The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years. Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic. What we think of as 'performance' and 'drama' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis's Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.

In Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create border art .

Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity.

The book features:

• Detailed exercises for using Pocha Nostra methods in workshops
• Inspirational approaches for anyone creating, producing or teaching radical performance
• A step-by-step guide for large-scale group performance
• New, unpublished photos of the Pocha Nostra method in practice

Exercises for Rebel Artists advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change.

Minstrel Traditions: Mediated Blackface in the Jazz Age explores the place and influence of black racial impersonation in US society during a crucial and transitional time period. Minstrelsy was absorbed into mass-culture media that was either invented or reached widespread national prominence during this era: advertising campaigns, audio recordings, radio broadcasts, and film. Minstrel Traditions examines the methods through which minstrelsy's elements connected with the public and how these conventions reified the racism of the time. This book explores blackface and minstrelsy through a series of overlapping case studies which illustrate the extent to which blackface thrived in the early twentieth century. It contextualizes and analyzes the last musical of black entertainer Bert Williams, the surprising live career of pancake icon Aunt Jemima, a flourishing amateur minstrel industry, blackface acts of African American vaudeville, and the black Broadway shows which brought new musical styles and dances to the American consciousness. All reflect, and sometimes incorporate, the mass-culture technologies of the time, either in their subject matter or method of distribution. Retrograde blackface seamlessly transitioned from live to mediated iterations of these cultural products, further pushing black stereotypes into the national consciousness. The book project oscillates between two different types of performances: the live and the mediated. By focusing on how minstrelsy in the Jazz Age moved from live performance into mediatized technologies, the book adds to the intellectual and historical conversation regarding this pernicious, racist entertainment form. Jazz Age blackface helped normalize new media technologies and that technology extended minstrelsy's influence within US culture. Minstrel Traditions tracks minstrelsy's social impact over the course of two decades to examine how ideas of national identity employ racial nostalgias and fantasias. This book will be of great interest to scholars and researchers in theatre studies, communication studies, race and media, and musical scholarship

This collection of new essays explores connections between dance, modernism, and modernity by examining the ways in which leading dancers have responded to modernity. Burt and Huxley examine dance examples from a period beginning just before the First World War and extending to the mid-1950s, ranging across not only mainland Europe and the United States but also Africa, the Caribbean, the Pacific Asian region, and the UK. They consider a wide range of artists, including Akarova, Gertrude Colby, Isadora Duncan, Katherine Dunham, Margaret H'Doubler, Hanya Holm, Michio Ito, Kurt Jooss, Wassily Kandinsky, Margaret Morris, Berto Pasuka, Uday Shankar, Antony Tudor, and Mary Wigman. The authors explore dancers' responses to modernity in various ways, including within the contexts of natural dancing and transnationalism. This collection asks questions about how, in these places and times, dancing developed and responded to the experience of living in modern times, or even came out of an ambivalence about or as a reaction against it. Ideal for students and practitioners of dance and those interested in new modernist studies, Dance, Modernism, and Modernity considers the development of modernism in dance as an interdisciplinary and global phenomenon.

In Performing Endurance, Lara Shalson offers a new way of understanding acts of endurance in art and political contexts. Examining a range of performances from the 1960s to the present, including influential performance art works by Marina Abramovic, Chris Burden, Tehching Hsieh, Linda Montano, Yoko Ono, and others, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance. Endurance, Shalson argues, raises vital questions about what it means to exist as a body that both acts and is acted upon, from ethical questions about how we respond to the bodies of others to political questions about how we live in relation to institutions that shape life in fundamental ways. In addition, Performing Endurance rethinks how performance itself endures over time.

The Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performance-from the nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes: A "Timeline of African American theatre and performance." Part I "Seeing ourselves onstage" explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness. Part II "Institution building" highlights institutions that have nurtured Black people both on stage and behind the scenes. Topics include Historically Black Colleges and Universities (HBCUs), festivals, and black actor training. Part III "Theatre and social change" surveys key moments when Black people harnessed the power of theatre to affirm community realities and posit new representations for themselves and the nation as a whole. Topics include Du Bois and African Muslims, women of the Black Arts Movement, Afro-Latinx theatre, youth theatre, and operatic sustenance for an Afro future. Part IV "Expanding the traditional stage" examines Black performance traditions that privilege Black worldviews, sense-making, rituals, and innovation in everyday life. This section explores performances that prefer the space of the kitchen, classroom, club, or field. This book engages a wide audience of scholars, students, and theatre practitioners with its unprecedented breadth. More than anything, these invaluable insights not only offer a window onto the processes of producing work, but also the labour and economic issues that have shaped and enabled African American theatre.

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

Bringing together a range of perspectives to examine the full impact of political, socio-economic or psychological experiences of exile, Performing Exile: Foreign Bodies presents an inclusive mix of voices from varied cultural and geographic affiliations. The collected essays in this book focus on live performances that were inspired by living in exile. Chapters blend close critical analysis and ethnography to document and interrogate performances and the contexts that inform them. In a world where exiled populations continue to grow, the role of art to document and engage with these experiences will continue to be essential, and this diverse book offers an important model for understanding the rich body of work being created today. A PDF version of this book is available for free in open access via the OAPEN Library platform, Performing Exile. It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.

Porneia features a selection of works by Eduardo Kac realized in the context of the Porn Art Movement, a vanguard that emerged in 1980 under a military dictatorship in Brazil and which, for two intense years, straddled the line between relentless formal experimentation and the outlying demimonde where boundary-busting gender reinvention took place. Through performances, poetry and visual works, as well as through interventions in daily life, between 1980 and 1982 Kac carried out a radical body-based program that upturned the semiotics of normative pornography at the service of activism and imagination.

In a society where public speech was integral to the decision-making process, and where all affairs pertaining to the community were the subject of democratic debate, the communication between the speaker and his audience in the public forum, whether the law-court or the Assembly, cannot be separated from the notion of performance. Attic Oratory and Performance seeks to make modern Performance Studies productive for, and so make a significant contribution to, the understanding of Greek oratory. Although quite a lot of ink has been spilt over the performance dimension of oratory, the focus of nearly all of the scholarship in this area has been relatively narrow, understanding performance as only encompassing 'delivery' - the use of gestures and vocal ploys - and the convergences and divergences between oratory and theatre. Serafim seeks to move beyond this relatively narrow focus to offer a holistic perspective on performance and oratory. Using examples from selected forensic speeches, in particular four interconnected speeches by Aeschines (2, 3) and Demosthenes (18, 19), he argues that oratorical performance encompassed subtle communication between the speaker and the audience beyond mere delivery, and that the surviving texts offer numerous glimpses of the performative dimension of these speeches, and their links to contemporary theatre.

Double Exposures is a new collaborative venture between Manuel Vason and forty of the most visually arresting artists working with performance in the UK. Ten years after his first, groundbreaking book Exposures, Vason has produced another extraordinary body of work, which sets out new ways of bridging performance and photography. For Double Exposures, Vason has worked with two groups of artists, using two distinct types of collaboration, to produce a series of double images. Artists who had previously worked with Vason were invited to create two images, one of their own practice and another, where they took on the role of the photographer, shaping an image with Vason's body. A second group of new collaborators were invited to create a performance, which could be captured in two photographs. All the images exist as doubles - pairs - diptychs.

Narratology in Practice opens up the well-known theory of narrative to various disciplines in the humanities and social sciences. Written as a companion to Mieke Bal's international classic Narratology: Introduction to the Theory of Narrative, in which the examples focus almost exclusively on literary studies, this new book offers more elaborate analyses of visual media, especially visual art and film. Read independently or in parallel with its companion, Narratology in Practice enables readers to use the suggested concepts as tools to assist them in practising narrative analysis.

This book draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.