustain routes to growth through 'open' collaborative innovation and the lessons this holds for more general business innovation and policy engagements with the public domain. Written in accessible language, this book will be useful to researchers, students, educators and practitioners within the creative industries; to those working within cultural policy, arts and cultural management; and to all with an interest in management and leadership.

Angels in America was one of the most significant pieces of American theatre in the 20th Century. Much has been written on Tony Kushner's epic drama. However, the National Theatre of Great Britain's productions of the show are relatively under-discussed. Not only was the National Theatre responsible for helping originate the play in the early 1990s, but it helped revitalize interest in 2018 with Marianne Elliott's reimagined version starring Andrew Garfield and Nathan Lane. This book considers the role of the National in the play's history, and how Elliott's production reframed the play 25 years after the original. Charting that history with the National Theatre, it chronicles the tumultuous first production and the play's successes in London and New York. The book also looks at the key features of the play: its representation AIDS, its status as an iconic gay play and its searing political commentary. Concluding with an in-depth analysis of Marianne Elliott's reimagining of the play, this book is an up-to-date history of Angels in America and a reflection on its continued importance.

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 book compares the theatrical cultures of early modern England and Spain and explores the causes and consequences not just of the remarkable similarities but also of the visible differences between them. An exercise in multi-focal theatre history research, it deploys a wide range of perspectives and evidence with which to recreate the theatrical landscapes of these two countries and thus better understand how the specific conditions of performance actively contributed to the development of each country's dramatic literature. This monograph develops an innovative comparative framework within which to explore the numerous similarities, as well as the notable differences, between early modern Europe's two most prominent commercial theatre cultures. By highlighting the nuances and intricacies that make each theatrical culture unique while never losing sight of the fact that the two belong to the same broader cultural ecosystem, its dual focus should appeal to scholars and students of English and Spanish literature alike, as well as those interested in the broader history of European theatre. Learning from what one 'playground' - that is, the environment and circumstances out of which a dramatic tradition originates - reveals about the other will help solve not only the questions posed above but also others that still await examination. This investigation will be of great interest to students and scholars in theatre history, comparative drama, early modern drama, and performance culture.

A seminal text on what live performance is, what it means, and how it can be theorised. Its second edition is required reading on many theatre and performance studies courses. Uniquely controversial on a subject which continues to be topical. Thoroughly updated to take into account changes in media, scholarship and digital technologies.

A seminal text on what live performance is, what it means, and how it can be theorised. Its second edition is required reading on many theatre and performance studies courses. Uniquely controversial on a subject which continues to be topical. Thoroughly updated to take into account changes in media, scholarship and digital technologies.

This book brings to English readers, in its entirety for the first time, a translation of Jose Watanabe's Antigona, accompanied by the original Spanish text and critical essays. The lack of availability in English has resulted in the absence of Antigona from important Anglophone studies devoted specifically to the reception of ancient Greek tragedy in the Americas. Perez Diaz's translation fills this gap. The introduction provides the performative, political, and historical contexts in which the text was written in collaboration with the actress Teresa Ralli, from the Peruvian theater group Yuyachkani, who also originally performed it. Following the bilingual text, a critical essay provides an analysis of textual aspects of Antigona that have been disregarded, situating it in relation to Sophocles' Antigone and in conversation with relevant moments of the vast traditions of reception of the Greek tragedy. An appendix briefly surveys some notable productions of the play throughout Latin America. This comprehensive volume provides an invaluable resource for readers interested in Jose Watanabe's work, students and scholars working on classical reception and Latin American literature and theatre, as well as theatre practitioners.

This book brings to English readers, in its entirety for the first time, a translation of Jose Watanabe's Antigona, accompanied by the original Spanish text and critical essays. The lack of availability in English has resulted in the absence of Antigona from important Anglophone studies devoted specifically to the reception of ancient Greek tragedy in the Americas. Perez Diaz's translation fills this gap. The introduction provides the performative, political, and historical contexts in which the text was written in collaboration with the actress Teresa Ralli, from the Peruvian theater group Yuyachkani, who also originally performed it. Following the bilingual text, a critical essay provides an analysis of textual aspects of Antigona that have been disregarded, situating it in relation to Sophocles' Antigone and in conversation with relevant moments of the vast traditions of reception of the Greek tragedy. An appendix briefly surveys some notable productions of the play throughout Latin America. This comprehensive volume provides an invaluable resource for readers interested in Jose Watanabe's work, students and scholars working on classical reception and Latin American literature and theatre, as well as theatre practitioners.

* The book will include high quality contributions from practitioners and researchers that consider the ethics and aesthetics of the work, investigating the role of sound in community building, wellbeing, education, and social or environmental justice. * Would be recommended reading in leading applied and socially engaged theatre courses, in sound studies and sonic art courses and in media and communication courses. * The closest competitors are more a broad survey of sound art while this book looks to the future, building possibilities, and imagining what might be through the creative acts of inquiry and sound. Contribution from Brandon LaBelle (key theorist in sound studies) First book to address community engaged arts through a sound studies lens An area of community engaged arts that has exploded recently since the COVID-19 pandemic

This book offers a unique Australian perspective on the global crisis in refugee protection. Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children's theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, the role of the canon in art history and the spectacle of bordering practices. In doing so, it illuminates the strategic performativity-and nonperformativity-of the law, philosophy, the state and the academy more broadly in the exclusion and control of refugees. Taken together, the chapters in this volume draw on, and contribute to, a wide range of disciplines including theatre and performance studies, cultural studies, border studies and forced migration studies, and will be of great interest to students and scholars in all four fields.

Provides a step-by-step approach, a blueprint, to assembling a director's prompt book in a graphically dynamic and creative way Suitable for students in theatre directing, stage management, and producing courses, along with aspiring professional directors This is the only book solely focused on the prompt book for directors.

First book to explore in depth the practice of co-leadership in arts and cultural organizations Combines research with examples to provide practical insights Explores the often difficult relationship between artistic and executive leaders in cultural organizations Analyses the organisational dynamics that extend out around co-leadership

Offers a comprehensive overview of Antigone, one of classical literature's enduring heroines. The book traces important themes in Antigone's story as well as an insight into the de-politicization and re-politicization of this figure in the modern era. It also offers fascinating approaches to postmodern receptions of Antigone.