This book brings to English readers, in its entirety for the first time, a translation of Jose Watanabe's Antigona, accompanied by the original Spanish text and critical essays. The lack of availability in English has resulted in the absence of Antigona from important Anglophone studies devoted specifically to the reception of ancient Greek tragedy in the Americas. Perez Diaz's translation fills this gap. The introduction provides the performative, political, and historical contexts in which the text was written in collaboration with the actress Teresa Ralli, from the Peruvian theater group Yuyachkani, who also originally performed it. Following the bilingual text, a critical essay provides an analysis of textual aspects of Antigona that have been disregarded, situating it in relation to Sophocles' Antigone and in conversation with relevant moments of the vast traditions of reception of the Greek tragedy. An appendix briefly surveys some notable productions of the play throughout Latin America. This comprehensive volume provides an invaluable resource for readers interested in Jose Watanabe's work, students and scholars working on classical reception and Latin American literature and theatre, as well as theatre practitioners.

This book offers a unique Australian perspective on the global crisis in refugee protection. Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children's theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, the role of the canon in art history and the spectacle of bordering practices. In doing so, it illuminates the strategic performativity-and nonperformativity-of the law, philosophy, the state and the academy more broadly in the exclusion and control of refugees. Taken together, the chapters in this volume draw on, and contribute to, a wide range of disciplines including theatre and performance studies, cultural studies, border studies and forced migration studies, and will be of great interest to students and scholars in all four fields.

Breaks down a dramaturgy's key roles and competencies, mapping out the profession for both current and future dramaturgs. The Basics format ensures a clear, accessible and jargon-free explanation of every aspect of the craft, making this the ideal introduction. Dramaturgy itself is one of the main theatrical skills, distinct from acting and directing but only relatively recently having begun to receive proper attention and recognition.

This collection of short, accessible essays serves as a supplementary text to Morgan Lloyd Malcolm's play, Emilia. Critically acclaimed and beloved by audiences, this innovative and ground-breaking show is a speculative history, an imaginative (re)telling of the life of English Renaissance poet Aemilia Bassano Lanyer. This book features essays by theatre practitioners, activists, and scholars and informed by intersectional feminist, critical race, queer, and postcolonial analyses will enable students and their teachers across secondary school and higher education to consider the play's major themes from a wide variety of theoretical and interdisciplinary perspectives. This volume explores the current events and cultural contexts that informed the writing and performing of Emilia between 2017 and 2019, various aspects of the professional London productions, critical and audience responses, and best practices for teaching the play to university and secondary school students. It includes a foreword by Emilia playwright Morgan Lloyd Malcolm This book will be of great interest to students and scholars of theatre, arts activism, feminist literature, and theory.

This book explores applied theatre practice for children in environments of illness and cure and how it can powerfully normalise children's hospitalisation experience. It is an essential tool for making meaning of children's illness, putting it into a fictional context and developing better control of their clinical experiences. It can be central to raising the standards of care and quality of life during illness. Taken from the author's research and participatory bedside theatre practice in hospitals before, during and after the COVID-19 pandemic, this book demonstrates new learning about aesthetics, ethics, emotions, stories, puppetry, digital arts and research methodologies about children's health and wellbeing. It provides a selection of ten unique stories told by children inspired by applied theatre practice in paediatrics, cardiac, oncology, neurosurgery, burns units and complex and intensive care wards. Stories aid in understanding the language of children's pain for a better assessment and management of pain by healthcare professionals through the arts. It analyses synergistic theatre performance in 'stitched lands' between challenging realities and safe fictionalities. This book enables artists to develop new ways of thinking and contributes to further improvements in the provision of education and reflective learning in the field. It also addresses the emotional labour of the artist in healthcare and makes recommendations for balanced training to prevent emotional exhaustion. Designed for artists, healthcare professionals, therapists, play specialists and teachers who work with children in healthcare, this text aims to help many people find creative ways of making a positive difference in sick children's lives. It is a book for those who love and care for children.

A new and controversial account of English theatre in the early Twentieth Century, emphasising its previously overlooked avant-garde credentials. Relevant as a foundational text to any courses in English theatre history and Twentieth Century theatre more generally. Goes against the existing literature on this topic by framing English theatre of the period as much more experimental, queer and postmodern than previously believed.

A seminal text on what live performance is, what it means, and how it can be theorised. Its second edition is required reading on many theatre and performance studies courses. Uniquely controversial on a subject which continues to be topical. Thoroughly updated to take into account changes in media, scholarship and digital technologies.

WHY PUBLISH: - The author applies over 15 years experience and insights as a theatre practitioner to her argument. - The book offers a fresh vantage point for a play that has been exhaustively analysed. - Shakespeare scholarship travels well globally, and so the work will appeal to a broad, international, English-speaking audience.

Politics as Public Art presents a keystone collection that pursues new frameworks for a critical understanding of the relationship between public art and protest movements through the utilization of socially engaged and choreopolitical approaches. This anthology draws from a unique combination of interdisciplinary scholarship and activism where it integrates geographically rich perspectives from political and grassroots community contexts spanning the United States, Europe, Australia, and Southeastern Africa. The volume questions, and reimagines, not only how public art practice can be integral to politics, including forms of surveillance and control of bodily movement. It also probes into how political participation itself can be construed as a form of public artmaking for radical social change and just worlds. This collection advocates for scholar-activist inquiry into how socially engaged public art practices can pave the way for thinking through-and working toward-championing more inclusive futures and, as such, choreographing greater intersectional justice. This book provides a wide appeal to audiences across humanities and social science scholarship, arts practice, and activism seeking conceptual and empirically informed tools for moving from public art and choreopolitical theory into modes of praxis: critical reflection and action.

1. This interdisciplinary volume brings together scholars from across the world who have raised pertinent issues regarding the role of stand-up comedy in contemporary times especially with increased presence of OTT platforms and internet penetration that allows for easy access to this art form. 2. It looks at the theoretical understanding of the different aspects of the humour, aesthetics and politics of stand up comedy, as well as case studies of various forms of stand up comedy such as Finnish, Persian, Indonesian, Indian, etc. 3. It will be of interest to departments of media, popular culture, digital culture, sociology, digital sociology/anthropology, and English literature across the US and UK. IT will also appeal to proplr interested in performance and performance studies as it looks at the genre of stand-up comedy in the global context with chapters on Finnish, Australian, Persian and Indian stand-up comedy, to name a few.

This book compares the theatrical cultures of early modern England and Spain and explores the causes and consequences not just of the remarkable similarities but also of the visible differences between them. An exercise in multi-focal theatre history research, it deploys a wide range of perspectives and evidence with which to recreate the theatrical landscapes of these two countries and thus better understand how the specific conditions of performance actively contributed to the development of each country's dramatic literature. This monograph develops an innovative comparative framework within which to explore the numerous similarities, as well as the notable differences, between early modern Europe's two most prominent commercial theatre cultures. By highlighting the nuances and intricacies that make each theatrical culture unique while never losing sight of the fact that the two belong to the same broader cultural ecosystem, its dual focus should appeal to scholars and students of English and Spanish literature alike, as well as those interested in the broader history of European theatre. Learning from what one 'playground' - that is, the environment and circumstances out of which a dramatic tradition originates - reveals about the other will help solve not only the questions posed above but also others that still await examination. This investigation will be of great interest to students and scholars in theatre history, comparative drama, early modern drama, and performance culture.

This volume explores the relationship between the emphasis on performance in Elizabethan humanist education and the flourishing of literary brilliance around the turn of the sixteenth century. This study asks us what lessons we can learn today from Shakespeare's Latin grammar school. What were the cognitive benefits of an education so deeply rooted in what Demosthenes and Quintilian called "actio"-acting? Because of the vast difference between educational practice then and now, we have not often followed one essential thread: the focus on performance. This study examines the connections relevant to the education offered in schools today. This book will be of great interest to teachers, scholars, and administrators in performing arts and education.

* This collection builds a broad basis for a possible and necessary paradigmatic shift in the field of theater and performance historiography. * Would be recommended reading in for any undergraduate or master's level students studying theatre history, drama and dance. * The closest competitors do not explore the term 'entangled histories'. Therefore this collection breaks new ground by looking at this concept as a new paradigm in the field.

This book is a first attempt to map the broad context of performance studies from a multimodal perspective. It collects original research on traditional performing arts (theatre, dance, opera), live (durational performance) and mediated/recorded performances (films, television shows), as well as performative discursive practices on social media by adopting several theories and methodologies all dealing with the notion of multimodality. As a mostly dynamic and also interactive environment for various text types and genres, the context of performance studies provides many opportunities to produce meaning verbally and non-verbally. All chapters in this book develop frameworks for the analysis of performance-related events and activities and explore empirical case studies in a range of different ages and cultures. A further focus lies on the communicative strategies deployed by different communities of practice, taking into account processes of production, distribution, and consumption of such texts in diverse spatial and temporal contexts.

Yoshi Oida is completely unique. A Japanese actor and director who has worked mainly in the West as a member of Peter Brook's theatre company in Paris, he blends the Oriental tradition of supreme and studied control with the Western performer's need to characterize and expose depths of emotion.
In this practical and captivating study of the actor's art, Yoshi Oida provides performers with all the simple tools which help place the technique of acting behind a cloak of invisibility. Throughout, Lorna Marshall provides a running commentary on Oida's work and methods which helps the reader understand the achievement of this singular artist. A brilliant book, "The Invisible Actor" is filled with abundant insights to help actors perfect their craft.

Provides a step-by-step approach, a blueprint, to assembling a director's prompt book in a graphically dynamic and creative way Suitable for students in theatre directing, stage management, and producing courses, along with aspiring professional directors This is the only book solely focused on the prompt book for directors.

* The book will include high quality contributions from practitioners and researchers that consider the ethics and aesthetics of the work, investigating the role of sound in community building, wellbeing, education, and social or environmental justice. * Would be recommended reading in leading applied and socially engaged theatre courses, in sound studies and sonic art courses and in media and communication courses. * The closest competitors are more a broad survey of sound art while this book looks to the future, building possibilities, and imagining what might be through the creative acts of inquiry and sound. Contribution from Brandon LaBelle (key theorist in sound studies) First book to address community engaged arts through a sound studies lens An area of community engaged arts that has exploded recently since the COVID-19 pandemic

The collective volume seeks to respond to these questions by exploring crip time in disability performance as both a concept and a phenomenon. Out of time has many different meanings, amongst them outmoded, out of step, under time pressure, no time left, or simply delayed. In the disability context it may also refer to resistant attitudes of living in "crip time" that contradict time as a linear process with a more or less predictable future. According to Alison Kafer, "crip time bends the clock to meet disabled bodies and minds." What does this mean in the disability arts? What new concepts of accessibility, crip futures, and crip resistance can be staged or created by disability performance? And how does the notion of "out of time" connect crip time with pandemic time in disability performance? The book tackles the topic from two angles: on the one hand from a theoretical point of view that connects performance analysis with crip and performance theory, on the other hand from a practice-based perspective of disability artists who develop new concepts and dramaturgies of crip time based on their own lived experiences and observations in the field of the performing and disability arts. The book gathers different types of text genres, forms and styles that mirror the diversity of their authors. Besides theoretical and academic chapters on disability performance the book also includes essays, poems, dramatic texts, and choreographic concepts that reflect upon the alternative knowledge in the disability arts.

Japanese folk performing arts incorporate a body of entertainments that range from the ritual to the secular. They may be the ritual dances at Shinto shrines performed to summon and entertain deities; group dances to drive away disease-bearing spirits; or theatrical mime to portray the tenets of Buddhist teachings. These ritual entertainments can have histories of a thousand years or more and, with such histories, some have served as the inspiration for the urban entertainments of no, kabuki and bunraku puppetry. The flow of that inspiration, however, has not always been one way. Elements taken from these urban forms could also be used to enhance the appeal of ritual dance and drama. And, in time, these urban entertainments too came to be performed in rural or regional settings and today are similarly considered folk performing arts. Professor Terence Lancashire provides a valuable introductory guide to the major performance types as understood by Japanese scholars.

This book provides a conceptual understanding of objectives and trends of lighting design and technology so that the reader will be able to wisely keep up with the rapid and never-ending expansion of the field. Uniquely explores how quietive practices can deepen the creative design process Written for students of Theatrical Lighting courses and emerging lighting professionals, The Heart of Light is a must-read for anyone intrigued by the power of light.

This book examines the progress of the British musical in the twentieth century as it struggled to find an identity, stepping out of the shadow of its American counterpart. With a wealth of contemporary photographs and memorabilia, it looks at the contribution of key figures - from Ivor Novello to Lionel - in lively and engaging prose. A Tanner's Worth of Tune is the first book to be written on the post-war British musical, and the first major assessment of the British musical for a quarter of a century, reviving interest in a vast archive of musicals that have been dismissed to the footnotes of theatrical history. This timely reappraisal of the genre and its social background, before the "international" British musicals began appearing in the 1970s, argues for a radical understanding of the shows and their writers, and a rethinking of our attitude towards them. The musical plays of Ivor Novello and Noel Coward - both pre- and post-war - are discussed in detail, as are the two composers who came todominate the 1950s, Sandy Wilson and Julian Slade, and the little school of plein air musicals that threaded through that decade. The book brings together 'adopted' British musicals, discusses the rise and fall of the British "verismo" and the biomusical, whether of Dr Crippen or the Rector of Stiffkey, finally charting the collapse of the British musical's nationalism in the 1960s as witnessed by John Osborne and Lionel Bart. The book draws on Adrian Wright's lifelong passion for British theatre music, its writers, composers, performers and craftsmen. Provocative, idiosyncratic and unfailingly entertaining, A Tanner's Worth of Tune makes a compelling plea for a rediscovery of an era of pleasures which have too long been forgotten. ADRIAN WRIGHT is the author of Foreign Country: The Life of L.P. Hartley [(1996), John Lehmann: A Pagan Adventure (1998), The Innumerable Dance: The Life and Work of William Alwyn [2008] and the novel Maroon (2010). He lives in Norfolk, where he also runs Must Close Saturday Records, a company dedicated to British musical theatre.

Women in Asian Performance offers a vital re-assessment of women's contributions to Asian performance traditions, focusing for the first time on their specific historical, cultural and performative contexts. Arya Madhavan brings together leading scholars from across the globe to make an exciting intervention into current debates around femininity and female representation on stage. This collection looks afresh at the often centuries-old aesthetic theories and acting conventions that have informed ideas of gender in Asian performance. It is divided into three parts: erasure - the history of the presence and absence of female bodies on Asian stages; intervention - the politics of female intervention into patriarchal performance genres; reconstruction - the strategies and methods adopted by women in redefining their performance practice. Establishing a radical, culturally specific approach to addressing female performance-making, Women in Asian Performance is a must-read for scholars and students across Asian Studies and Performance Studies.

This is the first book of its kind to explain and detail research for practice for actors. The book has a versatile approach that offers meaningful points of intersection in a variety of performance-based contexts, and avoids enshrining a set methodology or praxis which might be perceived as conflicting with other approaches. This is a supplementary text designed to support study and training across programs of performance study.

Globally, we find ourselves in a novel set of circumstances where our individual and collective relationships with leisure have changed dramatically and are being dictated less by personal preferences or even affluence, but rather by health, legal, and societal factors. There is very little published work on changed practices in leisure due to the pandemic, especially focusing on activities that were previously considered ordinary and perhaps even mundane. Contribute to the compilation of a historic record of the way the pandemic has transformed various leisure behaviours in diverse cultural and national contexts at this unprecedented time.

Book of Sides II: Original, Two-Page Scenes for Actors and Directors is the second book in the Book of Sides series by Dave Kost, featuring original, two-page, two-character scenes for use in acting, directing, and auditioning classes. While shorter than the traditional three-to-six-page scenes commonly used in classes, Book of Sides II features longer scenes than the first Book of Sides with greater character development, more reversals, and stronger climaxes. Balanced, structured scenes designed specifically for educational use challenge both actors and directors equally with objectives, obstacles, tactics, and subtext; Two-page length is ideal for high-intensity exercises and faster-paced workshops; Printed in easy-to-read film-script format with plenty of room for notes; Scenes are completely original and unencumbered by copyright, so students may film and post legally on the internet; Universally castable, so all roles can be played by actors of any gender, appearance, skill level, or ethnicity; Accessibly-written for modern students, helping them to focus on the fundamentals of performance and directing; Simple and conducive to performing in a classroom without sets, costumes, or special props. This book was written by an educator for educators and designed for use in the classroom. Never search for scenes again!