"Tales of the Tricycle Theatre "provides an inside look at the history of the north London theatre which has achieved renown with its staging of black, Irish, verbatim and political drama. Co-published with the Society for Theatre Research, the book draws extensively on archival research and interviews with actors, playwrights, directors, designers and board members to document and celebrate the work of one of London's most artistically exciting and politically engaged theatres.Terry Stoller presents the Tricycle's story, giving you a front-row view of the theatre's productions, including: - the work of generations of black British writers, from Mustapha Matura and Alfred Fagon to Roy Williams, Kwame Kwei-Armah and Bola Agbaje- Irish plays ranging from Bernard Shaw's "John Bull's Other ""Island "to Brendan Behan's "The Hostage"- its critically lauded political play cycles "The Bomb - A Partial ""History "and "The Great Game: Afghanistan," the latter performed at the Pentagon in 2011" The Tricycle Theatre] has been both defiantly local and proudly international, it has held a mirror up to British society, and, above all, it has proved that political engagement is not incompatible with the highest artistic standards. It has helped make my life as a critic worthwhile . . ."Michael Billington, Foreword

Die trauma van die "has been" ontsnap niemand nie. Die liggaam bly die gewildste prooi van tyd. Vir die hoogste bome wat die meeste wind vang, is dit dikwels pynliker en hierdie mense se opstand daarteen is pateties en vernederend. In Jasmyn word ’n vervalle ou skoonheidsikoon, Beulah, genadeloos belig vanuit ’n ongewone invalshoek: as prooi en as begenadigde. Die verstand wat in haar vervalle liggaam gehuisves word, is egter nog naaldskerp. ’n Onverwagte erflating deur ’n eertydse miljarderminnaar word die hoogtepunt en afloop van die drama. Beulah erf R40 miljoen, mits sy ’n minnaar werf wat ten minste 20 jaar haar junior is, ’n verjongingsprogram voltooi met riglyne rakende dieet, plastiese chirurgie, sielkundige berading, hormoonmanipulasie en nuut geskepte ikoonstatus. Laasgenoemde word moontlik gemaak deurdat die oorlede minnaar geld nalaat om ’n nuwe skoonheidseep, Beulah Jasmine, internasionaal vry te stel.

From July to November 2021, Little Amal, a 3.5m-high puppet created by Handspring Puppet Company ('War Horse') will travel 8,000km from the Syria-Turkey border along the established refugee route through Europe to the UK, ending at the Manchester International Festival. With 100 theatrical events in 65 cities, along the way, 'The Walk' will be the world's largest live performance and its aim is to celebrate the contribution that migrants and refugees make to the cultures and communities through which they pass and to the countries in which they find a new home. With an introduction by Nizar Zuabi (artistic director of Good Chance) and an afterword by David Lan (formerly of The Young Vic and one of the producers of 'The Walk'), The Long Walk with Little Amal is the official companion book to a cross-border collaboration on a magnificent scale. The journey is documented by award-winning photojournalist Andre Liohn and contributing essayists include: PEN International Writer of Courage Samar Yazbek (Syria); prize-winning Turkish-Kurdish novelist Burhan Sonmez (Turkey); Greek-Armenian literary and crime writer Petros Markaris (Greece); Prix Goncourt-winning author and film director Philippe Claudel (France); Children's Laureate Cressida Cowell (UK); crime writer Olivier Norek whose fiction has been set in Calais' The Jungle (France); and bestselling author Timur Vermes (Germany).

Throughout most of history, deep male bonds anchored a man's life. Why, then, are male friendships so impoverished in America today? Mamet's plays and films dramatize the conflicts, contradictions, and covert affection between men. No other American playwright has explored the war zone we call male friendship with as sharp a scalpel as Mamet's. His work shows both the necessity of and the difficulty in male friendships. Using insights from psychology, sociology, anthropology, and the history of sexuality, Holmberg explores the ambiguity that drives male bonding. Personal interviews with Mamet and with the actors who have interpreted his major roles shed new light on how and why men bond with each other and complement - in an unexpected and unique way - Holmberg's close analysis of Mamet's texts.

A practical investigation of how comedy works, by a well-respected practitioner and teacher. With a Foreword by Toby Jones. Comedy is recognised as one of the most problematic areas of performances. For that reason, it is rarely written about in any systematic way. John Wright, founder of Trestle Theatre and Told by an Idiot, brings a wide range of experience of physical comedy to this unique exploration of comedy and comedic techniques. The book opens with an analysis of the different kinds of laughter that can be provoked by performance. This is followed by the main part of the book: games and exercises devised to demonstrate and investigate the whole range of comic possibilities open to a performer. Why Is That So Funny? is an invaluable book for teachers and performers, and a fascinating read for anyone interested in how comedy works.

An outline of dramatic history which marks the great turning points in the development of theatre. A delineation of the conventions which various playwrights invented, and of the societies in which they wrote. The author intends to explain what has happened in the history of the stage, why it happened, and what it means.

Hyde Park (1632) is one of the best-loved comedies of James Shirley, considered to be one of the most important Caroline dramatists. The play showcases strong female characters who excel at rebuking the outlandish courtship of various suitors. Shirley's comic setting, London's Hyde Park, offers ample opportunity for witty dialogue and sport - including foot and horse races - across three love plots. This is the first critical edition of the play, including a wide-ranging introduction and extensive commentary and textual notes. Paying special attention to the culture of Caroline London and its stage, the Revels Plays edition unpicks Shirley's politics of courtship and consent while also underlining the play's dynamics of class and power. A detailed performance history traces productions from 1632, across the Restoration to the present day, including that of the Royal Shakespeare Company in 1987. A textual history of the play's first quarto determines how it was printed and what relationship Hyde Park has to other texts by Shirley from the same publishers. -- .

This collection of essays explores the co-implication of violence and performance in a range of geopolitical locations. It addresses the problem of local/global violence through the optic of performance studies, examining the constitutive role of violence, and the more global concerns about how violence is performed in the modern world.

This book explores the performance of Irish collective memories and forgotten histories. It proposes an alternative and more comprehensive criterion of Irish theatre practices. These practices can be defined as the 'rejected', contested and undervalued plays and performativities that are integral to Ireland's political and cultural landscapes.

Winner of the 2013 AATE Distinguished Book Award
There is a complex relationship between performance, youth, and the shifting material circumstances under which theatre for children and youth - birth through twenties - is generated and perceived. Offering multiple, intersecting narratives, this book explores different aspect of theatre for young audiences (TYA) using examples from theatrical events in different geographical regions. The discussion of the history, theory, and practice of TYA indicates the wide variety of hitherto under-researched topics in the growing field of professional theatre for young people.

Performing Transversally expands on Bryan Reynolds' controversial transversal theory in exciting ways while offering groundbreaking analyses of Shakespeare's plays--Hamlet, Othello, Macbeth, Taming of the Shrew, Titus Andronicus, Henry V, The Tempest, and Coriolanus--and textual, filmic, and theatrical adaptations of them. With his collaborators, Reynolds challenges traditional readings of Shakespeare, reevaluating the critical methodologies that characterize them, in regard to issues of cultural difference, authorship, representation, agency, and iconography. Reynolds demonstrates the value of his “investigative-expansive mode,” outlining a “transversal poetics” that points toward a critical future that is more aware of its subjective interconnectedness with the topics and audiences it seeks to engage than is reflected in most Shakespeare criticism and literary-cultural scholarship.

Founded on richly stylized expression, Anime has developed into an art with a high degree of sophistication that is comparable to that of the traditional theatrical forms of Noh, Bunraku, and Kabuki. By analyzing Anime through the lens of traditional Japanese theater, the patterns and practices in Anime can be mapped out. In The Anime Paradox, Stevie Suan utilizes this framework to reveal Anime's distinct form, examining and delineating the particular formal qualities of Anime's structure, conventions, aesthetics, and modes of viewing. However, the comparison works both ways-just as Japanese theater can give us analytical insights into Anime, Anime can enrich our understanding of Japanese classical theater.

This highly accessible and original introduction to British-Asian theatre explores the creativity, innovation and diversity of major British-Asian theatre companies. Including coverage of Tara Arts, Tamasha and Kali theatre companies, as well as important writers such as Hanif Kureishi and Gurpreet Kaur Bhatti, the book analyses the dramaturgy, cultural and political contexts and critical receptions that have informed major productions. Complete with plot summaries and illustrated throughout, the text explores the extraordinary contribution that British-Asian theatre has made to the British stage over the past thirty years.

This volume was first published in 1957. Besides tracing the history and development of the Peking Theatre, it explains acting techniques, stage costume and symbolism, musical forms and the various types of plays.

This book ranges from refugee camps in Palestine to halting sites of the Irish Travellers and elsewhere in search of a new politics practiced through performance. Written through the intersection of performance and philosophy, the book refutes neoliberalism's depoliticizing and strategic uses of humanitarianism, human rights, and development.

Described by the distinguished theatre director Peter Brook as "a very powerful form of theatre," the Ta'ziyeh is the Islamic drama of Iran. This work examines the evolution of the Ta'ziyeh, which involved elements drawn from Zoroastrianaism, Mithraism, mythology, folklore and traditional forms of Iranian entertainment.
In its final form, most of its elements - plot, character, thought, spectacle and song - derive from the Shi'a branch of Islam. Its main plot concerns the suffering and death of Imam Hussein, grandson of the Prophet of Islam. In 680 AD he and his family were massacred in the Karnala Plain near Baghdad by the soldiers of the Caliph, Yazid. The Ta'ziyeh's highest point came during the reign of Nasseredin Shah (1848-96), who built a magnificent playhouse, the Takieh Dowlat, in Tehran. In the 1930s it was banned by the Pahlavi regime, and Ta'ziyeh groups were forced to take refuge in remote rural areas. In the 20th century it was attacked by pro-Western and nationalistic movements whosaw performances as encouraging social stagnation. Despite the setbacks, today it is still possible to see performances of the Ta'ziyeh throughout Iran.

This book examines the enactment of gendered in/equalities across diverse Cultural forms, turning to the insights produced through the specific modes of onto-epistemological enquiry of embodied performance. It builds on work from the GRACE (Gender and Cultures of Equality in Europe) project and offers both theoretical and methodological analyses of an array of activities and artworks. The performative manifestations discussed include theatre, installations, social movements, mega-events, documentaries, and literary texts from multiple geopolitical locales. Engaging with the key concepts of re-enactment and relationality, the contributions explore the ways in which in/equalities are relationally re-produced in and through individual and collective bodies. This multi- and trans-disciplinary collection of essays creates fruitful dialogues within and beyond Performance Studies, sitting at the crossroads of ethnography, event studies, social movements, visual studies, critical discourse analysis, and contemporary approaches to textualities emerging from post-colonial and feminist studies.

This ground-breaking collection explores the assumptions behind and practices for performance implicit in the manuscripts and playtexts of the medieval and early modern eras, focusing on work which engages with performance-oriented research.

Una noche, en un milisegundo despu?'s de las 9:00pm comienza la historia de Mi FunEral.

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.

Beginning with a brief essay by internationally renowned playwright Harold Pinter, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored through contemporary theatre. The original essays discuss a wide range of topics related to the intersection of theatre and prison, including Harold Pinter's screenplays for The Handmaid's Tale and The Trial, Theatrical Prison Projects, Marat/Sade, and themes of imprisonment in US Latino drama. This is the first collection on this increasingly popular and important topic.