This book tells the story of teaching Kathakali, a seventeenth century Indian dance-drama, to contemporary performers in Australia. A rigorous analysis and detailed documentation of the teaching of multiple learners in Melbourne, both in the group workshop mode and one-on-one, combined with the author's ethnographic research in India, leads to a unique insight into what the author argues persuasively is at the heart of the art's aesthetic- a practical realisation of the theory of rasa as first articulated in the ancient Sanskrit treatise on drama The Natyashastra. The research references the latest discoveries in neuroscience on 'mirror neurons' and argues for a reconceptualization of Kathakali's imitative methodology, advancing it from the reductive category of 'mimicry' to a more contemporary and complex mirroring which is where its value lies in Australian actor performer training. The Teaching of Kathakali in Australia will be of great interest to students and scholars of theatre and dance, intercultural actor training, practice-led research, and interdisciplinary studies of neuroscience and performance.

Aotearoa New Zealand in the Global Theatre Marketplace offers a case study of how the theatre of Aotearoa has toured, represented and marketed itself on the global stage. How has New Zealand work attempted to stand out, differentiate itself, and get seen by audiences internationally? This book examines the journeys of a dynamic range of culturally and theatrically innovative works created by Aotearoa New Zealand theatre makers that have toured and been performed across time, place and theatrical space: from Moana Oceania to the Edinburgh Festival Fringe, from a Maori Shakespeare adaptation to an immersive zombie theatre experience. Drawing on postcolonialism, transnationalism, cosmopolitanism and globality to understand how Aotearoa New Zealand has imagined and conceived of itself through drama, the author investigates how these representations might be read and received by audiences around the world, variously reinforcing and complicating conceptions of New Zealand national identity. Developing concepts of theatrical mobility, portability and the market, this study engages with the whole theatrical enterprise as a play travels from concept and scripting through to funding, marketing, performance and the critical response by reviewers and commentators. This book will be of global interest to academics, producers and theatre artists as a significant resource for the theory and practice of theatre touring and cross-cultural performance and reception.

Theatre and Internationalization examines how internationalization affects the processes and aesthetics of theatre, and how this art form responds dramatically and thematically to internationalization beyond the stage. With central examples drawn from Australia and Germany from the 1930s to the present day, the book considers theatre and internationalization through a range of theoretical lenses and methodological practices, including archival research, aviation history, theatre historiography, arts policy, organizational theory, language analysis, academic-practitioner insights, and literary-textual studies. While drawing attention to the ways in which theatre and internationalization might be contributing productively to each other and to the communities in which they operate, it also acknowledges the limits and problematic aspects of internationalization. Taking an unusually wide approach to theatre, the book includes chapters by specialists in popular commercial theatre, disability theatre, Indigenous performance, theatre by and for refugees and other migrants, young people as performers, opera and operetta, and spoken art theatre. An excellent resource for academics and students of theatre and performance studies, especially in the fields of spoken theatre, opera and operetta studies, and migrant theatre, Theatre and Internationalization explores how theatre shapes and is shaped by international flows of people, funds, practices, and works.

A book on dance-making, centred on practitioners with disabilities but valuable for dancers in all situations. Aimed at the huge range of dance-makers looking to make their work accessible, inclusive and diverse. A leading book in the field on this topic, now updated and expanded to reflect current trends and debates.

'You will see no false nothing false tonight' - the Hypnotist Tim Crouch's second play collapses a tale of loss and grief into an exploration of theatrical representation, in a piece of theatre that is at once formally innovative and profoundly moving. Written for two actors, An Oak Tree depicts the fraught meeting of a grieving father and the stage hypnotist who was behind the wheel of the car that killed his daughter, with the father played by a different actor at each performance, walking on stage with no prior knowledge of the play. Catherine Love explores An Oak Tree's connections with conceptual art, the unique process of its creation, its interrogation of stage representation, its relationship with audiences, and its place as part of Crouch's ongoing body of work.

'Listen!' In this collection of new essays, the world-renowned director Peter Brook offers unique and personal insights into sound and music - from the surprising impact of Broadway musicals on his famous Midsummer Night's Dream, to the allure of applause, and on to the ultimate empty space: silence. It is studded throughout with episodes from the author's own life and career in opera, theatre and film - including working on many of his most notable productions, and intimate first-hand accounts of collaborating with leading figures including Truman Capote, Laurence Olivier and Vivien Leigh - and ranges across musical styles and cultures from around the world. Playing by Ear is full of Brook's shafts of insight and perception, and written with his customary wit and wisdom. It is a rich companion to his earlier reflections on Shakespeare in The Quality of Mercy and on language and meaning in Tip of the Tongue.

WHY PUBLISH: - Includes a range of historical as well as contemporary (and globally applicable) examples. - Has a chapter on writing during the current COVID-19 pandemic - how it is influenced writers and shaped content. - A novel approach to creative writing which includes a range of writing exercises for class or individual use.

'It's a wonderful institution and the training is amazing.' SAM HEUGHAN 'I can honestly say, no word of a lie, that the Royal Conservatoire of Scotland changed my life.' JACKIE KAY For 175 years, a Glasgow institution has been teaching the performing arts to students who have become some of the world's most distinguished artists. This celebratory history raises the curtain on the inner life of the Royal Conservatoire of Scotland. Peek into the bustling backstage world of Scotland's national conservatoire, feast your eyes on never-before-seen archival material and bask in dazzling production photography that captures the creative effervescence of its students. Ncuti Gatwa, Richard Madden, Karen Cargill, Alan Cumming, Maggie Kinloch and many other alumni take to the spotlight to share what the Royal Conservatoire of Scotland has meant to them. Raising the Curtain reveals the past, illuminates the present and invites you to look to the future of this world-class performing arts institution.

The Sixth Edition employs a "read-explore-do" concept, fully integrating the additional case studies posted on the companion website with the background information provided in the book, and the exercises listed at the end of the chapter. Each chapter contains a learning module aligned with its content, designed to help the reader better grasp the theories, principles, terms, and practices related to each topic area. Contains chapter summaries, key terms, key concepts, chapter learning maps, and For Further Study sections.

The Routledge Companion to Drama in Education is a comprehensive reference guide to this unique performance discipline, focusing on its process-oriented theatrical techniques, engagement of a broad spectrum of learners, its historical roots as a field of inquiry and its transdisciplinary pedagogical practices. The book approaches drama in education (DE) from a wide range of perspectives, from leading scholars to teaching artists and school educators who specialise in DE teaching. It presents the central disciplinary conversations around key issues, including best practice in DE, aesthetics and artistry in teaching, the histories of DE, ideologies in drama and education, and concerns around access, inclusivity and justice. Including reflections, lesson plans, programme designs, case studies and provocations from scholars, educators and community arts workers, this is the most robust and comprehensive resource for those interested in DE's past, present and future.

This book brings together research at the intersection of music, cultural industries, management, politics and gender studies to analyse music as labour, in particular highlighting social inequalities and activism. With a specific emphasis on inequalities in the music industries, this book will be essential reading for scholars seeking to understand the collective actions and initiatives that foster participation, inclusion, diversity and fair pay amongst musicians and other workers.

Perversion, Pedagogy and the Comic studies how the idea-of-theater shaped western consciousness during the Christian Middle Ages. It analyses developments within western philosophy, Christian theology and theater history to show how this idea realized itself primarily as a metaphor circulating through various discursive domains. Beginning with Plato's injunction against tragedy the relation between philosophy and theater has been a complicated affair which this book traces at the threshold when the western world became Christian. By late antiquity as theatre was slowly banned, Christian theology put the idea-of-theatre to use in order to show what they understood to be the perverted nature of worldly existence and the mystery of the Kingdom of God. Interrogating the theological teachings of some of the early Church Fathers like St Augustine, Tertullian and Clement of Alexandria the book offers a new look at how the idea of theater not only inspired Christian liturgical practices but Christian pedagogy in general which in turn shaped the nature of Christian religious drama. Finally the author tries to demonstrate how this hegemonic use of the theatre-idea was countered by a certain comic sensibility which opened the idea of theatre in the Christian Middle Ages to a new and subversive materialist possibility. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.

This volume illustrates how theatre arts can be used to enact peace education by showcasing the use of theatrical techniques including storytelling, testimonial and forum theatre, political humor, and arts-based pedagogy in diverse formal and non-formal educational contexts across age groups. The text presents and discusses how the use of applied theatre, especially in conflict-affected areas, can be used as an educational response to cultural and structural violence for transformation of relations, healing, and praxis as local and global peacebuilding. Crucially, it bridges performing arts and peace education, the latter of which is unfolding in schools and their communities worldwide. With contributors from countries including Northern Ireland, Denmark, Norway, the USA, Mexico, Japan, the Philippines, Pakistan, Burundi, Kenya, and South Africa, the authors identify theoretical and technical aspects of theatrical performance that support peace through transformation along with embodied and sensorial learning. This book will appeal to scholars and students with interests in teacher education, arts-based learning, peace studies, and applied theatre that consider practice with child, adolescent, and adult learners.

An international collection of essays by leading academics, artists, writers, and curators examining ways in which the global tragedies of our century are being negotiated in current theatre practice Includes discussion on how dramaturgy and performance today have tackled specific forms of crisis that seem inherent to the 21st century Includes essays, provocations, interviews, original works, and diaries by theatre artists

Children on the autistic spectrum experience varying degrees of difficulties; all of which can be understood as a disassociation of mind and body. Expressing feelings, making eye contact, keeping a steady heartbeat and recognizing faces are all part of the autism dilemma which can be poetically explored by Shakespeare. Over ten years, Hunter worked with children on all points of the spectrum, developing drama games for the specific purpose of combatting autism. These unique games, derived from specific moments in the plays, shed new light on how to teach Shakespeare to children, using the drama as an exploration of how it feels to be alive. Shakespeare's Heartbeat is a step-by-step guide, detailing how to demonstrate, play and share these sensory games. The book includes: Games based on A Midsummer Night's Dream Games based on The Tempest Tips and advice for playing one-on-one with the children An afterword describing Hunter's journey from performer and practitioner to creator of this work. Shakespeare's poetic definitions of seeing, thinking and loving reveal the very processes that children with autism find so difficult to achieve. This book provides an indispensable learning tool for those wishing to encourage children's eye contact and facial expression, improve their spatial awareness and language skills and introduce them to imaginative play.

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 is a very readable, useful and above all, deeply historical account of some of the defining tropes in art history and performance today. Written by world renowned feminist art historian, Amelia Jones, this genealogy is a key work bridging art historical and performance studies approaches. Each chapter includes 'Ruptures' - bursts of intimately written accounts of experiences of performance (and related interludes) - which help make the content accessible.

The 20th century was a dynamic period for the theatrical arts in China. Booming urban theatres, the interaction between commercial practice and theatre, dramas staged during the War of Resistance against Japan and a healthy dialogue between Western and Eastern theatres all contributed to the momentousness of this period. The four volumes of A History of Chinese Theatre in the 20th Century display the developmental trajectories of Chinese theatre over those 100 years. This volume deals with the development of Chinese theatre from 1949 to 2000, covering the fluctuations of 'drama reform', spectacles of the 'Cultural Revolution', and theatre in the immediate years before the opening up of the country. The author demonstrates how Chinese dramatic traditions endured and adapted in the face of modernity and how politics and art interacted. By combining academic rigour with a high degree of readability, this volume is both an essential guide for scholars and students in the history of the arts and general readers interested in Chinese theatre.

* Showcases an exploration of monstrosity in performance through key themes including race, gender and sexuality, disability studies * Interdisciplinary book that will be relevant to students and scholars from many backgrounds including Theatre and Performance, Cultural Studies, Gender Studies, Disability Studies * Uniquely international approach to the study of monstrosity which sets it apart from other books whose focus are more Eurocentric/Western

A readable, workable text that deals with everything about theatre and the artists who make theatre possible. Styles of drama, staging, production, directing and acting, along with all backstage functions, are defined in detail. Theatre history and the business of theatre are covered fully for the use of both students and instructors. The book is divided into three sections: Part I - Theatre, Drama and Place, Part II - The Production, Part III - Theatre History. At the end of each chapter is a summary and questions for in-class discussion. This text has been classroom tested and updated to be fully adaptable to any teaching requirement. 15 chapters: What Are Theatre and Drama?, Dramatic Structure, Dramatic Genre and Style. Theatre Design, The Production. The Actor, The Director, The Designers, The Business of Theatre, The Audience and Critic, five Theatre History chapters, plus a Glossary and Theatre on the Web guide.

Brecht projects an ancient Chinese story onto a realistic setting in Soviet Georgia. In a theme that echoes the Judgment of Solomon, two women argue over the possession of a child. Thanks to the unruly judge, Azdak (one of Brecht's most vivid creations) natural justice is done and the peasant Grusha keeps the child she loves, even though she is not its mother. Written while Brecht was in exile in the United States during the Second World War, The Caucasian Chalk Circle is a politically charged, much-revived and complex example of Brecht's epic theatre. This new Student Edition contains introductory commentary and notes by Kristopher Imbrigotta from the University of Puget Sound, US, offering a much-needed contemporary perspective on the play. The introduction covers: - narrative structure: play about a play within a play ("circle") - songs and music - justice and social systems - context: Brecht, exile, WWII, socialism - notions of collective and class - fable and story adaptation, folk fairy tale

This study analyses the Finnish National Theatre's activities throughout the decades during which the post-war generation with its new societal and theatrical views was rising to power, and during which Europe, divided by the Iron Curtain, was maturing to break the boundaries dividing it. Pirkko Koski summarizes the activities of the Finnish National Theatre as a cultural factor and as a part of the Finnish theatre field during 1970s and 1980s. Alongside this he examines the general requirements, resources and structures for activity, including artists, places, geographical position, performances and the analysis on the societal conditions. This book will be of great interest to scholars and students of European theatre and history.

Les Waters is a master director who has worked with many of the most important American theatre artists of the 21st century. A thorough examination of his creative practice and body of work amounts to a picture of American theatre in our time. While collaboration is promoted and celebrated in practical theatre courses and professional training programs far and wide, this book offers concrete and situation-specific examples of how accomplished theatre artists have grapple with the challenges of creating together. The book features writing from the full spectrum of professional disciplines (actors, designers, stage managers, and dramaturgs, as well as directors and playwrights).

This book is the first comprehensive examination of commercial drama as a reading genre in early modern England. Taking as its focus pre-Restoration printed drama's most common format, the single-play quarto playbook, it interrogates what the form and content of these playbooks can tell us about who their earliest readers were, why they might have wanted to read contemporary commercial drama, and how they responded to the printed versions of plays that had initially been performed in the playhouses of early modern London. Focusing on professional plays printed in quarto between 1584 and 1660, the book juxtaposes the implications of material and paratextual evidence with analysis of historical traces of playreading in extant playbooks and manuscript commonplace books. In doing so, it presents more detailed and nuanced conclusions than have previously been enabled by studies focused on works by one author or on a single type of evidence.

An engaging integration of scholarship and storytelling, Reflections on Elizabeth A. H. Green's Life and Career in Music Education details the life and career of a pioneering figure in the field of instrumental music teacher education, who was one of the first to document a curriculum for teaching conducting and stringed instruments. Featuring interviews with Green's former students, faculty colleagues, and close friends, this account combines reflections and memories with Green's conducting techniques and teachings. Reflections on Elizabeth A. H. Green's Life and Career in Music Education uncovers pedagogical insights not available in the late educator's published texts, focusing on ways to assist instructors in new and different ways to manage and direct large ensembles and build confidence in undergraduate music majors. Through the exploration of an extraordinary educator's life, it offers new insights into both the history of music education and present-day pedagogy for string instruments and conducting.