Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance? How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey? Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner? Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico. Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores: - how different cultures conceive theatre and how the norm of one place is the experiment of another; - the ways in which theatre across the world mirrors its socio political and philosophical climate; - how, for thousands of years, theatre has been a tool to both disrupt and to heal; - and how, even within the many differences, there are universals from which we can all learn and how theatre does cross borders Of interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.

Will we ever get tired of watching Cher navigate Beverly Hills high school and discover true love in the movie Clueless? As if! Written by Amy Heckerling and starring Alicia Silverstone, Clueless is an enduring comedy classic that remains one of the most streamed movies on Netflix, Amazon, and iTunes even twenty years after its release. Inspired by Jane Austen's Emma, Cluelessis an everlasting pop culture staple. In the first book of its kind, Jen Chaney has compiled an oral history of the making of this iconic film using recollections and insights collected from key cast and crew members involved in the making of this endlessly quotable, ahead-of-its-time production. Get a behind-the-scenes look at how Emma influenced Heckerling to write the script, how the stars were cast into each of their roles, what was involved in creating the costumes, sets, and soundtrack, and much more. This wonderful twentieth anniversary commemoration includes never-before-seen photos, original call sheets, casting notes, and production diary extracts. With supplemental critical insights by the author and other notable movie experts about why Clueless continues to impact pop culture, As If!will leave fans new and old totally buggin' as they understand why this beloved film is timeless.

Theatre, Performance and Cognition introduces readers to the key debates, areas of research, and applications of the cognitive sciences to the humanities, and to theatre and performance in particular. It features the most exciting work being done at the intersection of theatre and cognitive science, containing both selected scientific studies that have been influential in the field, each introduced and contextualised by the editors, together with related scholarship from the field of theatre and performance that demonstrates some of the applications of the cognitive sciences to actor training, the rehearsal room and the realm of performance more generally. The three sections consider the principal areas of research and application in this interdisciplinary field, starting with a focus on language and meaning-making in which Shakespeare's work and Tom Stoppard's Arcadia are considered. In the second part which focuses on the body, chapters consider applications for actor and dance training, while the third part focuses on dynamic ecologies, of which the body is a part.

How does one read across cultural boundaries? The multitude of creative texts, performance practices, and artworks produced by Indigenous writers and artists in contemporary Australia calls upon Anglo-European academic readers, viewers, and critics to respond to this critical question. Contributors address a plethora of creative works by Indigenous writers, poets, playwrights, filmmakers, and painters, including Richard Frankland, Lionel Fogarty, Lin Onus, Kim Scott, Sam Watson, and Alexis Wright, as well as Durrudiya song cycles and works by Western Desert artists. The complexity of these creative works transcends categorical boundaries of Western art, aesthetics, and literature, demanding new processes of reading and response. Other contributors address works by non-Indigenous writers and filmmakers such as Stephen Muecke, Katrina Schlunke, Margaret Somerville, and Jeni Thornley, all of whom actively engage in questioning their complicity with the past in order to challenge Western modes of knowledge and understanding and to enter into a more self-critical and authentically ethical dialogue with the Other. In probing the limitations of Anglo-European knowledge-systems, essays in this volume lay the groundwork for entering into a more authentic dialogue with Indigenous writers and critics.

Analysis of improvisation as a compositional practice in the Commedia dell'Arte and related traditions from the Renaissance to the 21st century. Domenic Pietropaolo takes textual material from the stage traditions of Italy, France, Germany and England, and covers comedic drama, dance, pantomime and dramatic theory, and more. He shines a light onto 'the signs of improvised communication'. The book is comprehensive in its analysis of improvised dramatic art across theatrical genres, and is multimodal in looking at the spoken word, gestural and non-verbal signs. The book focusses on dramatic text as well as: - The semiotics of stage discourse, including semantic, syntactic and pragmatic aspects of sign production - The physical and material conditions of sign-production including biomechanical limitations of masks and costumes. Semiotics and Pragmatics of Stage Improvisation is the product of an entire career spent researching the semiotics of the stage and it is essential reading for semioticians and students of performance arts.

This edited book documents practices of learning-oriented language assessment through practitioner research and research syntheses. Learning-oriented language assessment refers to language assessment strategies that capitalise on learner differences and their relationships with the learning environments. In other words, learners are placed at the centre of the assessment process and its outcomes. The book features 17 chapters on learning-oriented language assessment practices in China, Brazil, Turkey, Norway, UK, Canada, Japan, Saudi Arabia, and Spain. Chapters include teachers' reflections and practical suggestions. This book will appeal to researchers, teacher educators, and language teachers who are interested in advancing research and practice of learning-oriented language assessment.

Fiery Temporalities in Theatre and Performance: The Initiation of History takes up the urgent need to think about temporality and its relationship to history in new ways, focusing on theatre and performance as mediums through which politically innovative temporalities, divorced from historical processionism and the future, are inaugurated. Wickstrom is guided by three temporal concepts: the new present, the penultimate, and kairos, as developed by Alain Badiou, Giorgio Agamben, and Antonio Negri respectively. She works across a field of performance that includes play texts by Aime Cesaire and C.L.R. James, and performances from Ni'Ja Whitson to Cassils, the Gob Squad to William Kentridge and African colonial revolts, Hofesh Schechter to Forced Entertainment to Andrew Schneider and Omar Rajeh. Along the way she also engages with Walter Benjamin, black international and radical thought and performance, Bruno Latour, Stefano Harney and Fred Moten's logistics and the hold, and accelerationism. Representing a significant contribution to the growing interest in temporality in Theatre and Performance Studies, the book offers alternatives to what have been prevailing temporal preoccupations in those fields. Countering investments in phenomenology, finitude, ghosting, repetition, and return, Wickstrom argues that theatre and performance can create a fiery sense of how to change time and thereby nominate a new possibility for what it means to live.

Anything But Dull: the Life and Art of Jeff Nuttall reveals the life lived and the art created by a visionary polymath whose generosity of spirit defined his character. From childhood traumas to revolutionary acts, through triumphs, defeats and resurrections Jeff Nuttall's story is told here for the first time in all its richness and singularity. Based on over eighty interviews and meticulous archive research Anything But Dull shows just what made Jeff Nuttall such pivotal, provocative and important figure in twentieth century life and culture.Performer, poet, artist, writer, musician, teacher, film actor, bon vivant and hell raiser. Throughout his life Jeff Nuttall was always getting into scrapes, provoking outrage, drinking, fighting, falling in and out of love. Those intense experiences became the inspiration for his art. Almost no form of creative expression was foreign to him and within these nothing was forbidden - except, of course, to be dull.

IN "THE SOUNDTRACK OF MY LIFE," music legend Clive Davis recounts an extraordinary five-decade career in the music business, while also telling a remarkable personal story of triumphs, disappointments, and encounters with some of the greatest musical artists of our time, including Bob Dylan, Janis Joplin, Simon & Garfunkel, Barry Manilow, the Grateful Dead, Patti Smith, Whitney Houston, Carlos Santana, Dionne Warwick, Aretha Franklin, and Alicia Keys.
Orphaned in his teens, Davis earned a full scholarship to New York University and another to Harvard Law School. He served as General Counsel of Columbia Records and, in a totally unexpected stroke of fate, became head of the company overnight. More surprisingly, he learned he had "ears," a rare ability to spot special talent and hit records. Those ears contributed to the success of three companies--Columbia, Arista, and J--where Davis dis-covered and developed more unique artists than anyone in the history of the music industry.
What began on the grass at the Monterey Pop Festival with the signing of Janis Joplin has evolved into a lifelong passion and calling, spanning genres, including rock, pop, R&B, country, jazz fusion, and hip-hop. His is the imprimatur that has helped shape contemporary music and, over the years, our popular culture.
"The Soundtrack of My Life" is an essential book for anyone interested in the story of popular music, the fascinating ups and downs of the music business, the alchemy of hits, and the dramatic life of a brilliant leader . . . and listener. It is a riveting read from beginning to end.

America has long exported its network and cable programming abroad, but with a changing world comes a changing dynamic. As global centers of power shift, and wealth becomes redistributed, and perhaps even re-centered, vast audiences which have never before had contact with American television will begin to gain access to the full wealth and abundance of American programming. The opening of new markets and new audiences, particularly within the growing superpowers of China and India, presents us with a novel situation. It is one thing for a show like "The OC" to be played in a nation like England, where the cultural and religious differences with the United States are not that profound, and quite another for it to air in a nation like India, where arranged marriages, the caste system, and pervasive poverty are still everyday realities.
"America Through the Eyes of China and India" explores the dynamics of television, identity, and cultural communication, providing a new lens for encountering, interpreting, and judging American culture and the American identity.

Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric