The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book provides a snapshot of Charpentier scholarship in the early years of the new century. Its 13 chapters illustrate not only the sheer variety of strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notation, the contexts within which he worked, and the nature of his legacy. The appendix contains a transcription of the inventory of Charpentier's manuscripts prepared when their sale to the Royal Library was negotiated in 1726 - an invaluable research tool, as numerous chapters in the book demonstrate. The wide variety of topics covered here will appeal both to readers interested in Charpentier's music and to those with a broader interest in the music and culture of the French Baroque, including aspects of patronage, church and theatre. Far from treating his output in isolation, this book places it in the wider context alongside such composers as Lully, Lalande, Marais, FranAois Couperin and Rameau; it also views the composer in relation to his Italian training. In the process, the under-examined question of influence - who influenced Charpentier? whom did he influence? - repeatedly comes to the fore. The book's Foreword was written by H. Wiley Hitchcock shortly before he died. Hitchcock's own part in raising the profile of Charpentier and his music to the level of recognition which it now enjoys cannot be emphasized enough. Appropriately the volume is dedicated to his memory.

* Shows how drama lessons can provide a safe and considerate space for thinking about gender. * Includes detailed lesson ideas, resources and activities for exploring gender in drama and theatre for students aged 11-18 * Includes a companion website with links to online performances and masterclasses as well as guidance on promoting LGBTQ+ inclusion in schools

Brings together a cohesive and coherent account of the dramaturgy of sound in three key contemporary performance genres. Written for contemporary performance scholars and upper level students, using case studies and clear genre delineations. Moves existing scholarship in this area forward by drawing on a wealth of supplementary material tied to its research funding, including a full dataset, interview footage and a podcast.

This book is for both art-based researchers and research-informed artists, exploring the theatrical genre known as Collective Creation, or Playbuilding. Performers generate data around chosen topics-- from addiction and sexuality to qualitative research--by compiling scenes from their disparate voices. Audience members become involved in the investigation, and the performed scenes do not end the conversation but challenge and extend it. Through discussion and audience participation, the process examines how knowledge is defined and how data is mediated.

Stanislavsky in America explores the extraordinary legacy that Constantin Stanislavski's system of actor-training has left on acting in the US.

Mel Gordon outlines the journey of Stanislavski's theories through twentieth century American history, from the early US tours of the Moscow Art Theatre to the ongoing impact of 'The System' on modern American acting.

This fascinating study by a leading theatre critic and practitioner provides hundreds of original acting exercises, used by the pivotal US figures who developed his teachings, such as Lee Strasberg, Stella Adler and Bobby Lewis. By going back to these primary sources, Gordon cuts through the myths and misapprehensions which have built up over time.

Part memoir and part practical guide, Stanislavsky in America is an essential resource for anyone wanting to understand Stanislavski's work and his relationship with American theatre.

A sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, Crossing Cultural Borders Through the Actor's Work redirects the intercultural debate by focusing exclusively on the actor at work. Alongside the perspectives of other prominent intercultural actors, this study draws from original interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). By illuminating the hidden creative processes usually unavailable to outsiders - the actor's apprenticeship, training, character development, and rehearsals - Nascimento both reveals how assumptions based on race or ethnicity are misguiding, trouble definitions of intra- and intercultural practices, and details how performance analyses and claims of appropriation fail to consider the permanent transformation of the actor's identity that cultural transmission and embodiment represent.

The Routledge Companion to Applied Performance provides an in-depth, far-reaching and provocative consideration of how scholars and artists negotiate the theoretical, historical and practical politics of applied performance, both in the academy and beyond. These volumes offer insights from within and beyond the sphere of English-speaking scholarship, curated by regional experts in applied performance. The reader will gain an understanding of some of the dominant preoccupations of performance in specified regions, enhanced by contextual framing. From the dis(h)arming of the human body through dance in Colombia to clowning with dementia in Australia, via challenges to violent nationalism in the Balkans, transgender performance in Pakistan and resistance rap in Kashmir, the essays, interviews and scripts are eloquent testimony to the courage and hope of people who believe in the power of art to renew the human spirit. Students, academics, practitioners, policy-makers, cultural anthropologists and activists will benefit from the opportunities to forge new networks and develop in-depth comparative research offered by this bold, global project.

In Arts in Corrections, the author-a poet, translator and teacher-takes readers on a chronological journey through an annotated selection of 24 of his own publications from 1981 to 2014 which recount his experiences teaching, consulting and documenting US arts programs in prisons, jails and juvenile facilities. Anyone interested in corrections and arts-in-corrections will be drawn in by the poetic sensibility Hillman brings to his writing. Readers will gain a historical and personal perspective not only into correctional arts programming in the US over the last 40 years, but also the institutional transformations in policy, culture, populations, economics, and the criminological mission expansion into other institutional settings like K-12 education. Original essays, articles, monographs and poems are interspersed with recent annotations to deliver not only a top-down view of the correctional system but also the author's personal journey of "discouragement and hope" from work conducted in approximately 200 adult and juvenile facilities in 30 states and six countries. This comprehensive book is essential reading for a broad cross-section of international readers interested in and involved in the arts-in-corrections field. With two million individuals behind bars in the US at any given time, the profile of arts programs in prisons and jails is rising and interest in criminal-justice matters more generally is increasing. This includes not only arts-in-corrections professionals, policy makers, students, researchers, advocates and academics, but professionals in multiple other fields as well as the general public.

This collection provides an in-depth exploration of surtitling for theatre and its potential in enhancing accessibility and creativity in both the production and reception of theatrical performances. The volume collects the latest research on surtitling, which encompasses translating lyrics or sections of dialogue and projecting them on a screen. While most work has focused on opera, this book showcases how it has increasingly played a role in theatre by examining examples from well-known festivals and performances. The 11 chapters underscore how the hybrid nature and complex semiotic modes of theatrical texts, coupled with technological advancements, offer a plurality of possibilities for applying surtitling effectively across different contexts. The book calls attention to the ways in which agents in theatrical spaces need to carefully reflect on the role of surtitling in order to best serve the needs of diverse audiences and produce inclusive productions, from translators considering appropriate strategies to directors working on how to creatively employ it in performance to companies looking into all means available for successful implementation. Offering a space for interdisciplinary dialogues on surtitling in theatre, this book will be of interest to scholars in audiovisual translation, media accessibility, and theatre and performance studies.

The Routledge Companion to Theatre and Politics is a volume of critical essays, provocations, and interventions on the most important questions faced by today's writers, critics, audiences, and theatre and performance makers. Featuring texts written by scholars and artists who are diversely situated (geographically, culturally, politically, and institutionally), its multiple perspectives broadly address the question "How can we be political now?" To respond to this question, Peter Eckersall and Helena Grehan have created eight galvanising themes as frameworks or rubrics to rethink the critical, creative, and activist perspectives on questions of politics and theatre. Each theme is linked to a set of guiding keywords: Post (post consensus, post-Brexit, post-Fukushima, post-neoliberalism, post-humanism, post-global financial crisis, post-acting, the real) Assembly (assemblage, disappearance, permission, community, citizen, protest, refugee) Gap (who is in and out, what can be seen/heard/funded/allowed) Institution (visibility/darkness, inclusion, rules) Machine (biodata, surveillance economy, mediatisation) Message (performance and conviction, didacticism, propaganda) End (suffering, stasis, collapse, entropy) Re. (reset, rescale, reanimate, reimagine, replay: how to bring complexity back into the public arena, how art can help to do this). These themes were developed in conversation with key thinkers and artists in the field, and the resulting texts engage with artistic works across a range of modes including traditional theatre, contemporary performance, public protest events, activism, and community and participatory theatre. Suitable for academics, performance makers, and students, The Routledge Companion to Theatre and Politics explores questions of how to be political in the early 21st century, by exploring how theatre and performance might provoke, unsettle, reinforce, or productively destabilise the status quo.

Embodied Playwriting: Improv and Acting Exercises for Writing and Devising is the first book to compile new and adapted exercises for teaching playwriting in the classroom, workshop, or studio through the lens of acting and improvisation. The book provides access to the innovative practices developed by seasoned playwriting teachers from around the world who are also actors, improv performers, and theatre directors. Borrowing from the embodied art of acting and the inventive practice of improvisation, the exercises in this book will engage readers in performance-based methods that lead to the creation of fully imagined characters, dynamic relationships, and vivid drama. Step-by-step guidelines for exercises, as well as application and coaching advice, will support successful lesson planning and classroom implementation for playwriting students at all levels, as well as individual study. Readers will also benefit from curation by editors who have experience with high-impact educational practices and are advocates for the use of varied teaching strategies to increase accessibility, inclusion, skill-building, and student success. Embodied Playwriting offers a wealth of material for teachers and students of playwriting courses, as well as playwrights who look forward to experimenting with dynamic, embodied writing practices.

- Each historical chapter is followed by a process chapter giving the explication of a detailed rehearsal methodology useful to both directors and actors. - The process chapters include objectives, examples from the practice of other directors and actors, and examples from the author's practice, making this a useful text for practitioners and students in Directing and Acting programs. - From the unique perspective of a female director from a working class background.

The games and exercises in this book are designed to be used as warm-ups at the beginning of a theatre class. They have been used successfully with middle school students and they can easily be adapted for use with younger children, older teens and adults in various settings. The games are divided into thirteen sections for easy reference: 1. Clowning, 2. Cooperation and Teamwork, 3. Focus and Concentration, 4. Getting Ready, 5. Improvisation, 6. Listening, 7. Name Games, 8. Observation, 10. Pantomime, 11. Stretching and Relaxation, 12. Stage Movement, 13. Voice. The games have been adapted from many books, workshops and standard group activities. This is a comprehensive collection of tested games and exercises. A must book for every theatre library.

This book elucidates how learning from actors enables an intense education of attention for anthropologists. Actors perform the perception of sunshine, the sensation of pain, affects such as shock and emotions such as happiness; they act quarrels, erotic attraction, leadership and submission on stage. In order to achieve that, they undergo an education of attention, allowing them to develop skills that are also useful for anthropologists, particularly when doing research on phenomena that often elude academic procedures. Drawing on her own acting experiences and ongoing research with actors from Africa and Europe, Cassis Kilian takes up Tim Ingold's manifold proposals to reconfigure anthropological research. She introduces approaches actors use to explore the complexity of human life and its bodily, sensual and emotional dimensions, which can be difficult for academics to grasp when examining topics such as everyday practices, traumatic experiences and power relations. Though the book discerns pitfalls in anthropological research and suggests artistic approaches to overcome them, it values anthropology as a discipline whose radical self-reflexive approach allows for such experiments. Including exercises and practical approaches, this is valuable reading for scholars interested in anthropological methods, sensory anthropology, perception and materiality, and theatre anthropology.

With Grotowski, After Grotowski is a unique and invaluable insight into the workings of one of theatre's true pioneers, presented by his closest collaborator. This book charts the development of Grotowski's dramatic research through a decade of conversations with his apprentice, Thomas Richards.

Tuscany's 'Workcenter of Jerzy Grotowski and Thomas Richards' is the enduring legacy of a master teacher, director and theorist, and home to much of Grotowski's most significant work. Interviewed by leading scholars, and offering his own intimate accounts, Richards gives a vivid and detailed view of the Workcenter's evolution, providing:

• concrete illustration of the Workcenter's distinctive creative practices
• rigorous discussion of over twenty years of world-renowned research
• previously unpublished performance photos
• privileged insight into what Grotowski considered to be the culmination of his life's work.

a short and accessible introduction on AI and Art written by leading experts

Multi-media charts the development of multi-media video, installation and performance in a unique dialogue between theoretical analysis and specially commissioned documentations by some of the world's foremost artists. Nick Kaye explores the interdisciplinary history and character of experimental practices shaped in exchanges between music, installation, theatre, performance art, conceptual art, sculpture and video.

The book sets out key themes and concerns in multi-media practice, addressing time, space, the resurgence of ephemerality, liveness and 'aura'. These chapters are interspersed with documentary artwork and essays by artists whose work continues to shape the field, including new articles from:

• Vito Acconci
• The Builders Association
• John Jesurun
• Pipilotti Rist
• Fiona Templeton.

Multi-media also reintroduces a major documentary essay by Paolo Rosa of Studio Azzurro in a new, fully illustrated form. This book combines sophisticated scholarly analysis and fascinating original work to present a refreshing and creative investigation of current multi-media arts practice.

The Diaries of Elizabeth Inchbald (1753-1821) are rare and fragile documents which present a unique view of Romantic-era Britain. An energetic woman, Inchbald achieved fame as an actress, novelist, playwright and critic. Her career introduced her to a wide group of people and she counted William Godwin, Thomas Holcroft, Maria Edgeworth, Sarah Siddons and John Philip Kemble among her friends. Published here for the first time, her eleven surviving diaries are a fascinating vignette of everyday life in the theatrical and literary circles of eighteenth-century London. They record Inchbald's reading habits, social contacts and professional activities, itemize her day-to-day expenditure, and chart the development of current affairs such as the Napoleonic Wars and the trial of Queen Caroline. The diaries are fully transcribed, but a sense of the original documents is preserved through selected photographic reproductions, and descriptions of the physical notebooks. The editorial apparatus also contextualises the diaries and provides biographical details for Inchbald and the other figures she encountered. Full editorial apparatus includes a substantial general introduction, a chronology of Inchbald's life, brief introductions to each diary, bibliographical guides to figures mentioned, and textual notes. There is a consolidated index in the final volume.

Creating Improvised Theatre: Tools, Techniques, and Theories for Short Form and Narrative Improvisation is a complete guide to improvised theatre for performers and instructors. This book provides a modern view of improvised theatre based on the rapid evolution of this art form, shedding new light on classic theories as well as developing lesser known and emerging techniques, such as the Trance Mask. Instead of simply referencing classic theories, the book revisits them and places them in the context of contemporary improvisation techniques. Designed as a practical support, this guide contains over 130 exercises that allow its theories to come alive in workshops, rehearsals, and performance. The book is divided into four sections: Nuts and bolts: The fundamental tools of improvisation to explore how to be spontaneously creative, build with your partner, and learn from masks to discover your scene instant by instant. Short form: Techniques for scene work and short form performance, including how to get the most out of a scene, remain connected to the relational stakes, provoke change (physical, status, and emotional), and maintain a playful attitude. Narrative improvisation: Theories to help navigate long form narrative-based shows with "narrative waypoints," generate variety, develop protagonists, work on genres, and manipulate creative transitions. The bits box: Advice for warming-up before a rehearsal or a show with a collection of useful games. Written to inspire creativity and provide the tools to develop innovative improvised shows and experiences, Creating Improvised Theatre is an invaluable source book for anyone interested in the art of improvised theatre, whether a beginning student or experienced performer.

The Theatre of Soc etas Raffaello Sanzio chronicles four years in the life of an extraordinary Italian theatre company whose work is widely recognized as some of the most exciting theatre currently being made in Europe.

In the first English-language book to document their work, company founders, Claudia Castellucci, Romeo Castellucci and Chiara Guidi, discuss their approach to theatre making with Joe Kelleher and Nicholas Ridout.

At the centre of the book is a detailed exploration of the company's eleven episode cycle of tragic theatre, Tragedia Endogonida (2002 2004, ) including:

• production notes and extensive correspondence giving insights into the creative process
• essays by and conversations with company members alongside critical responses by their two co-authors
• seventy-two photographs of the company's work.

This is a significant collection of theoretical and practical reflections on the subject of theatre in the twenty-first century, and an indispensible written and visual document of the company's work.

The Theatre of Societas Raffaello Sanzio chronicles four years in the life of an extraordinary Italian theatre company whose work is widely recognized as some of the most exciting theatre currently being made in Europe. In the first English-language book to document their work, company founders, Claudia Castellucci, Romeo Castellucci and Chiara Guidi, discuss their approach to theatre making with Joe Kelleher and Nicholas Ridout. At the centre of the book is a detailed exploration of the company's eleven episode cycle of tragic theatre, Tragedia Endogonida (2002-2004,) including: production notes and extensive correspondence giving insights into the creative process essays by and conversations with company members alongside critical responses by their two co-authors seventy-two photographs of the company's work. This is a significant collection of theoretical and practical reflections on the subject of theatre in the twenty-first century, and an indispensible written and visual document of the company's work.

The philosopher and educationalist Rudolf Steiner was also a radical dramatist who wrote four lengthy and complex plays. The first of these, The Portal of Initiation, is rich in content and artistically presented, but leaves us with questions: Why is the first scene so long and many speeches so lengthy? Why are our usual expectations of drama not met? Was Steiner really a competent dramatist? In this essential guide, Trevor Dance suggests that the first step to appreciating The Portal of Initiation is to understand Steiner's methods. The play belongs to the tradition of Mystery Dramas from ancient times - artistic works intended as vehicles for inner development. Steiner thus combines aspects of Goethe's alchemical fable The Green Snake and the Beautiful Lily with the spiritual growth of contemporary individuals - all in the broader context of reincarnation and karma. With accessibility in mind, the author provides a clear synopsis of each scene and introduces us to the characters - a collection of rustics, sophisticates, hierophants and spiritual entities. Their dilemmas and challenges take place on many layers of reality: from a room in Sophia's house to the exalted Sun Temple. Revealing the enigmas behind the creation and content of The Portal of Initiation, Dance enables us not only to enjoy the play, but also to love it. His lucid guide - the first of its kind - is an ideal introduction for both individual readers and study groups.

This volume brings a critical lens to dance and culture within North East India. Through case studies, firsthand accounts, and interviews, it explores unique folk dances of Indigenous communities of North East India that reflect diverse journeys, lifestyles, and connections within their ethnic groups, marking almost every ritual and festival.

This book studies the intersection of performance and nationalism in South Asia.It traces the emergence of the culture of nationalism from the late nineteenth century through to contemporary times. Drawing on various theatrical performance texts, it looks at the ways in which performative narratives have reflected the national narrative and analyses the role performance has played in engendering nationhood. The volume discusses themes such as political martyrdom as performative nationalism, the revitalisation of nationalism through new media, the sanitisation of physical gestures in dance, the performance of nationhood through violence in Tajiki films, as well as K-Pop and the new northeastern identity in India. A unique contribution to the study of nationalism, this book will be useful for scholars and researchers of history, theatre and performance studies, cultural studies, postcolonial studies, modern India, Asian studies, political studies, social anthropology and sociology.

Award Monologues for Women is a collection of fifty-four monologues taken from plays written since 1980 that have been nominated for the Pullitzer Prize, the Tony and the Drama Desk Awards in New York, and The Evening Standard and Laurence Olivier Awards in London. The book provides an excellent range of up-to-date audition pieces, usefully arranged in age groups, and is supplemented with audition tips to improve your acting, and to ensure that the best possible performance.