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.

The Group Theatre was perhaps the most significant experiment in the history of American theatre. Producing plays that reflected topical issues of the decade and giving a creative chance to actors, directors, and playwrights who were either fed up with or shut out of commercial theatre, the "Group" remains a permanent influence on American drama despite its brief ten-year life. It was here that method acting, native realism, and political language had their tryouts in front of audiences who anticipated,indeed demanded,a departure from the Broadway "show-biz" tradition. In this now classic account, Harold Clurman, founder of the Group Theatre and a dynamic force as producer-director-critic for fifty years, here re-creates history he helped make with Lee Strasberg, Elia Kazan, Irwin Shaw, Clifford Odets, Cheryl Crawford, Morris Carnovsky, and William Saroyan. Stella Adler contributed a new introduction to this edition which remembers Clurman, the thirties, and the heady atmosphere of a tumultuous decade.

This monograph provides the first sustained, chronological account of Northern Irish police officers' representation in theatre. Importantly, its scope comprises a critical period of national and organisational development, beginning with the Partition of Ireland in 1921 and the founding of the Royal Ulster Constabulary (RUC) one year later in 1922. It progresses through the relevant theatrical and historical events of the century, through the period after the RUC's dissolution and replacement with the Police Service of Northern Ireland (PSNI) in 2001, and concludes in 2021 to coincide with the centenary of Partition. As such, this project is distinctive in its ability to trace paradigm shifts in perceptions of the police over time, as they intersect with relevant historical events and milestones of political conflict in the province.

Globally, we find ourselves in a novel set of circumstances where our individual and collective relationships with leisure have changed dramatically and are being dictated less by personal preferences or even affluence, but rather by health, legal, and societal factors. There is very little published work on changed practices in leisure due to the pandemic, especially focusing on activities that were previously considered ordinary and perhaps even mundane. Contribute to the compilation of a historic record of the way the pandemic has transformed various leisure behaviours in diverse cultural and national contexts at this unprecedented time.

Moving across the boundaries of mainstream and experimental circuits, from the affective pleasures of commercially successful shows such as Calendar Girls and Mamma Mia! to the feminist possibilities of new burlesque and stand-up, this book offers a lucid and accessible account of popular feminisms in contemporary theatre and performance.

This rich collection of readings offers a wide-ranging and authoritative survey of clown practices, history and theory, from the origins of the word clown through to contemporary clowning. Covering clowns in theatre, circus, cinema, TV, street and elsewhere, the author's stimulating narrative challenges assumptions and turns orthodoxy on its head.

Provides a broad a bottom-up set of multiple international examples of projects initiated by social practitioners and by artists - and by collaboration between the two - in varied settings and domains. Provides a set of examples, methods, and ideas for including social workers, community workers, social change advocates, art therapists, psychologists, human geographers, and town and urban planners, but also social artists, cultural policy makers, and those interested in using social arts in participatory research. Will be of interest to community workers, social change advocates, art therapists, psychologists, human geographers, and town and urban planners and will inspire and guide all of the above groups on the theoretical, academic, training, and practice levels of using social arts.

Dieses Buch prasentiert erstmals das Werk des Kurators, Kunstkenners und Kulturvermittlers Claus Friede als proaktiv schreibenden, uberraschend vielseitigen und versatilen Autor. Ein Textkorpus von 85 reprasentativen Beitragen aus den vergangenen 30 Jahren (1990-2020) illustriert Friedes breit angelegtes Themenspektrum aus den Bereichen Kunst, Musik, Film, Literatur und Kultur. Pragnant zeichnen sie seine intellektuelle und mediale Wende von der analogen zur digitalen Welt nach. Der zweite Buchteil lenkt den "fremden" Blick auf Friedes Schaffen aus der Perspektive diverser Kollegen und Freunde. Ein ausfuhrlicher biobibliographischer Anhang sowie reichhaltiges Bildmaterial runden den prismatischen Einblick in die transkulturellen Wirkungskreise von Claus Friede ab.

This edited volume explores the role of arts and meditation within educational settings, and looks in particular at the preventive and developmental function of the arts in educational contexts through different theoretical perspectives. Encompassing research from an array of disciplines including theatre, psychology, neuroscience, music, psychiatry, and mindfulness, the book draws insights relevant to a broad spectrum of interdisciplinary fields. Chapters are divided into thematic sections, each outlining praxes and emphasising how educating within and through the arts can provide tools for critical thinking, creativity and a sense of agency, consequently fulfilling the need of well-being and contributing towards human flourishing. Ultimately, the book focuses on the role the arts have played in our understanding of physical and mental health, and demonstrates the new-found significance of the discipline in the wake of the COVID-19 pandemic. With its interdisciplinary and timely nature, this book will be essential reading for scholars, academics, and post-graduate researchers in the field of arts education, creative therapies, neuroscience, psychology, and mindfulness.

* The only book that provides a thorough introduction to the current state of play in Australian theatre, including coverage of previously marginalized voices; * Platforms previously marginalized voices in Australia, covering the work of writers of colour, queer writers and gender diverse writers; * Includes a series of duologues between major contemporary Australian playwrights which are provided in both written and podcast form.

-Offers techniques and exercises that educators can immediately deploy in the classroom to teach and explain experiential theatre making. -Includes case studies by a range of experts from theatre and related fields. -The first book connecting theory with practice for experiential theatre.

This book - Investigates theories and practices shaped by a performance's relationship to the archive; - Examine how the changing nature of performance practices has made it imperative to understand how the archive and archival practices could add to the performance work; - Will be of great interest to scholars and researchers of performance studies, media and culture studies, studies of technology and art as also literature and literary criticism.

- Shows how a specialized music performance course can be reimagined to achieve greater inclusivity and foster student creativity - Connects traditional music teaching with contemporary education goals and issues - By centering African American vocal repertoire, enables instructors to challenge the Eurocentrism of traditional vocal music canon

Mothering Performance is a combination of scholarly essays and creative responses which focus on maternal performance and its applications from a variety of interdisciplinary perspectives. This collection extends the concept and action of 'performance' and connects it to the idea of 'mothering' as activity. Mothering, as a form of doing, is a site of never-ending political and personal production; it is situated in a specific place, and it is undertaken by specific bodies, marked by experience and context. The authors explore the potential of a maternal sensibility to move us towards maternal action that is explicitly political, ethical, and in relation to our others. Presented in three sections, Exchange, Practice, and Solidarity, the book includes international contributions from scholars and artists covering topics including ecology, migration, race, class, history, incarceration, mental health, domestic violence, intergenerational exchange, childcare, and peacebuilding. The collection gathers diverse maternal performance practices and methodologies which address aesthetics, dramaturgy, activism, pregnancy, everyday mothering, and menopause. The book is a great read for artists, maternal health and care professionals, and scholars. Researchers with an interest in feminist performance and motherhood, within the disciplines of performance studies, maternal studies, and women's studies, and all those who wish to gain a deeper understanding of maternal experience, will find much of interest. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license. Funded by University of South Wales

This book focuses on the influence of classical authors on Ben Jonson's dramaturgy, with particular emphasis on the Greek and Roman playwrights and satirists. It illuminates the interdependence of the aspects of Jonson's creative personality by considering how classical performance elements, including the Aristophanic 'Great Idea,' chorus, Terentian/Plautine performative strategies, and 'performative' elements from literary satire, manifest themselves in the structuring and staging of his plays. This fascinating exploration contributes to the 'performative turn' in early modern studies by reframing Jonson's classicism as essential to his dramaturgy as well as his erudition. The book is also a case study for how the early modern education system's emphasis on imitative-contaminative practices prepared its students, many of whom became professional playwrights, for writing for a theatre that had a similar emphasis on recycling and recombining performative tropes and structures.

1) This book presents a comprehensive overview of the relationship between drama/theatre and politics. 2) It contains chapters on India, Africa, USA, the Caribbean, and Australia. 3) This book will be of interest to departments of cultural studies and theatre studies across UK.

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.

This collection of short, accessible essays serves as a supplementary text to Morgan Lloyd Malcolm's play, Emilia. Critically acclaimed and beloved by audiences, this innovative and ground-breaking show is a speculative history, an imaginative (re)telling of the life of English Renaissance poet Aemilia Bassano Lanyer. This book features essays by theatre practitioners, activists, and scholars and informed by intersectional feminist, critical race, queer, and postcolonial analyses will enable students and their teachers across secondary school and higher education to consider the play's major themes from a wide variety of theoretical and interdisciplinary perspectives. This volume explores the current events and cultural contexts that informed the writing and performing of Emilia between 2017 and 2019, various aspects of the professional London productions, critical and audience responses, and best practices for teaching the play to university and secondary school students. It includes a foreword by Emilia playwright Morgan Lloyd Malcolm This book will be of great interest to students and scholars of theatre, arts activism, feminist literature, and theory.

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.

This book Presents documentation as an expanded practice that is radically changing the ways in which to look at, participate in, and generate art. Brings together expertise from different disciplines and provides an in-depth investigation of the development of documentation as a set of production, circulation and preservation strategies. Illustrates how these strategies are often led by artists, audiences and museums, the contributions offer new insights into digital art and its history, curation and preservation, through documentation. By considering documentation as the main method of preserving these art forms, analyses how it can address the inherent challenges of capturing live events, visitor experiences, and evolving artworks. Will appeal to researchers and students engaged in the study of museums and curation, art and art history, performance, new media and digital art, library and information science, and conservation.

Rabindranath Tagore (1861-1941) was a prolific playwright with more than thirty plays to his credit. He is also known for his life-long, passionate engagement with theatre, first at Jorasanko and then at Santiniketan, in multiple roles as actor, director, singer, musician. However, during his own life-time and even after his demise, his experimental plays have proved challenging for directors to stage. Time and again they have been written off as unstageable by prominent theatre makers. Further complications have arisen from the presence of a spectre of authority around Tagore and his plays often promoted by Visva-Bharati, the institution he founded and which held the copyright of his works till 2001. This book travels through time and space intending to untangle the enigma presented by Tagore's plays. The book on one hand immerses itself into the archive of Tagore's plays and his dramaturgy of them in order to problematize the ways in which they have been interpreted. On the other, it also engages with productions of Tagore's plays during and after his life-time to understand the challenges directors have faced while staging them and the strategies they have embraced to circumvent them. While performing a subjective critical reading of the Tagore theatre-archive, an underlying objective of the book remains to understand the very concept of the archive, as it manifests itself in contemporary dramatic theatre.

This book examines the performance of Bauls, 'folk' performers from Bengal, in the context of a rapidly globalizing Indian economy and against the backdrop of extreme nationalistic discourses. Recognizing their scope beyond the musical and cultural realm, Sukanya Chakrabarti engages in discussing the subversive and transformational potency of Bauls and their performances. In-Between Worlds argues that the Bauls through their musical, spiritual, and cultural performances offer 'joy' and 'spirituality,' thus making space for what Dr. Ambedkar in his famous 1942 speech had identified as 'reclamation of human personality'. Chakrabarti destabilizes the category of 'folk' as a fixed classification or an origin point, and fractures homogeneous historical representations of the Baul as a 'folk' performer and a wandering mendicant exposing the complex heterogeneity that characterizes this group. Establishing 'folk-ness' as a performance category, and 'folk festivals' as sites of performing 'folk-ness,' contributing to a heritage industry that thrives on imagined and recreated nostalgia, Chakrabarti examines different sites that produce varied performative identities of Bauls, probing the limits of such categories while simultaneously advocating for polyvocality and multifocality. While this project has grounded itself firmly in performance studies, it has borrowed extensively from fields of postcolonial studies and subaltern histories, literature, ethnography and ethnomusicology, and cosmopolitan studies.