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.

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.

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.

Andrew Reilly's book covers everything you need to know to market yourself as an actor, with thorough and concise information about the movie-making process, drama school, community theatre, acting on television and in commercials, unions, and agents. Unlike other books about the acting business, which focus on east and west coast opportunities, 'An Actor's Business' describes 25 regions all over the United States, and devotes a whole chapter each to Hollywood and New York as well. A must-have for every actor, no matter where you live.

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.

Focusing specifically on solo making and performing, this unique and exciting text allows the experts to speak for themselves. In interviews with Misri Dey, six recognised solo performers working across a range of performance genres - including theatre, dance, live and performance art, site-specific performance, music video and film - provide insightful and practical strategies for creative making and performing processes. Interviewees include Bryony Kimmings, Tim Etchells, Bobby Baker, Mike Pearson, Wendy Houstoun and Nigel Charnock. Engaging and accessible, this is an invaluable resource for undergraduate and postgraduate students of Theatre, Performance and Acting, scholars, lecturers and performance practitioners. It will also appeal to undergraduate and postgraduate students of Women's Studies, Creative Writing and the Visual Arts.

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.

* 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.

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.

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.

The Myrtle twins, Dibs Hamilton and Girlie Delaney, are turning 80. As the family gathers to celebrate, speculation grows as to who will be the one to inherit the family property, Allandale, when the ageing Farley Hamilton is gone. From award-winning playwright Hannie Rayson, comes a powerful new family drama, where duty contends with freedom, and the differences of race, gender and generation must be reconciled before the claims on Allandale, and its families, may be settled. (6 male, 6 female).

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.

* The book demonstrates how a vernacular British performance form emerged as a hybrid of forms from Afro-American and minstrel, as well as French mime and Italian commedia dell'arte roots. * Theatre history is an essential part of theatre and drama courses across the UK and would be recommended reading. * There is no comparable book which makes critical analysis of British pierrot troupes and concert parties in existence - the only ones that do exist on the specific topic are written as reminiscence and anecdote.

This is the first comprehensive textbook on lighting design for dance productions. Illuminates the aesthetic considerations of lighting design (the "poetry") along with the tools and technology (the "nitty-gritty") to execute effective designs. Contains reflections from renowned lighting designers, including Jennifer Tipton, Beverly Emmons, Mark Stanley, Richard Dunham, and James E. Streeter.

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.

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.

This innovative collection brings together a group of leading theatre historians to identify and exemplify a variety of productive new approaches to the investigation of plays, players, playwrights, playhouses and other aspects of theatre in the long eighteenth century. Their inquiries are multi-faceted, ranging from stage censorship and anti-theatricalism to the investigation of playhouse finances, from the performance representation of Othello and Oroonoko to the political resonances of adultery comedy, and from Garrick's vocal art to the interpretation of contemporary paintings of actors and actresses.

This book reflects on the aftermath of shifts encountered in the maturing of digital culture in areas of critical theory and artistic practices, focusing on the awareness that contemporary subjectivity is one that dwells within both the virtual and the real.