It's not what you think. You may have heard Casanova's legend, but have you heard his heart? Could you read between the lines of the playwright who wrote the play Casanova and why he assumes that role of his character given the power of Cupid's bow and arrow? But he is just like you and I. After all, we all use the power of the bow and arrow in some form, whether through beauty, power, or wit. And we use that power to some extent to shapes love's stage. Admittedly, some are better than others. And of course, our intentions are good. Well, at least we try most of the time. But unfortunately there are desires and motivations which we know not of, and nor do we know where they are from. In fact, we just don't know ourselves. If you were given all the power of the bow and arrow, how would you act? Is there any guarantee that your aim would be any better than the blind whims of Cupid? Especially in a world where love loves to hide, mask itself in indifference and most of all, act. We will quickly learn that the real story is what is happening behind the stage, under the stage, in the earth deep below the stage, over the stage, behind the pen, inside the heart, in the heavens, and in that place so distant and so far back-a place called home. This is a story dictated by characters with no roles, stars with no spoken parts, no cameos, and no love shared at all. Something happened that moved Casanova's heart. It moved the characters on the stage, and it is about to move the heavens. It seems today that the earth is shaking and the ground is moving, and it is getting more frequent. You had better check your foundations like Casanova did. If our house is unsteady, perhaps we might want to checkhere, and it might just heal the world.

I would like to dedicate the book to the memory of Allison Miller Ferguson and Bryant Ferguson II. I would like to thank My Lovely Wife Latoya Ferguson, My mother Mae Ferguson, My sisters Karon Hall and Janet Ferguson, My Neice Aisha Ferguson and Henry Chancellor. My Daughters Jazmine and Janyah. My best Friend Lee Bostic his wife Felica Bostic and Scott Williams.

To Die Upon a Kiss-- Othello is Shakespeare's great tragic play of love, trust, and deceit. Iago, an officer of the watch, sets out to destroy Othello by convincing him that his young bride, Desdemona, has betrayed him and is secretly in love with another man. What sense had I of her stol'n hours of lust? I saw't not, thought it not, it harm'd not me; I slept the next night well, was free and merry; I found not Cassio's kisses on her lips. He that is robb'd, not wanting what is stol'n, Let him not know't and he's not robb'd at all.

Bringing together scholars and researchers in one volume, this study investigates how the thinking of the Ukrainian-Israeli somatic educationalist Moshe Feldenkrais (1904-84) can benefit and reflect upon the creative practices of dance, music and theatre. Since its inception, the Feldenkrais Method has been associated with artistic practice, growing contiguously with performance, cognitive and embodied practices in dance, music, and theatre studies. It promotes awareness of fine motor action for improved levels of action and skill, as well as healing for those who are injured. For creative artists, the Feldenkrais Method enables them to refine and improve their work. This book offers historical, scientific and practical perspectives that develop thinking at the heart of the Method and is divided into three sections: Historical Perspectives on Creative Practice, From Science into Creative Practice and Studies in Creative Practice. All the essays provide insights into self-improvement, training, avoiding injury, history and philosophy of artistic practice, links between scientific and artistic thinking and practical thinking, as well as offering some exercises for students and artistic practitioners looking to improve their understanding of their practice. Ultimately, this book offers a rich development of the legacy and the ongoing relevance of the Feldenkrais Method. We are shown how it is not just a way of thinking about somatic health, embodiment and awareness, but a vital enactivist epistemology for contemporary artistic thought and practice.

How do names attach themselves to particular objects and people and does this connection mean anything? This is a question which goes as far back as Plato and can still be seen in contemporary society with books of Names to Give Your Baby or Reader's Digest columns of apt names and professions. For the Renaissance the vexed question of naming was a subset of the larger but equally vexed subject of language: is language arbitrary and conventional (it is simply an agreed label for a pre-existing entity) or is it motivated (it creates the entity which it names)? Shakespeare's Names is a book for language-lovers. Laurie Maguire's witty and learned study examines names, their origins, cultural attitudes to them, and naming practices across centuries and continents, exploring what it means for Shakespeare's characters to bear the names they do. She approaches her subject through close analysis of the associations and use of names in a range of Shakespeare plays, and in a range of performances. The focus is Shakespeare, and in particular six key plays: Romeo and Juliet, Comedy of Errors, The Taming of the Shrew, A Midsummer Night's Dream, All's Well that Ends Well, and Troilus and Cressida. But the book also shows what Shakespeare inherited and where the topic developed after him. Thus the discussion includes myth, the Bible, Greek literature, psychological analysis, literary theory, social anthropology, etymology, baptismal trends, puns, different cultures' and periods' social practice as regards the bestowing and interpreting of names, and English literature in the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries; the reader will also find material from contemporary journalism, film, and cartoons.

This title offers informative critical introduction to Beckett's "Waiting for Godot", one of the most commonly studied modern plays."Samuel Beckett's Waiting for Godot" is not only an indisputably important and influential dramatic text - it is also one of the most significant western cultural landmarks of the twentieth century. Originally written in French, the play first amazed and appalled Parisian theatre-goers and critics before receiving a harshly dismissive initial critical response in Britain in 1955. Its influence since then on the international stage has been significant, impacting on generations of actors, directors and audiences.This guide provides a comprehensive critical introduction to "Waiting for Godot" from the controversial first performances to recent productions."Continuum Modern Theatre Guides" offer concise, accessible and informed introductions to the key plays of modern times. Each book is carefully structured to offer a systematic study of the play in its biographical, historical, social and political context, an in-depth study of the text, an overview of the work's production history including screen adaptations, and practical workshopping exercises. They also include a timeline and suggestions for further reading which highlight key critical approaches. This will enable students to develop their understanding of playwrights and theatre-makers, as well as inspiring them to broaden their studies.

Aloha"" is at once the most significant and the most misunderstood word in the Indigenous Hawaiian lexicon. For Kanaka Maoli people, the concept of ""aloha"" is a representation and articulation of their identity, despite its misappropriation and commandeering by non-Native audiences in the form of things like the ""hula girl"" of popular culture. Considering the way aloha is embodied, performed, and interpreted in Native Hawaiian literature, music, plays, dance, drag performance, and even ghost tours from the twentieth century to the present, Stephanie Nohelani Teves shows that misunderstanding of the concept by non-Native audiences has not prevented the Kanaka Maoli from using it to create and empower community and articulate its distinct Indigenous meaning. While Native Hawaiian artists, activists, scholars, and other performers have labored to educate diverse publics about the complexity of Indigenous Hawaiian identity, ongoing acts of violence against Indigenous communities have undermined these efforts. In this multidisciplinary work, Teves argues that Indigenous peoples must continue to embrace the performance of their identities in the face of this violence in order to challenge settler-colonialism and its efforts to contain and commodify Hawaiian Indigeneity.

How do nationalized stereotypes inform the reception and content of the migrant comedian's work? How do performers adapt? What gets lost (and found) in translation? Border-Crossing and Comedy at the Theatre Italien, 1716-1723 explores these questions in an early modern context. When a troupe of commedia dell'arte actors were invited by the French crown to establish a theatre in Paris, they found their transition was anything but easy. They had to learn a new language and adjust to French expectations and demands. This study presents their story as a dynamic model of coping with the challenges of migration, whereby the actors made their transnational identity a central focus of their comedy. Relating their work to popular twenty-first century comedians, this book also discusses the tools and ideas that contextualize the border-crossing comedian's work-including diplomacy, translation, improvisation, and parody-across time.

This book articulates the first theoretical context for a 'cyborg theatre, ' metaphorically integrating on-stage bodies with the technologized, digitized, or mediatized, to re-imagine subjectivity for a post-human age. It covers a variety of examples, to propose new theoretical tools for understanding performance in our changing world.

Contemporary Scenography investigates scenographic concepts, practices and aesthetics in Germany from 1989 to the present. Facing the end of the political divide, the advent of the digital age and the challenges of globalization, German-based designers and scenographers have reacted in a variety of ways to these shifts in the cultural landscape. The edited volume, a compilation of 12 original chapters written in collaboration with acclaimed scenographers, stage designers and distinguished scholars, offers fresh insights and in-depth analyses of current artistic concepts, discourse and innovation in this multifaceted, dynamic field. The book covers a broad spectrum of scenography, including theatre works by Katrin Brack, Bert Neumann, Aleksandar Denic, Klaus Grunberg, Vinge/Muller and Rimini Protokoll, in addition to scenography in museums, exhibitions, social spaces and in various urban contexts. Presenting a range of perspectives, the volume explores the interdisciplinarity of contemporary scenography and its ongoing diversification, raising questions relating to cultural heritage, genre and media specificity, knowledge transfer, local versus global practices, internationalization and cultural exchange. Combined with a set of stimulating examples of scenographic design in action - presented through interviews, artists' statements and case studies - the contributors develop a theoretical framework for understanding scenography as an art practice and discourse.

Hamlet's 'To be or not to be' soliloquy is quoted more often than any other passage in Shakespeare. It is arguably the most famous speech in the Western world - though few of us can remember much about it. This book carefully unpacks the individual words, phrases and sentences of Hamlet's solioquy uin order to reveal how and why it has achieved its remarkable hold on our culture. Hamlet's speech asks us to ask some of the most serious questions there are regarding knowledge and existence. In it, Shakespeare also expands the limits of the English language. Douglas Bruster therefore reads Hamlet's famous speech in 'slow motion' to highlight its material, philosophical and cultural meaning and its resonance for generations of actors, playgoers and readers. Douglas Bruster is Professor of English at The University of Texas at Austin, USA. He is the author of Drama and the Market in the Age of Shakespeare; Quoting Shakespeare; Shakespeare and the Question of Culture; and, with Robert Weimann, Prologues to Shakespeare's Theatre.

In the context of the postdigital age, where technology is increasingly part of our social and political world, Avatars, Activism and Postdigital Performance traces how identity can be created, developed, hijacked, manipulated, sabotaged and explored through performance in postdigital cultures. Considering how technology is reshaping performance, this timely collection reveals how we engage in performance practices through expanded notions of intermediality, knotted networks and layering. This book examines the artist as activist and producer of avatars, and how digital doubles, artificial intelligence and semi-automated politics are problematizing and expanding our discussions of identity. Using a range of examples in theatre, film and internet-based performance practices, chapters examine the uncertain boundaries of networked 'informational selves' in mediatized cultures, the impacts of machine algorithms, apps and the consequences of digital legacies. Case studies include James Cameron's Avatar, Blast Theory's Karen, Ontroerend Goed's A Game of You, Randy Rainbow's online videos, Sisters Grimm's Calpurnia Descending, Dead Centre's Lippy and Chekhov's First Play and Jo Scott's practice-as-research in 'place-mixing'. This is an incisive study for scholars, students and practitioners interested in the wider conversations around identity-formation in postdigital cultures.

As readers head into the second fifty years of the modern critical study of blackness and black characters in Renaissance drama, it has become a critical commonplace to note black female characters' almost complete absence from Shakespeare's plays. Despite this physical absence, however, they still play central symbolic roles in articulating definitions of love, beauty, chastity, femininity, and civic and social standing, invoked as the opposite and foil of women who are "fair". Beginning from this recognition of black women's simultaneous physical absence and imaginative presence, this book argues that modern Shakespearean adaptation is a primary means for materializing black women's often elusive presence in the plays, serving as a vital staging place for historical and political inquiry into racial formation in Shakespeare's world, and our own. Ranging geographically across North America and the Caribbean, and including film and fiction as well as drama as it discusses remade versions of Othello, Romeo and Juliet, Antony and Cleopatra, and The Taming of the Shrew, Shakespearean Adaptation, Race, and Memory in the New World will attract scholars of early modern race studies, gender and performance, and women in Renaissance drama.

How does theatre shape the body and perceptions of it? How do bodies on stage challenge audience assumptions about material evidence and the truth? Theory for Theatre Studies: Bodies responds to these questions by examining how theatre participates in and informs theories of the body in performance, race, queer, disability, trans, gender, and new media studies. Throughout the 20th century, theories of the body have shifted from understanding the body as irrefutable material evidence of race, sex, and gender, to a social construction constituted in language. In the same period, theatre has struggled with representing ideas through live bodies while calling into question assumptions about the body. This volume demonstrates how theatre contributes to understanding the historical, contemporary and burgeoning theories of the body. It explores how theories of the body inform debates about labor conditions and spatial configurations. Theatre allows performers to shift an audience's understandings of the shape of the bodies on stage, possibly producing a reflexive dynamic for consideration of bodies offstage as well. In addition, casting choices in the theatre, most recently and popularly in Hamilton, question how certain bodies are "cast" in social, historical, and philosophical roles. Through an analysis of contemporary case studies, including The Balcony, Angels in America, and Father Comes Home from the Wars, this volume examines how the theatre theorizes bodies. Online resources are also available to accompany this book.

Between the advent of the French Revolution and the short-lived success of the Chartist Movement, overworked and underpaid labourers struggled to achieve solidarity and collective bargaining. That history has been told in numerous accounts of the age, but never before has it been told in terms of the theatre of the period. To understand the play lists of a theatre, it is crucial to examine the community which that theatre serves. In the labouring-class communities of London and the provinces, the performances were adapted to suit the local audiences, whether weavers, or miners, or field workers. Examining the conditions and characteristics of representative provincial theatres from the 1790s to 1830s, Frederick Burwick argues that the meaning of a play changes with every change in the performance location. As contributing factors in that change, Burwick attends to local political and cultural circumstances as well as to theatrical activities and developments elsewhere.