The shift in temporal modalities of Romantic Theatre was the consequence of internal as well as external developments: internally, the playwright was liberated from the old imperative of "Unity of Time" and the expectation that the events of the play must not exceed the hours of a single day; externally, the new social and cultural conformance to the time-keeping schedules of labour and business that had become more urgent with the industrial revolution. In reviewing the theatre of the Romantic era, this monograph draws attention to the ways in which theatre reflected the pervasive impact of increased temporal urgency in social and cultural behaviour. The contribution this book makes to the study of drama in the early nineteenth century is a renewed emphasis on time as a prominent element in Romantic dramaturgy, and a reappraisal of the extensive experimentation on how time functioned.

The Anthropology of Performance is an invaluable guide to this exciting and growing area. This cutting-edge volume on the major advancements in performance studies presents the theories, methods, and practices of performance in cultures around the globe. Leading anthropologists describe the range of human expression through performance and explore its role in constructing identity and community, as well as broader processes such as globalization and transnationalism. * Introduces new and advanced students to the task of studying and interpreting complex social, cultural, and political events from a performance perspective * Presents performance as a convergent field of inquiry that bridges the humanities and social sciences, with a distinctive cross-cultural perspective in anthropology * Demonstrates the range of human expression and meaning through performance in related fields of religious & ritual studies, folkloristics, theatre, language arts, and art & dance * Explores the role of performance in constructing identity, community, and the broader processes of globalization and transnationalism * Includes fascinating global case studies on a diverse range of phenomena * Contributions from leading scholars examine verbal genres, ritual and drama, public spectacle, tourism, and the performances embedded in everyday selves, communities and nations

Analysis of improvisation as a compositional practice in the Commedia dell'Arte and related traditions from the Renaissance to the 21st century. Domenic Pietropaolo takes textual material from the stage traditions of Italy, France, Germany and England, and covers comedic drama, dance, pantomime and dramatic theory, and more. He shines a light onto 'the signs of improvised communication'. The book is comprehensive in its analysis of improvised dramatic art across theatrical genres, and is multimodal in looking at the spoken word, gestural and non-verbal signs. The book focusses on dramatic text as well as: - The semiotics of stage discourse, including semantic, syntactic and pragmatic aspects of sign production - The physical and material conditions of sign-production including biomechanical limitations of masks and costumes. Semiotics and Pragmatics of Stage Improvisation is the product of an entire career spent researching the semiotics of the stage and it is essential reading for semioticians and students of performance arts.

Fiery Temporalities in Theatre and Performance: The Initiation of History takes up the urgent need to think about temporality and its relationship to history in new ways, focusing on theatre and performance as mediums through which politically innovative temporalities, divorced from historical processionism and the future, are inaugurated. Wickstrom is guided by three temporal concepts: the new present, the penultimate, and kairos, as developed by Alain Badiou, Giorgio Agamben, and Antonio Negri respectively. She works across a field of performance that includes play texts by Aime Cesaire and C.L.R. James, and performances from Ni'Ja Whitson to Cassils, the Gob Squad to William Kentridge and African colonial revolts, Hofesh Schechter to Forced Entertainment to Andrew Schneider and Omar Rajeh. Along the way she also engages with Walter Benjamin, black international and radical thought and performance, Bruno Latour, Stefano Harney and Fred Moten's logistics and the hold, and accelerationism. Representing a significant contribution to the growing interest in temporality in Theatre and Performance Studies, the book offers alternatives to what have been prevailing temporal preoccupations in those fields. Countering investments in phenomenology, finitude, ghosting, repetition, and return, Wickstrom argues that theatre and performance can create a fiery sense of how to change time and thereby nominate a new possibility for what it means to live.

"Applied Theatre: Aesthetics" re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems.

A transnational study of Asian performance shaped by the homoerotics of orientalism, Brown Boys and Rice Queens focuses on the relationship between the white man and the native boy. Eng-Beng Lim unpacks this as the central trope for understanding colonial and cultural encounters in 20th and 21st century Asia and its diaspora. Using the native boy as a critical guide, Lim formulates alternative readings of a traditional Balinese ritual, postcolonial Anglophone theatre in Singapore, and performance art in Asian America. Tracing the transnational formation of the native boy as racial fetish object across the last century, Lim follows this figure as he is passed from the hands of the colonial empire to the postcolonial nation-state to neoliberal globalization. Read through such figurations, the traffic in native boys among white men serves as an allegory of an infantilized and emasculated Asia, subordinate before colonial whiteness and modernity. Pushing further, Lim addresses the critical paradox of this entrenched relationship that resides even within queer theory itself by formulating critical interventions around "Asian performance." Eng-Beng Lim is Assistant Professor of Theatre Arts and Performance Studies at Brown University, and a faculty affiliate of the Center for the Study of Race and Ethnicity, Department of East Asian Studies, and Department of American Studies. He is also a Gender and Sexuality Studies board member at the Pembroke Center for Teaching and Research on Women. In the Sexual Cultures series

Andre and Madeleine have been in love for over fifty years. This weekend, as their daughters visit, something feels unusual. A bunch of flowers arrive, but who sent them? A woman from the past turns up, but who is she? And why does Andre feel like he isn't there at all? Christopher Hampton's translation of Florian Zeller's The Height of the Storm was first performed at Richmond Theatre, London, and opened in the West End at Wyndham's Theatre in October 2018.

In this book practitioner and researcher Louise Ann Wilson examines the expanding field of socially engaged scenography and promotes the development of scenography as a distinctive type of applied art and performance practice that seeks tangible, therapeutic, and transformative real-world outcomes. It is what Christopher Baugh calls 'scenography with purpose'. Using case studies drawn from the body of site-specific walking-performances she has created in the UK since 2011, Wilson demonstrates how she uses scenography to emplace challenging, marginalizing or 'missing' life-events into rural landscapes - creating a site of transformation - in which participants can reflect upon, re-image and re-imagine their relationship to their circumstances. Her work has addressed terminal illness and bereavement, infertility and childlessness by circumstance, and (im)mobility and memory. These works have been created on mountains, in caves, along coastlines and over beaches. Each case-study is supported by evidential material demonstrating the effects and outcomes of the performance being discussed. The book reveals Wilson's creative methodology, her application of three distinct strands of transdisciplinary research into the site/landscape, the subject/life-event, and with the people/participants affected by it. She explains the 7 'scenographic' principles she has developed, and which apply theories and aesthetics relating to land/scape art and walking and performance practices from Early Romanticism to the present day. They are underpinned by the concept of the feminine 'material' sublime, and informed by the attentive, autotopographic, therapeutic and highly scenographic use of walking and landscape found in the work of Dorothy Wordsworth and her female contemporaries. Case studies include Fissure (2011), Ghost Bird (2012), The Gathering (2014), Warnscale (2015), Mulliontide (2016), Dorothy's Room (2018) and Women's Walks to Remember: 'With memory I was there' (2018-2019).

The Tragedy of Hamlet, Prince of Denmark, is widely considered Shakespeare's greatest play. Hamlet is confronted by the ghost of his father, who tells him that Hamlet's uncle and mother conspired to poison him. Knowing that his uncle, who now sits upon the throne, and his mother, who has married his uncle and is now his queen, have murdered his father, Hamlet sets out to avenge his father's death and set things to right. But his plan could destroy the entire realm. To be, or not to be-that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles, And by opposing end them. To die-to sleep- No more; and by a sleep to say we end The heartache, and the thousand natural shocks

Theatre, Performance and Cognition introduces readers to the key debates, areas of research, and applications of the cognitive sciences to the humanities, and to theatre and performance in particular. It features the most exciting work being done at the intersection of theatre and cognitive science, containing both selected scientific studies that have been influential in the field, each introduced and contextualised by the editors, together with related scholarship from the field of theatre and performance that demonstrates some of the applications of the cognitive sciences to actor training, the rehearsal room and the realm of performance more generally. The three sections consider the principal areas of research and application in this interdisciplinary field, starting with a focus on language and meaning-making in which Shakespeare's work and Tom Stoppard's Arcadia are considered. In the second part which focuses on the body, chapters consider applications for actor and dance training, while the third part focuses on dynamic ecologies, of which the body is a part.

Fortune's Fool Here is William Shakespeare's brilliant play the Tragedy of Romeo and Juliet, set in Verona during a feud between the Capulets and the Montagues. Romeo, a Montague, falls desperately in love with Juliet, a Capulet, and the two secretly marry. Lyrical and poignant, this immortal play of star-crossed lovers will stay with you long after the play ends. 'Tis but thy name that is my enemy. Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name What's in a name? That which we call a rose By any other name would smell as sweet.

This is the first volume to provide a detailed introduction to some of the main areas of research and practice in the interdisciplinary field of art and neuroscience. With contributions from neuroscientists, theatre scholars and artists from seven countries, it offers a rich and rigorous array of perspectives as a springboard to further exploration. Divided into four parts, each prefaced by an expert editorial introduction, it examines: * Theatre as a space of relationships: a neurocognitive perspective * The spectator's performative experience and 'embodied theatrology' * The complexity of theatre and human cognition * Interdisciplinary perspectives on applied performance Each part includes contributions from international pioneers of interdisciplinarity in theatre scholarship, and from neuroscientists of world-renown researching the physiology of action, the mirror neuron mechanism, action perception, space perception, empathy and intersubjectivity. While illustrating the remarkable growth of interest in the performing arts for cognitive neuroscience, this volume also reveals the extraordinary richness of exchange and debate born out of different approaches to the topics.

This edited collection focuses on performance practice and analysis that engages with medical and biomedical sciences. After locating the 'biologization' of theatre at the turn of the twentieth century, it examines a range of contemporary practices that respond to understandings of the human body as revealed by biomedical science. In bringing together a variety of analytical perspectives, the book draws on scholars, scientists, artists and practices that are at the forefront of current creative, scientific and academic research. Its exploration of the dynamics and exchange between performance and medicine will stimulate a widening of the debate around key issues such as subjectivity, patient narratives, identity, embodiment, agency, medical ethics, health and illness. In focusing on an interdisciplinary understanding of performance, the book examines the potential of performance and theatre to intervene in, shape, inform and extend vital debates around biomedical knowledge and practice in the contemporary moment.

This Play Guide is specifically written for A Level students who are studying Our Country's Good as part of the AQA A Level Drama & Theatre specification. It provides structured support for Component 1: Section A - Drama and theatre. This book is divided into three sections: 1) How to explore a text for A level Drama and Theatre, with vocabulary-building sections on acting, directing and design; 2) An extended exploration of the play to enrich students' understanding and response to the text; 3) Targeted examination preparation to improve writing and test-taking skills. - Fully supports the written examination and helps students develop their key knowledge and understanding of key A Level drama & theatre skills. - Knowledge and understanding of the play are developed with a synopsis, character and scene studies, contextual and practical exploration. - Includes a wide range of practical drama tasks, activities, and research and revision exercises. - Advice on how to interpret and prepare for exam questions with examples of effective responses.

In Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience - among both theatregoers and readers of drama - contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call 'public sphere(s)'? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the 'public' existed in a variety of forms, locations, and cultures across early modern Europe - and in Asia.

Alongside the works of the better-known classical Greek dramatists, the tragedies of Lucius Annaeus Seneca have exerted a profound influence over the dramaturgical development of European theatre. The Senecan Aesthetic surveys the multifarious ways in which Senecan tragedy has been staged, from the Renaissance up to the present day: plundered for neo-Latin declamation and seeping into the blood-soaked revenge tragedies of Shakespeare's contemporaries, seasoned with French neoclassical rigour, and inflated by Restoration flamboyance. In the mid-eighteenth century, the pincer movement of naturalism and philhellenism began to squeeze Seneca off the stage until August Wilhelm Schlegel's shrill denunciation silenced what he called its 'frigid bombast'. The Senecan aesthetic, repressed but still present, staged its return in the twentieth century in the work of Antonin Artaud, who regarded Seneca as 'the greatest tragedian of history'. This volume restores Seneca to a canonical position among the playwrights of antiquity, recognizing him as one of the most important, most revered, and most reviled, and in doing so reveals how theory, practice, and scholarship have always been interdependent and inseparable.

Applied Theatre: Women and the Criminal Justice System offers unprecedented access to international theatre and performance practice in carceral contexts and the material and political conditions that shape this work. Each of the twelve essays and interviews by international practitioners and scholars reveal a panoply of practice: from cross-arts projects shaped by autobiographical narratives through to fantasy-informed cabaret; from radio plays to film; from popular participatory performance to work staged in commercial theatres. Extracts of performance texts, developed with Clean Break theatre company, are interwoven through the collection. Television and film images of women in prison are repeatedly painted from a limited palette of stereotypes - 'bad girls', 'monsters', 'babes behind bars'. To attend to theatre with and about women with experience of the criminal justice system is to attend to intersectional injustices that shape women's criminalization and the personal and political implications of this. The theatre and performance practices in this collection disrupt, expand and reframe representational vocabularies of criminalized women for audiences within and beyond prison walls. They expose the role of incarceration as a mechanism of state punishment, the impact of neoliberalism on ideologies of punishment and the inequalities and violence that shape the lives of many incarcerated women. In a context where criminalized women are often dismissed as unreliable or untrustworthy, the collection engages with theatre practices which facilitate an economy of credibility, where women with experience of the criminal justice system are represented as expert witnesses.

Human sacrifice, a spirited heroine, a quest ending in a hairsbreadth escape, the touching reunion of long-lost siblings, and exquisite poetry-these features have historically made Euripides' Iphigenia in Tauris one of the most influential of Greek tragedies. Yet, despite its influence and popularity in the ancient world, the play remains curiously under-investigated in both mainstream cultural studies and more specialized scholarship. With Adventures with Iphigenia in Tauris, Edith Hall provides a much-needed cultural history of this play, giving as much weight to the impact of the play on subsequent Greek and Roman art and literature as on its manifestations since the discovery of the sole surviving medieval manuscript in the 1500s. The book argues that the reception of the play is bound up with its spectacular setting on the southern coast of the Crimean peninsula in what is now the Ukraine, a territory where world history has often been made. However, it also shows that the play's tragicomic tenor and escape plot have had a tangible influence on popular culture, from romantic fiction to Hollywood action films. The thirteen chapters illustrate how reactions to the play have evolved from the ancient admiration of Aristotle and Ovid, the Christian responses of Milton and Catherine the Great, the anthropological ritualists and theatrical Modernists including James Frazer and Isadora Duncan, to recent feminist and postcolonial dramatists from Mexico to Australia. Individual chapters are devoted to the most significant adaptations of the tragedy, Gluck's opera Iphigenie en Tauride and Goethe's verse drama Iphigenie auf Tauris. Richly illustrated and accessibly written, with all texts translated into English, Adventures with Iphigenia in Tauris argues elegantly for a reappraisal of this Euripidean masterpiece.