Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre examines the function of dramaturgy and the role of the dramaturg in making a theatre performance situated at the crossroads of multiple theatre forms and performative devices. This book explores how these forms and devices are employed, challenged, experimented with, and reflected upon in the work of migrant theatre by performance and dance artists. Meerzon and Pewny ask: What impact do peoples' movement between continents, countries, cultures, and languages have on the process of meaning production in plays about migration created by migrant artists? What dramaturgical devices do migrant artists employ when they work in the context of multilingual production, with the texts written in many languages, and when staging performances that target multicultural and multilingual theatregoers? And, finally, how do the new multilingual practices of theatre writing and performance meet and transform the existing practices of postdramatic dramaturgies? By considering these questions in a global context, the editors explore the overlapping complexities of migratory performances with both range and depth. Ideal for scholars, students, and practitioners of theatre, dramaturgy, and devising, Dramaturgy of Migration expresses not only the practicalities of migratory performances but also the emotional responses of the artists who stage them.

A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage. Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Serban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcarete, Mihai Maniutiu, Gianina Carbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists. Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.

Unlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused, or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the 'performance of extremity' as practices at the limits of the histories of performance and art, in performance art's most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance. -- .

History, Opera, Music, Stage, Voice, Theatre, Performance

1) This book presents a comprehensive narrative of North Indian Folk theatre as a counter culture. 2) Rich in empirical material, it shows how North Indian Folk theatres are challenging the cultural hegemony. 3) This book will be of interest to departments of South Asian studies and Cultural studies across UK and USA.

Performing Home is the first sustained study of the ways in which artists create artworks in, and in response to, domestic dwellings. In the context of growing interest in ideas and practices that cross between architecture, arts practice and performance, it is valuable to understand what happens when artists make work in and about specific buildings. This is particularly important with domestic dwellings, which can be bound up with experiences, issues, practices and understandings of home. The book focuses on a range of recent artistic projects to identify and investigate critical ways by which artists practise domestic dwellings. In doing so, it addresses the ways in which artists enquire into a dwelling, are resident in a dwelling, adapt the form of a dwelling, practise a mobile dwelling, and make a dwelling. By considering these practices together, Andrews demonstrates the breadth and significance of recent artistic engagement in and with domestic dwellings and highlights the contribution that artistic practice can make to the ways in which we understand the form and practice of a building. Performing Home will be of particular relevance to scholars, students and practitioners in architecture, art and performance, to those in geography, material culture and cultural studies, and to anyone seeking to make sense of the place in which they live.

This book explores the interrelation of contemporary French theatre and poetry. Using the pictorial turn in the various branches of art and science, its observable features, and the theoretical framework of the conceptual metaphor, this study seeks to gather together the divergent manners in which French poetry and theatre address this turn. Poetry in space and theatricality of poetry are studied alongside theatre, especially to the performative aspect of the originally theological concept of "kenosis". In doing so the author attempts to make use of the theological concept of kenosis, of central importance in Novarina's oeuvre, for theatrical and dramatological purposes. Within poetic rituals, kenotic rituals are also examined in the book in a few theatrical practices - Janos Pilinszky and Robert Wilson, Jerzy Grotowski and Eugenio Barba - facilitating a better understanding of Novarina's works. Accompanied by new English translations in the appendices, this is the first English language monograph related to the French essayist, dramaturg and director Valere Novarina's theatre, and will be of great interest to students and scholars in theatre and literature studies.

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean. Consent in intimate relationships is front and center in today's conversations. This book re-examines the verbal and physical interactions of female-identified characters in Early Modern and contemporary cultures in Shakespeare's Mediterranean comedies and the sources from which he derived his plays. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare's Mediterranean plays and his probable sources sheds light on how Shakespeare's audiences might have perceived Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare's comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era. Given Shakespeare's impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare's Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.

- Spectatorship is a topic of increased relevance in theatre and performance studies and has been so for a while. Spectatorship is undergoing a huge transformation and its activation is hotly debated: participation, interactivity (including digital) and immersion are only some of the current trends.

Unruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience. This study analyses how, out of anxiety that unruly audiences would destroy the nascent industry of professional drama in England, playwrights sought to limit the effect that their plays could have on the audience. They tried to construct playgoing through their drama in the hopes of creating a less-reactive, more pensive, and controlled playgoer. The result was the radical experimentation in dramaturgy that, in part, defines Renaissance drama. Written for scholars of Early Modern and Renaissance Drama and Theatre, Theatre History, and Early Modern and Renaissance History, this book calls for a new focus on the local economic concerns of the theatre companies as a way to understand the motivation behind the drama of early modern London.

This book provides a thorough analysis of terpsichorean lexis in Renaissance drama. Besides considering not only the Shakespearean canon but also the Bard's contemporaries (e.g., dramatists as John Marston and Ben Jonson among the most refined Renaissance dance aficionados), the originality of this volume is highlighted in both its methodology and structure. As far as methods of analysis are concerned, corpora such as the VEP Early Modern Drama collection and EEBO, and corpus analysis tools such as #LancsBox are used in order to offer the widest range of examples possible from early modern plays and provide co-textual references for each dance. Examples from Renaissance playwrights are fundamental for the analysis of connotative meanings of the dances listed and their performative, poetic and metaphoric role in sixteenth- and seventeenth-century drama. This study will be of great interest to Renaissance researchers, lexicographers and dance historians.

Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. These intermedial metaphors are shown to be significant to the practice and reflection of performing artists through their ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. This exploration opens up possibilities for new theoretical and practical insights with regard to how the borderland between temporal art forms can be conceptualized. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies.

Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. These intermedial metaphors are shown to be significant to the practice and reflection of performing artists through their ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. This exploration opens up possibilities for new theoretical and practical insights with regard to how the borderland between temporal art forms can be conceptualized. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies.

Collaborative Spirit-Writing and Performance in Everyday Black Lives is about the interconnectedness between collaboration, spirit, and writing. It is also about a dialogic engagement that draws upon shared lived experiences, hopes, and fears of two Black persons: male/female, straight/gay. This book is structured around a series of textual performances, poems, plays, dialogues, calls and responses, and mediations that serve as claim, ground, warrant, qualifier, rebuttal, and backing in an argument about collaborative spirit-writing for social justice. Each entry provides evidence of encounters of possibility, collated between the authors, for ourselves, for readers, and society from a standpoint of individual and collective struggle. The entries in this Black performance diary are at times independent and interdependent, interspliced and interrogative, interanimating and interstitial. They build arguments about collaboration but always emanate from a place of discontent in a caste system, designed through slavery and maintained until today, that positions Black people in relation to white superiority, terror, and perpetual struggle. With particular emphasis on the confluence of Race, Racism, Antiracism, Black Lives Matter, the Trump administration, and the Coronavirus pandemic, this book will appeal to students and scholars in Race studies, performance studies, and those who practice qualitative methods as a new way of seeking Black social justice.

Commedia dell'Arte Scenarios gathers together a collection of scenarios from some of the most important Commedia dell'Arte manuscripts, many of which have never been published in English before. Each script is accompanied by an editorial commentary that sets out its historical context and the backstory of its composition and dramaturgical strategies, as well as scene summaries, and character and properties lists. These supplementary materials not only create a comprehensive picture of each script's performance methods but also offer a blueprint for readers looking to perform the scenarios as part of their own study or professional practice. This collection offers scholars, performers and students a wealth of original performance texts that brig to life one of the most foundational performance genres in world theatre.

Commedia dell'Arte Scenarios gathers together a collection of scenarios from some of the most important Commedia dell'Arte manuscripts, many of which have never been published in English before. Each script is accompanied by an editorial commentary that sets out its historical context and the backstory of its composition and dramaturgical strategies, as well as scene summaries, and character and properties lists. These supplementary materials not only create a comprehensive picture of each script's performance methods but also offer a blueprint for readers looking to perform the scenarios as part of their own study or professional practice. This collection offers scholars, performers and students a wealth of original performance texts that brig to life one of the most foundational performance genres in world theatre.

Lyrical and creative exploration of different methods of making research evocative and authentic Explores in particular the use of embodied and poetic methods Includes exercises and writing prompts for students and to expand learning

The book fills a niche in early modern scholarship, no such comprehensive treatment of hobby-horse allusions was published before. Relevant dictionaries and glossaries in critical editions will be much helped by the book, because it contextualizes and often corrects traditional explanations for the word 'hobby-horse.' The comprehensive treatment of hobby-horse allusions, ranging from cultural history to theatrical, print productions and images allows for a fuller understanding of how popular culture worked in early modern England. Comparative close readings of little known and canonical plays highlight differences between types of dramaturgical composition, and such conclusions may be useful for theatre practitioners even today. The book caters for the interests of people coming from various fields: theatre, cultural history, literature, art history, folklore studies. The book is written in an accessible language, guiding the reader informatively through a lot of early modern texts and concepts.

Girls, Performance, and Activism offers artists, activists, educators, and scholars a comprehensive analysis, celebration, and critique of the ways in which teenage girls create and perform activist theater. Girls, particularly Black and Latinx teenagers, are using the tools of performance to share their stories, devise new ones, and use the stage to advocate for social change. Interweaving interviews, poetic text, drama, and theory, this book provides readers with a comprehensive understanding of how and why this field erupted and the ways in which girls are using performance to transform themselves and enact change in their communities. As a white woman who has collaboratively created theater with hundreds of girls of color over the past 20 years, Dana Edell offers strategies for engaging with girls across difference through an intersectional lens in order to acknowledge the ways in which race, gender, age, class, ability, and sexuality influence girls' experiences and relationships with adult collaborators as they work to create meaningful, impactful, and often personal activist performances. This is the go-to handbook for teachers, theater directors, and performance makers who want to create politically engaged work with teenage girls.

1. This book shows why Greek drama remains relevant to the modern world 2. This book theorizes a way to move toward a more just and open society 3. This book shows how the arts can challenge a capitalist world view 4. This book analyses significant contemporary adaptations of Greek drama, like Marina Carr's By the Bog of Cats and Yael Farber's Molora

This book provides a fascinating study into the history of kingship, madness and masculinity that was acted out on the early modern stage. Providing students of early modern history, theatre and performance studies and disability studies with interesting case studies to inform their upper level seminars and research. Throughout the volume the authors engage with the field of disability studies to show how disability and mental health were portrayed and what that tells us about the period and the people who lived in it. Showing students, a new dimension of early modern Europe. The chapters uncover how, as the early modern understanding of mental illness re-focused on human, rather than supernatural, causes, the public stages became important arenas for playwrights, actors, and audiences to explore expressions of madness and to practice diagnoses. Enabling students from multiple disciplines such as the history of medicine, the history of theatre and performance and the history of early modern Europe to see the how attitudes formed and changed around kingship, madness and masculinity in this period.

Moving through Conflict: Dance and Politics in Israel is a pioneering project in examining the Israeli-Palestinian conflict through dance. It proposes a research framework for study of the social, cultural, aesthetic and political dynamics between Jews and Arabs as reflected in dance from late 19th-century Palestine to present-day Israel. Drawing on multiple disciplines, this book examines a variety of social and theatrical venues (communities, dance groups, evening classes and staged performances), dance genres (folk dancing, social dancing and theatrical dancing) and different cultural identities (Israeli, Palestinian and American). Underlying this work is a fundamental question: can the body and dance operate as nonverbal autonomous agents to mediate change in conflicting settings, transforming the "foreign" into the "familiar"? Or are they bound to their culturally dependent significance - and thus nothing more than additional sites of an embodied politics? This anthology expounds on various studies on dance, historical periods, points of view and points of contact that help promote thinking about this fundamental issue. It will be of great interest to students and scholars of dance studies, sociology, anthropology, art history, education and cultural studies, as well as conflict and resolution studies.

Over the past 50 years, Indigenous Australian theatre practice has emerged as a dynamic site for the discursive reflection of culture and tradition as well as colonial legacies, leveraging the power of storytelling to create and advocate contemporary fluid conceptions of Indigeneity. Performing Indigenous Identities on the Contemporary Australian Stage offers a window into the history and diversity of this vigorous practice. It introduces the reader to cornerstones of Indigenous Australian cultural frameworks and on this backdrop discusses a wealth of plays in light of their responses to contemporary Australian identity politics. The in-depth readings of two landmark theatre productions, Scott Rankin's Namatjira (2010) and Wesley Enoch & Anita Heiss' I Am Eora (2012), trace the artists' engagement with questions of community consolidation and national reconciliation, carefully considering the implications of their propositions for identity work arising from the translation of traditional ontologies into contemporary orientations. The analyses of the dramatic texts are incrementally enriched by a dense reflection of the production and reception contexts of the plays, providing an expanded framework for the critical consideration of contemporary postcolonial theatre practice that allows for a well-founded appreciation of the strengths yet also pointing to the limitations of current representative approaches on the Australian mainstage. This study will be of great interest to students and scholars of Postcolonial, Literary, Performance and Theatre Studies.

Theatre-Rites are regarded as pioneers in the field of object-led and site-specific performance, creating ground-breaking work for family audiences since 1995. This book marks the company's 25th anniversary, offering the first in-depth exploration of artistic director Sue Buckmaster's visionary practice, in which anything can be animated. This book draws on original research, including five years of in-depth interviews between its authors, images from Theatre-Rites' archive and Buckmaster's private collection, detailed observations from the company's professional training workshops and personal reflections on past productions. A timely and compelling advocacy for the importance of high-quality experimental arts provision for young audiences is made, distilling learning from decades of the company's professional activities to motivate and empower the next generation of object-led theatre-makers. Theatre-Rites: Animating Puppets, Objects and Sites is an invaluable resource for any puppeteer, actor, dancer, visual artist, poet or student interested in expanding their understanding of how to incorporate puppetry and/or symbolic objects as metaphors in their work.

In Mythic Imagination and the Actor, Marissa Chibas draws on over three decades of experience as a Latinx actor, writer, filmmaker, and teacher to offer an approach to acting that embraces collective imagination, archetypal work, and the mythic. The book begins with a comparative analysis between method acting and mythic acting, encouraging actors to push past the limits of singular life experience and move to a realm where imagination and metaphor thrive. In the context of mythic acting, the book explores awareness work, solo performance creation, the power of archetypes, character building exercises, creating a body/text connection, and how to be the detective of your own process. Through this inclusive guide for a new age of diverse performers traversing gender, ability, culture, and race, readers are able to move beyond their limits to a deep engagement with the infinite possibilities of rich imagination. The final chapter empowers and motivates artists to live healthfully within the practice and create a personal artistic vision plan. Written for actors and students of acting, American Drama, and film and theatre studies, Mythic Imagination and the Actor provides practical exercises and prompts to unlock and interpret an actor's deepest creative sources.