This dynamic book offers a comprehensive companion to the theory and practice of Theatre of the Oppressed. Developed by Brazilian director and theorist Augusto Boal, these theatrical forms invite people to mobilize their knowledge and rehearse struggles against oppression. Featuring a diverse array of voices (many of them as yet unheard in the academic world), the book hosts dialogues on the following questions, among others: Why and how did Theatre of the Oppressed develop? What are the differences between the 1970s (when Theatre of the Oppressed began) and today? How has Theatre of the Oppressed been shaped by local and global shifts of the last 40-plus years? Why has Theatre of the Oppressed spread or "multiplied" across so many geographic, national, and cultural borders? How has Theatre of the Oppressed been shaped by globalization, "development," and neoliberalism? What are the stakes, challenges, and possibilities of Theatre of the Oppressed today? How can Theatre of the Oppressed balance practical analysis of what is with ambitious insistence on what could be? How can Theatre of the Oppressed hope, but concretely? Broad in scope yet rich in detail, The Routledge Companion to Theatre of the Oppressed contains practical and critical content relevant to artists, activists, teachers, students, and researchers.

Contents:
Acknowledgments Introduction 1. Spaces 2. Site 3. Materials 4. Frames Conclusion Notes on Contributors Notes Bibliography

During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres with the same sentimental moments and comic interludes of domestic melodrama mixed with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain's promulgation of imperial ideology - and its role in constructing and maintaining class, gender, and racial identities - have given discussions of melodrama force and momentum. The plays in included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from the original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays' nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices - acting, audiences, staging, lighting, special effects - are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further. The appendices include maps of Britain, Europe, and the East and West Indies.

Site-Specific Art charts the development of an experimental art form in an experimental way. Nick Kaye traces the fascinating historical antecedents of today's installation and performance art, while also assembling a unique documentation of contemporary practice around the world.
The book is divided into individual analyses of the themes of space, materials, site, and frames. These are interspersed by specially commissioned documentary artwork from some of the world's foremost practitioners and artists working today. This interweaving of critique and creativity has never been achieved on this scale before.
Site-Specific Art investigates the relationship of architectural theory to an understanding of contemporary site related art and performance, and rigorously questions how such works can be documented.
The artistic processes involved are demonstrated through entirely new primary articles from:
* Meredith Monk
* Station House Opera
* Brith Gof
* Forced Entertainment.
This volume is an astonishing contribution to debates around experimental cross-arts practice.

In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare. The collection is divided into four sections: studying the text as a script for performance; exploring Shakespeare by performing; implementing specific techniques for getting into the plays; and working in different classrooms and settings. The contributors offer a rich variety of topics, including: working with cues in Shakespeare, such as line and mid-line endings that lead to questions of interpretation seeing Shakespeare's stage directions and the Elizabethan playhouse itself as contributing to a play's meaning using the "gamified" learning model or cue-cards to get into the text thinking of the classroom as a rehearsal playing the Friar to a student's Juliet in a production of Romeo and Juliet teaching Shakespeare to inner-city students or in a country torn by political and social upheavals. For fellow instructors of Shakespeare, the contributors address their own philosophies of teaching, the relation between scholarship and performance, and-perhaps most of all-why in this age the study of Shakespeare is so important. Chapter 10 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license. https://tandfbis.s3-us-west-2.amazonaws.com/rt-files/docs/Open+Access+Chapters/9780367190798_oachapter10.pdf

For this American edition of his legendary arts dictionary of information and opinion, the distinguished critic and arts historian Richard Kostelanetz has selected from the fuller third edition his entries on North Americans, including Canadians, Mexicans, and resident immigrants. Typically, he provides intelligence unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, Kostelanetz also ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali and the Harlem Globetrotters, and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Ambrose Bierce and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a "reference book" to be treasured not only in bits and chunks, but continuously as one of the ten books someone would take if they planned to be stranded on a desert isle.

The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories.

Bertolt Brecht is one of the most prolific and influential writer-directors of the twentieth century. This fascinating anthology brings together in one volume many of the most important articles written about Brecht between 1957 and 1997. The collection explores a wide range of viewpoints about Brecht's theatre theories and practice, as well as including three plays not otherwise available in English: The Beggar or The Dead Dog, Baden Lehrstuck and The Seven Deadly Sins of the Lower Middle Class.
Editors Martin and Bial have brought together a unique compendium which covers all the key areas including:
* the development of Brecht's aesthetic theories
* the relationship of Epic theatre to orthodox dramatic theatre
* Brecht's collaboration with Kurt Weill, Paul Dessau and Max Frisch
* Brecht's influence on a variety of cultures and contexts including England, Italy , Moscow and Japan.
Together these essays are an ideal companion to Brecht's plays, and provide an invaluable reconsideration of Brecht's work.
Contributors include: Werner Hecht, Mordecai Gorelik, Eric Bentley, Jean-Paul Sartre, Kurt Weill, Ernst Bloch, Darko Suvin, Carl Weber, Paul Dessau, Denis Calandra, W. Stuart McDowell, Ernst Schmacher, Hans-Joachim Bunge, Martin Esslin, Artuto Lazzari, Tadashi Uchino, Diana Taylor, Elin Diamond, and Lee Baxandall.

The third edition of Pamela Howard's What is Scenography? expands on the author's holistic analysis of scenography as comprising space, text, research, art, performers, directors and spectators, to examine the changing nature of scenography in the twenty-first century. The book includes new investigations of recent production projects from Howard's celebrated career, including Carmen and Charlotte: A Tri-Coloured Play with Music, full-colour illustrations of her recent work and updated commentary from a wide spectrum of contemporary theatre makers. This book is suitable for students in Scenography and Theatre Design courses, along with theatre professionals.

The Radical in Performance investigates the crisis in contemporary theatre, and celebrates the subversive in performance. It is the first full-length study to explore the link between a western theatre culture and postmodern performance. Baz Kershaw argues that the former is largely outdated compared to postmodern performance, much of which has a genuinely radical edge. In staying focused on the period between Brecht and Baudrillard, modernity and postmodernism, Baz Kershaw identifies crucial resources for the revitalisation of the radical across a wide spectrum of cultural practices.
This is a timely, necessary and rigorous book. It will be a compelling read for anyone searching for a critical catalyst for new ways of viewing and practising cultural politics.

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Street performance has long been a staple of radical and visionary political movements. Typically, theater transports an audience to a reality apart from the everyday. Radical street performance strives to transport everyday reality to something more ideal. Because the spectators are not necessarily predisposed to theater-going, it takes place in public spaces and is usually free of charge. Potentially, street performance creates a bridge between imagined and real actions, , often facilitated by staging the event at the very sites of power the performers seek to transform.
"Radical Street Performance" is the first volume to collect the fascinating array of writings by activists, directors, performers, critics, scholars and journalists who have documented political performance in streets around the world. These essays look at performance in Europe, Africa, China, India and both of the Americas, and describe engagements with issues as diverse as abortion, colonialism, the environment and homophobia, to name only a sampling. Including coverage of the highly performative political activities of organizations such as ACT-UP and Greenpeace, the public spectacle of Abbie Hoffman's political radicalism, and the writings of Tolstoy, this is truly a new kind of primer for the study of politics and performance.
"Radical Street Performance" is an inspirational testimony to this international performance tradition, and a valuable record of a form of theater that continues to flourish in an increasingly apolitical and televisual age. Contributors: Eugenio Barba, Augusto Boal, Dwight Conquergood, Abbie Hoffman, Baz Kershaw, Nellie Richard, Richard Schechner, Diana Taylor, Ngugi wa Thiong'o, David Welch.

This is the first volume to provide a comprehensive overview of the phases of Jerzy Grotowski's long and multi-faceted career. The Grotowski Sourcebook assembles materials that have appeared in diverse publications and languages over a period of more than 30 years. The sourcebook features:
* international contributions from all the key performance theorists to have worked on Grotowski, including Eugenio Barba, Peter Brook, Jan Kott, Eric Bentley and Jennifer Kumiega
* writings which trace every phase of Grotowski's development, from his 'theatre of productions', through 'paratheatre' and 'theatre of sources' to 'objective drama' and 'art as vehicle'
* a unique collection of Grotowski's own writings plus an interview with his closest collaborator and 'heir' Thomas Richards
* a vast range of stunning photographic documentation of Grotowski and his followers in action
* a historical-critical study of Grotowski by Richard Schechner, published here for the first time.

In this work the author traces his researches with Grotowski and Strasberg, at the Old Vic in London, and in Nahuatlan and Tibetan theatre to arrive at his design for a unique participatory theatre form. The text also provides a practical guide to the author's ritual/theatrical "actions" as well as supplying a philosophical context for this work.

In this cross-disciplinary study, Timothy Murray examines the artistic struggle over traumatic fantasies of race, gender, sexuality, and power. Establishing a retrospective dialogue between past and present, stage and video, this work links the impact of trauma on recent political projects in performance and video with the specters of difference haunting Shakespeare's plays. Murray provides close readings of cultural formations as diverse as Shakespearean drama, the Statue of Liberty, contemporary plays by women, African-American performance, and feminist interventions in video, performance and installation. The texts discussed include: installations by Mary Kelly and Dawn Dedeaux; plays by Ntozake Shange, Rochelle Owens, Adrienne Kennedy, Marsha Norman and Amiri Baraka; performances by Robbie McCauley, Jordan, Orlan, and Carmelita Tropicana; stage, film and video productions of "King Lear, Othello, Romeo and Juliet" and "All's Well that Ends Well."

First Published in 1997. This is Volume 3, Part 2 in the Choreography and Dance journal and looks at the dance and the theatre of Kurt Jooss, in context of his times of birth, his evolution of as an artist, Jooss as a teacher and his ballets.

Susan Bennett's highly successful Theatre Audiences is a unique full-length study of the audience as cultural phenomenon, which looks at both theories of spectatorship and the practice of different theatres and their audiences.
Published here in a brand new updated edition, Theatre Audiences now includes:
- a new preface by the author
- a stunning extra chapter on intercultural theatre
- a revised up-to-date bibliography.
Theatre Audiences is a must-buy for teachers and students interested in spectatorship and theatre audiences, and will be valuable reading for practitioners and others involved in the theatre.

This study is the first general critical introduction to the writing of Horton Foote, recipient of two Academy Awards and the Pulitzer Prize. These original essays survey Foote's career, his work for theater, television, and film, with analysis of Foote's major themes and characteristic style in all three media. The casebook concludes with a list of Foote's produced work, as well as a selective annotated bibliography of primary criticism on the playwright. This book demonstrates the influence of personal biography and Southern literature on Foote's career. The essayists also investigate the writer's contribution to American dramatic realism and independent filmmaking, emphasizing his experimentation with musical structure, dedramatization, and complex subtexts. Foote's disarmingly simple stories, with their radically understated language, are explained in many articles as the product of the subtle influence of the psychological and religious views of the author.

This collection begins with two premises: that our understanding of the nature and forms of creativity in later life remains limited and that dialogue between specialists in gerontology, the arts and humanities can produce the crucial new insights that are so obviously needed. Representing the outcome of ongoing dialogue across the disciplinary divide, the contributions of this volume reflect anew on what we share and how we differ; creating new narratives so as to build an understanding of late-life creativity that goes far beyond the narrow confines of the pervasively received idea of 'late style'. Creativity in Later Life encompasses a range of personal reflections and discussions of the boundaries of creativity, including: Canonical artistic achievements to community art projects Narratives of carers for those living with dementia Analyses of creative theory Through these insightful chapters, the authors consequently offer an understanding of creativity in later life as varied, socialised and - above all - located in the cultural and economic circumstances of the here and now. This title will appeal to academics, practitioners and students in the various gerontological, arts and humanities fields; and to anyone with an interest in the nature of creativity in later life and the forms it takes.

Susan Bennett's highly successful Theatre Audiences is a unique full-length study of the audience as cultural phenomenon, which looks at both theories of spectatorship and the practice of different theatres and their audiences.
Published here in a brand new updated edition, Theatre Audiences now includes:
`nBL a new preface by the author
• a stunning extra chapter on intercultural theatre
• a revised up-to-date bibliography
Theatre Audiences is a must-buy for teachers and students interested in spectatorship and theatre audiences, and will be valuable reading for practitioners and others involved in the theatre.

In this engaging cross-disciplinary study, Timothy Murray examines the artistic struggle over traumatic fantasies of race, gender, sexuality, and power. Establishing a retrospective dialogue between past and present, stage and video, Drama Trauma links the impact of trauma on recent political projects in performance and video with the specters of difference haunting Shakespeare's plays.
The book provides close readings of cultural formations as diverse as Shakespearean drama, the Statue of Liberty, contemporary plays by women, African-American performance, and feminist interventions in video, performance and installation. The texts discussed include:
* installations by Mary Kelly and Dawn Dedeaux,
* plays by Ntozake Shange, Rochelle Owens, Adrienne Kennedy, Marsha Norman and Amiri Baraka
* performances by Robbie McCauley, Jordan, Orlan, and Carmelita Tropicana
* stage, film and video productions of King Lear, Othello, Romeo and Juliet and All's Well that Ends Well.

The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are:
* Carolee Schneemann
* Annie Sprinkle
* Karen Finley
* Robbie McCauley
* Ana Mendieta
* Ann Magnuson
* Sandra Bernhard
* Spiderwoman
Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism. Employing diverse critical theories from Benjamin to Lacan to postcolonial and queer theory, Schneider analyses artistic and pop cultural depictions of the explicit body in late commodity capitalism.
The Explicit Body in Performance is complemented by extensive photographic illustrations and artistic productions of postmodern feminist practitioners. The book is a fascinating exploration of how these artists have wrestled with the representational structures of desire.

eBook available with sample pages: 0203421078

"Mourning Sex" employs an impressive range of cultural representations to examine how cultures perform their mourning. The texts examined range from a recent film made by a man dying of AIDS, to the remains of the Rose theatre. Other chapters explore the performance of grief through: the paintings of Caravaggio and Holbein; the Anita Hill and Clarence Thomas hearings; and Freud's patient Anna O.
In "Mourning Sex," Phelan meditates upon the trauma of loss, erotically and performatively, in an extraordinary fusion of critical and creative writing which erodes the distinction between art and theory, fact and fiction.
This work by the author of the highly-accalimed "Unmarked" makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies. relation to texts and events ranging from the paintings of Caravaggio and Holbein, to Massi and Friedman's film "Silverlake Life" to the Anita Hill and Clarence Thomas hearing Peggy Phelan meditates upon the performance and erotics of the trauma of loss. Experimental and theoretically informed Mourning Sex advances performance theory in dialogue with psychoanalysis, queer theory, and cultural studies. "Mourning Sex" examines how cultures perform their mourning. Employing a wide range of cultural representations--from Caravaggio's 1601 painting, "The Incredulity of St. Thomas" to Tom Joslin's, Mark Massi's and Peter Friedman's 1992 film "Silver Lake Life: The View From Here," "Mourning Sex" meditates on the trauma of loss, erotically, and performatively. Experimental and theoretically informed, "Mourning Sex" advances performance theory in dialogue with psychoanalysis, queer theory, and culturalstudies.

This is a book about the exhilaration and the catastrophe of embodiment. Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction.
The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were perfomed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here.
This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.

Contents:
Introduction by Jill Dolan Part One: Theory 1. Art versus Business: the role of women in American Theatre 2. Women for Women 3.The WOW Cafe 4. Notes on Lesbian Theatre 5. Women at the Helm 6. Staging the Obscene Body 7. Brechtian Theory/Feminist Theory 8. Feminist Theory, Post-Structuralism and Performance 9. In Defence of the Discourse Part Two: Practice 10. Passing Language: ADS and Fires in the Mirror 11. Anna Deaveare Smith 12. Interview with Robbie McCauley 13. Holly Hughes 14. Reading Past the Heterosexual Imperative 15. Karen Finley 16. Motherhood According to Finley Part Three: Texts 17. Dress Suits to Hire 18. The Constant State of Desire