Four of Schumann's great masterpieces of the 1830s - Carnaval, Fantasiestucke, Kreisleriana and Nachtstucke - are connected to the fiction of E. T. A. Hoffmann. In this book, John MacAuslan traces Schumann's stylistic shifts during this period to offer insights into the expressive musical patterns that give shape, energy and individuality to each work. MacAuslan also relates the works to Schumann's reception of Bach, Beethoven, Novalis and Jean Paul, and focuses on primary sources in his wide-ranging discussion of the broader intellectual and aesthetic contexts. Uncovering lines of influence from Schumann's reading to his writings, and reflecting on how the aesthetic concepts involved might be used today, this book transforms the way Schumann's music and its literary connections can be understood and will be essential reading for musicologists, performers and listeners with an interest in Schumann, early nineteenth-century music and German Romantic culture.

Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music that the composer produced from 1822-8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature.

This book is the first of its kind offering a materialistic semiotic analysis of a non-Western theatre culture: Bengali group theatre. Arnab Banerji fills two lacunas in contemporary theatre scholarship. First, the materialist semiotic approach to studying a non-Western theatre event allows Banerji to critically examine the material conditions in which theatre is created and seen outside the Euro-American context. And second, by shifting the critical lens onto a contemporary urban theatre phenomenon from India, the book attempts to even out the scholastic imbalance in Indian theatre scholarship which has largely focused on folk and classical traditions. The book shows a refreshing new perspective toward a theatre culture that frequently escapes the critical lens in spite of being one of the largest urban theatre cultures in the world. Theatre events are a sum total of the conditions in which they are built and the conditions in which they are viewed. Studying the event separate from its materialistic beginnings and semiotic effects allow only a partial insight into the performance phenomenon. The materialist semiotic critical framework of this book locates the Bengali group theatre within its performative context and offers a heretofore unexplored insight into this vibrant theatre culture.

Investigating Musical Performance considers the wide range of perspectives on musical performance made tangible by the cross-disciplinary studies of the last decades and encourages a comparison and revision of theoretical and analytical paradigms. The chapters present different approaches to this multi-layered phenomenon, including the results of significant research projects. The complex nature of musical performance is revealed within each section which either suggests aspects of dialogue and contiguity or discusses divergences between theoretical models and perspectives. Part I elaborates on the history, current trends and crucial aspects of the study of musical performance; Part II is devoted to the development of theoretical models, highlighting sharply distinguished positions; Part III explores the relationship between sign and sound in score-based performances; finally, the focus of Part IV centres on gesture considered within different traditions of musicmaking. Three extra chapters by the editors complement Parts I and III and can be accessed via the online Routledge Music Research Portal. The volume shows actual and possible connections between topics, problems, analytical methods and theories, thereby reflecting the wealth of stimuli offered by research on the musical cultures of our times.

Combines some of today's leading performance scholars to offer their unique perspectives on how to teach this subject. Invaluable information and ideas for any teachers of Performance Studies, Drama, Performing Arts and Theatre Studies degrees Gives a much broader range of applications than the competition - drama class, studio practice, performance studies seminar, theatre theory class.

The Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology. The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London's Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of 'cultural cruelty' wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss. In the harsh light of such loss is there an alternative to the market that profits from peddling 'well-being' and pushes prescriptions for 'self-help', any role for the arts that is not an apologia for injustice? What if culture were not the solution but the problem when it comes to the mitigation of grief? Creativity not the remedy but the symptom of a structural malaise called inequality? Read suggests performance is no longer a political panacea for the precarious subject but a loss adjustor measuring damages suffered, compensations due, wrongs that demand to be put right. These field notes from a fire sale are a call for angry arts of advocacy representing those abandoned as the detritus of cultural authority, second-order victims whose crime is to have appealed for help from those looking on, audiences of sorts.

Netflix's BoJack Horseman has quickly become one of the most critically acclaimed animated comedy series in recent memory. Set in an off-kilter, cynically spun rendering of modern-day Hollywood, the show follows washed-up horse actor BoJack Horseman (voiced by Will Arnett) as he attempts to turn his life around. BoJack Horseman: The Art Before the Horse is the official behind-the-scenes companion to this cult-hit series. Part oral history sourced from original interviews with the show's cast and crew, part art book-including sketches, storyboards, and background art-this book will trace the series from conception to post-production. Beginning with the initial development of creator/ showrunner Raphael Bob-Waksberg and production designer Lisa Hanawalt's inimitable aesthetic vision, The Art Before the Horse goes on to reveal all of the moving parts-direction, writing, casting, animation, and music-that come together to form this uniquely bleak, emotionally potent, very funny show. Also Available: BoJack Horseman 2019 Wall Calendar (ISBN: 978-1-4197-3177-8)

The first comprehensive publication to capture Hayes's unique blend of performance and social engagement which has been at the forefront of questions of feminist history, queer time, and protest culture for over a decade American artist Sharon Hayes uses photography, film, video, sound, performance, and text to interrogate the intersections between the personal and collective sphere. Her deeply affective and queer approach to history and politics draws particular attention to the language of twentieth-century activism as well as drama, anthropology, and journalism. This book is the first to feature all of Hayes's most significant projects, from the ten-hour performance My Fellow American 1981-1988 to her Monument Lab addressing the absence of monuments to women in Philadelphia. A professor of fine art at the University of Pennsylvania, Hayes's work has been shown at the 2010 Whitney Biennial, Documenta 12 in Kassel, and the 55th Venice Biennale, as well as in the most prestigious museums around the world. Her re-examination of protest, speech, and history is one of the most powerful reflections of the complexity and the urgency of our times. Sharon Hayes is the latest addition to the acclaimed Phaidon Contemporary Artists Series.

Dance is communication. From contemporary collaborations or the first happenings of the Japanese Butoh dancers and the pioneers of Modern dance, Global Groove explores the cultural history of contact between the West and the Far East. Global Groove is going back even to the early performances by Asian dancers in Europe around 1900. Photographs, paintings, sculptures, films and live actions reveal the role played by the language of dance in the political and cultural transformation of societies.

Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff R. Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.

Mona Hatoum creates events, videos, sculptures and installations that relate to the body, to language and to the condition of exile. Her most famous work Corps Etranger, first shown at the Tate Gallery when she was nominated for the Turner Prize in 1995, takes the viewer on a journey through the inner passages of the artist's body. Her audience is thrown into a dimension in which anything is possible, as in The Light at the End, which lures viewers down a long tunnel towards a light that will literally burn them. While her video work is often visceral and emotive, her sculptures and environments are ultra cool and minimal in their aesthetic. They often mimic domestic or institutional furniture, yet their designs and materials have a threatening edge. Exquisitely beautiful, Hatoum's works are at the same time powerful evocations of statelessness, anxiety, denial and otherness. Since Hatoum was exiled to London, where she has lived and worked since the 1970s, she has exhibited her work around the world, including the Centre Pompidou in Paris and the Venice Biennale. This book surveys all her work, ranging from early performances, through to her videos, objects and full-scale environments. The distinguished art critic Guy Brett, author of Through Our Own Eyes: Popular Art and Modern History (1986), explores key themes around a sense of place, the body and communication that emerge from Hatoum's range of work. The artist describes a chronology of practice in conversation with Michael Archer, writer, curator and co-founder of London's Audio Arts sound archive. Director of the Kanaal Art Foundation Catherine de Zegher makes a complex and provocative analysis of Recollection, a work she commissioned for a sixteenth-century beguinage. Hatoum has chosen a text by the influential Palestinian author Edward Said as well as a statement from the noted Italian post-war sculptor and performance artist Piero Manzoni. The book also includes Hatoum's own notes, statements and interviews.

In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.

Reimagines black and brown sensuality to develop new modes of knowledge production In Sensual Excess, Amber Jamilla Musser imagines epistemologies of sensuality that emerge from fleshiness. To do so, she works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics. Each chapter draws our attention to particular aspects of pornotropic capture that black and brown bodies must always negotiate. Though these technologies differ according to the nature of their encounters with white supremacy, together they add to our understanding of the ways that structures of domination produce violence and work to contain bodies and pleasures within certain legible parameters. To do so, Sensual Excess analyzes moments of brown jouissance that exceed these constraints. These ruptures illuminate multiple epistemologies of selfhood and sensuality that offer frameworks for minoritarian knowledge production which is designed to enable one to sit with uncertainty. Through examinations of installations and performances like Judy Chicago's The Dinner Party, Kara Walker's A Subtlety, Patty Chang's In Love and Nao Bustamante's Neapolitan, Musser unpacks the relationships between racialized sexuality and consumption to interrogate foundational concepts in psychoanalytic theory, critical race studies, feminism, and queer theory. In so doing, Sensual Excess offers a project of knowledge production focused not on mastery, but on sensing and imagining otherwise, whatever and wherever that might be.

This book provides a new social history of British performance cultures in the early decades of the twentieth century, where performance across stage and screen was generated by dynamic and transformational industries. Exploring an era book-ended by wars and troubled by social unrest and political uncertainty, A Social History of British Performance Cultures 1900-1939 makes use of the popular material cultures produced by and for the industries - autobiographies, fan magazines and trade journals, as well as archival holdings, popular sketches, plays and performances. Maggie B. Gale looks at how the performance industries operated, circulated their products and self-regulated their professional activities, in a period where enfranchisement, democratization, technological development and legislation shaped the experience of citizenship. Through close examination of material evidence and a theoretical underpinning, this book shows how performance industries reflected and challenged this experience, and explored the ways in which we construct our 'performance' as participants in the public realm. Suited not only to scholars and students of British theatre and theatre history, but to general readers as well, A Social History of British Performance Cultures 1900-1939 offers an original intervention into the construction of British theatre and performance histories, offering new readings of the relationship between the material cultures of performance, the social, professional and civic contexts from which they arise, and on which they reflect.

In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.

What does 'performance theory' really mean and why has it become so important across such a large number of disciplines, from art history to religious studies and architecture to geography? In this introduction Simon Shepherd explains the origins of performance theory, defines the terms and practices within the field and provides new insights into performance's wide range of definitions and uses. Offering an overview of the key figures, their theories and their impact, Shepherd provides a fresh approach to figures including Erving Goffman and Richard Schechner and ideas such as radical art practice, performance studies, radical scenarism and performativity. Essential reading for students, scholars and enthusiasts, this engaging account travels from universities into the streets and back again to examine performance in the context of political activists and teachers, countercultural experiments and feminist challenges, and ceremonies and demonstrations.

What does 'performance theory' really mean and why has it become so important across such a large number of disciplines, from art history to religious studies and architecture to geography? In this introduction Simon Shepherd explains the origins of performance theory, defines the terms and practices within the field and provides new insights into performance's wide range of definitions and uses. Offering an overview of the key figures, their theories and their impact, Shepherd provides a fresh approach to figures including Erving Goffman and Richard Schechner and ideas such as radical art practice, performance studies, radical scenarism and performativity. Essential reading for students, scholars and enthusiasts, this engaging account travels from universities into the streets and back again to examine performance in the context of political activists and teachers, countercultural experiments and feminist challenges, and ceremonies and demonstrations.

Short Plays with Great Roles for Women is an antidote to the traditional underrepresentation of women on stage, by offering twenty-two short plays that put women right at the centre of the action. The push for more women's roles has gathered force over the last few years, and this collection is part of that movement, with rich, intelligent roles for women of all ages and backgrounds. This anthology offers a vital slice of life, addressing relevant and diverse topics such as: a young, Islamic woman coming out to her religious mother; black women's navigation of the natural hair movement; bullying in a small-town American school; social media addiction; and the trials and tribulations of family life. Plays from award-winning playwrights are supported by original production details and playwrights' afterwords, forming a broad and comprehensive collection of complete texts that offer full character journeys. Appealing to aspiring performers, playwrights, directors and students, Short Plays with Great Roles for Women is an essential resource for actor training, assessments, showcases, show-reels, short films and theatre performances.

Teaching Acting with Practical Aesthetics uses constructivist pedagogy to teach acting via Practical Aesthetics, a system of actor training created in the mid-1980s by David Mamet. The book melds the history of Practical Aesthetics, Practical Aesthetics itself, educational theory, and compatible physical work into the educational approach called Praxis to create a comprehensive training guide for the modern actor and theatre instructor. It includes lesson plans, compatible voice and movement exercises, constructivist teaching materials, classroom handouts, and a suggested calendar for Acting courses. Written for Acting instructors at the college and secondary levels, Acting scholars, and professionals looking for a new way to perform, Teaching Acting with Practical Aesthetics offers detailed instructions to help students sharpen their performing skills and excel on stage.

Documentary, Performance and Risk explores how some of the most significant recent American feature documentaries use performance to dramatically animate major categories of risk. The fact that these documentaries do rely on such performance is revealing both in terms of trends in American feature documentary, and in relation to the currency of ideas about risk in contemporary Western societies. The book takes a detailed look at the performance of risk and demonstrates the rewards of close critical attention to formal composition and performance. Covering An Inconvenient Truth, Super Size Me, Capitalism: A Love Story and Jackass: The Movie, it explores how these high-profile films offer up compelling narratives and images of individuals 'acting on risk'. The films seek to both confront and control the contours of their environments in ways that reveal much about how a particular set of beliefs about risk and the individual have come to inform our lives. This wide-ranging analysis of feature documentary is ideal for scholars and postgraduate students studying documentary film, film and media studies.

In the Long Run: A Cultural History of Broadway's Hit Plays presents in-depth analysis of 15 plays that ran over 1,000 performances, examining what made each so popular in its time-and then, in many cases, fall into obscurity. Covering one hundred years of theatre history, it traces the long-running Broadway play as a distinct cultural phenomenon that rises and falls from 1918 to 2018. Each chapter focuses on the longest-running plays of a particular decade, synthesizing historical research and dramaturgical analysis to explain how they functioned as works of theatrical art, cultural commodities, and reflections of the values, conflicts, and fantasies of their times. At the heart of each play's history are the ideological contradictions often present in works of popular culture that appeal to diverse audiences, particularly around issues of gender, race, class, and sexuality. Suitable for anyone with an interest in Broadway and its history, In the Long Run explores the nature of time in this ephemeral art form, the tensions between commerce and art, between popularity and prestige, and the changing position of the Broadway play within American popular culture.

Identity and Diversity in New Music: The New Complexities aims to enrich the discussion of how musicians and educators can best engage with audiences, by addressing issues of diversity and identity that have played a vital role in the reception of new music, but have been little-considered to date. Marilyn Nonken offers an innovative theoretical approach that considers how the environments surrounding new music performances influence listeners' experiences, drawing on work in ecological psychology. Using four case studies of influential new music ensembles from across the twentieth century, she considers how diversity arises in the musical environment, its impact on artists and creativity, and the events and engagement it makes possible. Ultimately, she connects theory to practice with suggestions for how musicians and educators can make innovative music environments inclusive.