Cultural Management and Policy in Latin America provides in-depth insights into the education and training of cultural managers from interdisciplinary and comparative perspectives. The book focuses on the effects of neoliberalism on cultural policies across the region, and questions how cultural managers in Latin America deal not only with contemporary political challenges but also with the omnipresent legacy of colonialism. In doing so, it unpacks the methods, formats, and narratives employed. Reflecting on emerging and contemporary research topics, the book analyses the key literature and scholarly contexts to identify impacts in the region and beyond. The volume provides scholars, students and reflective practitioners with a comprehensive resource on international cultural management that helps to overcome Western-centric methods and theories.

Women, Method Acting, and the Hollywood Film is the first study dedicated to understanding the work of female Method actors on film. While Method acting on film has typically been associated with the explosive machismo of actors like Marlon Brando and Robert De Niro, this book explores an alternate tradition within the Method-the work that women from the Actors Studio did in Hollywood. Covering the period from the end of the Second World War until the 1970s, this study shows how the women associated with the Actors Studio increasingly used Method acting in ways that were compatible with their burgeoning feminist political commitments and developed a style of feminist Method acting. The book examines the complex intersection of Method acting, sexuality, and gender by analyzing performances such as Kim Hunter's in A Streetcar Named Desire, Julie Harris's in The Member of the Wedding, Shelley Winters's in The Big Knife, Geraldine Page's in Sweet Bird of Youth, and Jane Fonda's in Coming Home. Challenging the longstanding assumption that Method acting's approaches were harmful to women and incompatible with feminism, this book argues that some of Hollywood's most interesting female actors, and leading feminists, emerged from the Actors Studio in the period between the 1950s and the 1970s. Written for students and scholars of Film Studies, Cultural Studies, Theatre and Performance Studies, and Gender Studies, Women, Method Acting, and the Hollywood Film reshapes the way we think of a central strain in American screen acting, and in doing so, allows women a new stake in that tradition.

Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK - its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.

Hurled words. Thrown objects. Dodged burgers. A burger was thrown at Travis Alabanza on Waterloo Bridge in 2016. From this experience they have created a poetic, passionate performance piece based around the 'burger': the texture, and taste of being trans. Their experiences include verbal abuse, ostracisation and being thrown out of a Top Shop changing room. The piece also explores the black trans experience.

The Theatre Experience, 15e prepares students to be well-informed, well-prepared theatre audience members. With an audience-centered narrative that engages today's students, a vivid photo program that brings concepts to life, and features that teach and encourage a variety of skill sets, students master core concepts and learn to think critically about theatre and the world around them. As a result, students are better prepared for class, and better prepared for theatre going. The textbook is noted for its lively writing style and for helping students recognize how theatre relates to our everyday lives.

Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK - its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.

This volume explores whether theatre pedagogy can and should be transformed in response to the global climate crisis. Conrad Alexandrowicz and David Fancy present an innovative re-imagining of the ways in which the art of theatre, and the pedagogical apparatus that feeds and supports it, might contribute to global efforts in climate protest and action. Comprised of contributions from a broad range of scholars and practitioners, the volume explores whether an adherence to aesthetic values can be preserved when art is instrumentalized as protest and considers theatre as a tool to be employed by the School Strike for Climate movement. Considering perspectives from areas including performance, directing, production, design, theory and history, this book will prompt vital discussions which could transform curricular design and implementation in the light of the climate crisis. Theatre Pedagogy in the Era of Climate Crisis will be of great interest to students, scholars and practitioners of climate change and theatre and performance studies.

Reiko Oya explores theatrical expressions of Shakespearean tragedy in Georgian London and the relations between the representative players of the time - David Garrick, John Philip Kemble and his sister Sarah Siddons, and Edmund Kean - and their close circle of friends. The book begins by analysing the tragic emotion that Garrick conveyed through his performance of King Lear, and the responses to it from such critics as Samuel Johnson and Elizabeth Montagu. The second chapter examines the concept of sublimity in Kemble and Siddons??? interpretations of Macbeth. The final chapter studies the disparity between the literary and the theatrical Hamlet in Kean??'s impersonation and William Hazlitt??'s response to it. With subjects ranging from Shakespearean promptbooks to paintings and the poetics of Romanticism, the book offers great insights into the exchange of ideas and inspirations among the cultural luminaries who surrounded the London stage.

- A comprehensive and accessible introduction to the essential elements of choreography - practice, theory and contexts - Invaluable for any undergraduate students on Dance Studies or Dance BfA courses across the UK, US and Europe - Gives a much more current and contemporary take on the discipline than most books in this area, aimed at a younger, student audience

Curating Dramaturgies investigates the transformation of art and performance and its impact on dramaturgy and curatorship. Addressing contexts and processes of the performing arts as interconnecting with visual arts, this book features interviews with leading curators, dramaturgs and programmers who are at the forefront of working in, with, and negotiating the daily practice of interdisciplinary live arts. The book offers a view of praxis that combines perspectives on theory and practice and looks at the way that various arts institutions, practitioners and cultural agents have been working to change the way that art and performance have developed and experienced by spectators in the last decade. Curating Dramaturgies argues that cultural producers and scholars are becoming more cognizant of this overlapping and transforming field. The introductory essay by the editors explores the rise of interdisciplinary live arts and its ramifications in cultural and political terms. This is further elaborated in the interviews with 15 diversely placed arts professionals who are at the forefront of rethinking and consolidatingthe ever-evolving field of the visual arts and performance.

A clear, supportive and comprehensive guide to writing a play - based on the author's long-running playwriting masterclasses, as taught at the UK's National Theatre. This book leads you through everything you need to know, including: The theatrical tools and techniques you can use to bring your play to life on the stage (and how these differ from writing for film and TV); Discovering and trusting your writing process, with a range of approaches for developing your initial idea into a completed script; Understanding your characters, including their goals and central conflicts, and using emotional logic to connect them to your story; Finding the dramatic structure and theatrical setting that best suits your play; The key elements of constructing a great scene, including how to handle exposition, invoke tension, deepen characterisation and create effective transitions; Writing engaging, active dialogue by finding each character's voice, balancing exposition with subtext, and rooting what a character says in their specific context Throughout, you'll find examples from classical and modern plays, plus insights from other contemporary playwrights into their own writing journeys. Each chapter provides a set of exercises to help you practise what you've learnt. There's also advice on what to do once you've finished your script - including redrafting, receiving feedback and taking notes - and how to navigate your play's progress towards production. Whether you're an emerging playwright or embarking on your first-ever play, The Playwright's Journey will help you develop your creativity, strengthen your connection to your material, and transform your idea into a fully formed play that feels alive on the page - and the stage.

This book examines the depiction of the Delta region of Nigeria through literature and other cultural art forms. The Niger Delta has been thrust into the global limelight due to resource extraction and conflict, but it is also a region with a rich culture, environment, and heritage. The creative imagination of the area's artists has been fuelled by the area's pressing concerns of indigenous peoples, minority discourse, environmental degradation, climate change, multinational corporations' greed, dictatorship, and people's struggle for control of their resources. Taking a holistic approach to the Niger Delta experience, this book showcases artistic responses from literature, visual arts, and performances (such as masquerades, dances, and festivals). Chapters cover authors, artists, and performers such as Ben Okri, Ken Saro-Wiwa, Isidore Okpewho, J.P. Clark, and Bruce Onobrakpeya, as well as topics like the famous Benin bronze figures and Urhobo Udje dance. Affirming the wealth and diversity of the region which continues to inspire creative artistic productions, The Literature and Arts of the Niger Delta will be of interest to researchers of African literature, arts, and other cultural productions.

This book examines representations of the teacher on stage - in both theatrical performances and dramatic text - in order to demonstrate how these representations have shaped society's perceptions of educators in and out of the classroom. At the heart of this book is the interaction between theatre and teacher education. By considering how dramatic portrayals reimagine, reinforce and/or undermine our understanding of the teacher's personal and professional roles, this volume bridges the gap between truth in dramatic literature and truth in the classroom. Chapters critically explore the personas embodied by fictional teachers in well-known works such as Educating Rita, School of Rock and The History Boys and illustrate how educators might use dramatic literature and performance to interrogate entrenched ideas about the student-teacher dynamic. By bringing together a diverse set of contributors from the fields of teacher education and theatre, this book takes a critical look at performance, text, society and culture to promote a new understanding of teaching and learning. This unique book will be of great interest to graduate and postgraduate students, academics and researchers in the fields of teacher education, drama and theatre education.

Critical Themes in Drama is concerned with the relationship between drama and the current socio-political context. It builds on and contributes to ongoing scholarly conversations regarding the use, benefit, challenges and opportunities for drama and theatre as a social, cultural, educational and political act. The intention of this book is to canvas current theory and practice in drama, to provide an extended examination of how drama as a pro-social practice intersects with socio-cultural institutions, to link critical discourse and examine ways drama may contribute to a broader social justice agenda. Authors draw on a variety of theoretical tools from the fields of sociology, anthropology and cultural studies. This combines with an exploration of work from drama practitioners across a variety of countries and practices to provide a map of how the field is shaped and how we might understand drama praxis as a social, cultural and political force for change. This book offers drama scholars, practitioners, researchers and teachers a critical exploration which is both hopeful and critical; acknowledging the complexities and potential pitfalls, while celebrating the opportunities for drama as a practice for social action and positive change.

Amid enormous changes in higher education, audience and music listener preferences, and the relevant career marketplace, music faculty are increasingly aware of the need to reimagine classical music performance training for current and future students. But how can faculty and administrators, under urgent pressure to act, be certain that their changes are effective, strategic, and beneficial for students and institutions? In this provocative yet measured book, Michael Stepniak and Peter Sirotin address these questions with perspectives rooted in extensive experience as musicians, educators, and arts leaders. Building on a multidimensional analysis of core issues and drawing upon interviews with leaders from across the performing arts and higher education music fields, Stepniak and Sirotin scrutinize arguments for and against radical change, illuminating areas of unavoidable challenge as well as areas of possibility and hope. An essential read for education leaders contemplating how classical music can continue to thrive within American higher education.

Peter Harrop offers a reappraisal of mummers' plays, which have long been regarded as a form of 'folk' or 'traditional' drama, somehow separate from the mainstream of British theatre. This fresh view of folk and tradition explores how mummers' plays emerged in an 18th century theatrical environment of popular spouting clubs and private theatricals, yet quickly transformed into 'traditionary' drama with echoes of an ancient past. Harrop suggests that by the late 19th century the plays had been appropriated by antiquarians and folklorists, leaving mummer's plays as a strangely separate and categorised form. This book considers how that happened, and the ways in which these late 19th century ideas were absorbed into the mummers' plays, providing a new lease of life for them in the 20th and 21st centuries. Ideal for anyone with a specialised interest in this unique form, Mummers' Plays Revisited spans recent work in theatre history, performance studies and folklore to offer a comprehensive and engaging study.

In comparison with Literary Studies and Media and Film Studies, the disciplines of Theatre and Performance, with their strong anthropocentric heritage, have been relatively slow in responding to such things as climate change, species extinction, or pollution and toxicity etc. However, in the wake of recent work on animals, cyborgs, and objects, as well as publications with a specific focus on ecology and environment, there are real signs that theatre and performance scholars are beginning to make their own contribution to the Environmental Humanities. But if theatre critics are engaged in new forms of ecocritical analysis, it is worth posing a pertinent question from the outset: namely, what can theatre do ecologically? In this book, leading researchers and practitioners seek to answer that question from a number of perspectives and with diverse methodologies. Topics include: reflections on rehearsal processes, scores for performance, site-based interventions, ideas of conflict, investigations of temporality and time ecology, ecospectating, and the experience of disappointment. Taken together, these essays make an important intervention in the emergent (inter)disciplines of the Environmental Humanities and further our understanding of the ecological potential of Theatre and Performance in ways that are cautious, tentative but also generative. This book was originally published as a special issue of Green Letters: Studies in Ecocriticism.

This book brings the insights of theatre theory to law, legal interpretation and the jurisprudential to reshape law as a practice of response and responsibility. Confronting a Baconian antitheatrical legality embedded in its jurisprudences and interpretative practices, Marett Leiboff turns to theatre theory and practice to ground a theatrical jurisprudence, taking its cues from Han-Thies Lehmann's conception of the post-dramatic theatre and the early work of theatre visionary Jerzy Grotowski. She asks law to move beyond an imagined ideal grounded in Aristotelian drama and tragedy, and turns to the formation of the legal interpreter lawyer, judge, jurisprudent as fundamental to understanding what's "noticed" or not noticed in law. We "notice" most easily through that which is written into the body of the legal interpreter, in a way that can't be replicated through law's standard practices of thinking and reasoning. Without more, thinking and reasoning are the epitome of antitheatricality legality; a set of theatrical antonyms, including transgression and instinct, offer instead a set of possibilities through which to reconceive assumptions and foundational concepts etched into the legal imaginary. And by turning to critical dramaturgy, the book reveals that the liveliness that sits behind theatrical jurisprudence isn't a new concept in law at all, but has a long pedigree and lineage that had been lost and hidden. Theatrical jurisprudence, which demands an awareness of self and beyond self, grounds a responsiveness that can't be found within doctrine, principle, or the technocratic, but also challenges us to notice what it is we think we know as well as what we know of lives in law that aren't our own. The book will be of interest to scholars and students in the field of jurisprudence, legal theory, theatre and performance studies, cultural studies and philosophy.

This book uses the Afro-Brazilian art of capoeira to examine how security has been pursued from below and what significance this has for security analysis and policy. Illegal at the beginning of the twentieth century, capoeira is now a cultural institution and export that is protected by the Brazilian state and recognised by UNESCO, with capoeira players protecting and promoting their interests through the practice and development of their art. The book brings the musical and corporeal narrative from capoeira into conversation with debates on security; these have typically been dominated by northern, white, military voices, and as a result, the perspective of the weaker player is routinely overlooked in security literature and policy making. Bringing the perspective of the weaker party, Cultural Resistance and Security from Below examines the distribution of security from two angles. First, it presents the history of the interaction between capoeira players and the Brazilian society and state that resulted in political and legal acceptance of capoeira. Second, it explores how the practice of capoeira generates knowledge of identities, explanations and values, and how this knowledge empowers communities of players and is communicated to society more broadly. The book then turns to consider how capoeira resists within Brazil's contemporary context of insecurity, and what significance the knowledge and power, along with capoeira's core move of escape, have to security analysis and policy. The book concludes by taking the lessons from capoeira to inform understanding of other cultural activities and ways of life as potential sites and forms of resistance. Conceptually and methodologically original, this book will be of interest to scholars and students in the fields of security studies, development studies, political science and international studies. It will also be of interest to those scholars interested in the changing interaction between politics and the arts.

With disappearing music venues, and arts and culture communities at constant risk of displacement in our urban centers, the preservation of intangible cultural heritage is of growing concern to global cities. This book addresses the role and protection of intangible cultural heritage in the urban context. Using the methodology of Urban Legal Anthropology, the author provides an ethnographic account of the civic effort of Toronto to become a Music City from 2014-18 in the context of redevelopment and gentrification pressures. Through this, the book elucidates the problems cities like Toronto have in equitably protecting intangible cultural heritage and what can be done to address this. It also evaluates the engagement that Toronto and other cities have had with international legal frameworks intended to protect intangible cultural heritage, as well as potential counterhegemonic uses of hegemonic legal tools. Understanding urban intangible cultural heritage and the communities of people who produce it is of importance to a range of actors, from urban developers looking to formulate livable and sustainable neighbourhoods, to city leaders looking for ways in which their city can flourish, to scholars and individuals concerned with equitability and the right to the city. This book is the beginning of a conservation about what is important for us to protect in the city for future generations beyond built structures, and the role of intangible cultural heritage in the creation of full and happy lives. The book is of interest to legal and sociolegal readers, specifically those who study cities, cultural heritage law, and legal anthropology.

The epic poems the Iliad and the Odyssey, attributed to Homer, are among the oldest surviving works of literature derived from oral performance. Deeply embedded in these works is the notion that they were intended to be heard: there is something musical about Homer's use of language and a vivid quality to his images that transcends the written page to create a theatrical experience for the listener. Indeed, it is precisely the theatrical quality of the poems that would inspire later interpreters to cast the Odyssey and the Iliad in a host of other media-novels, plays, poems, paintings, and even that most elaborate of all art forms, opera, exemplified by no less a work than Monteverdi's Il ritorno di Ulisse in patria. In Performing Homer: The Voyage of Ulysses from Epic to Opera, scholars in classics, drama, Italian literature, art history, and musicology explore the journey of Homer's Odyssey from ancient to modern times. The book traces the reception of the Odyssey though the Italian humanist sources-from Dante, Petrarch, and Ariosto-to the treatment of the tale not only by Monteverdi but also such composers as Elizabeth Jacquet de la Guerre, Gluck, and Alessandro Scarlatti, and the dramatic and poetic traditions thereafter by such modern writers as Derek Walcott and Margaret Atwood.

This volume is a collection of five Sinhala plays, translated into English, which were written and performed during the most violent phase of modern Sri Lankan history. Ranjini Obeyesekere's translation of these five well-known and celebrated plays by K. B. Herath, Prasannajith Abeysuriya, Dhananjaya Karunarathne, Prasanna Jayakody and Rajitha Dissanayake highlights and explores the dynamic period of Sri Lankan theater and performance arts in the 1980s and 1990s. The plays in this collection offered a political space for criticism, introspection, discussion and protest during a time of suppression of voices, political violence and terror. Audiences flocked to the theater to watch plays produced by talented dramatists and artists who were experimenting with forms and themes under extremely challenging circumstances, shoe-string budgets and strict censorship. Kanchuka Dharmasiri's introduction to the volume further details the history and socio-political contexts of the theater of this period, discussing themes such as dissent, identity and the brutal power of the state. She also looks at the unique formal elements employed in these plays as well as their influence and reach. This volume is a significant addition to the growing corpus of Sinhala literature in translation. It will be an essential read for scholars and researchers of literature, performance studies, cultural studies, and the politics and history of Sri Lanka.

Staging Violence explores gender violence in Spanish early modern short theater. This book deals with domestic violence against women, extortion of prostitutes, and violence against men who display non-conventional forms of masculinity. The author argues that many "jacaras" and "entremeses" stage subversive discourses that repudiate or complicate official narratives of gender and the use of violence as a tool for achieving gender compliance. Short comic pieces are read against comedias. Each section of the book is expertly contextualized through an overview of the legal and moral contexts and the analysis of a variety of primary sources (law codes, manuals of conduct, church rulings, transcripts of civil and religious trials, and medical manuals) as well as statistical information. Staging Violence invites the reader to consider the transgressive potential of performance. As the first monograph entirely dedicated to the study of gender in this genre, this book is a vital resource for students and scholars interested in gender studies and theatre.

The Street Where I Live is at once an intimate biography of three great shows-My Fair Lady, Gigi, and Camelot-and a candid account of the life and times of Alan J. Lerner, one of America's most acclaimed and popular lyricists. Large-hearted, humorous, and often poignant in its reverence for a celebrated era in the American theater, this is the story of what Lerner calls "the sundown of wit, eccentricity, and glamour." Try as he might to keep himself out of these pages, Lerner reveals himself to be a man of great talent, laughter, and love. Along the way, we meet a sensational supporting cast: Moss Hart, Fritz Loewe, Julie Andrews, Richard Burton, Rex Harrison, Cecil Beaton, Louis Jourdan, and Maurice Chevalier, to name a few. They are seen in moments of triumph and disaster, but all are professionals at the creation of theater. And the creation of theater is the matrix of this wonderful book. Included are the complete lyrics to My Fair Lady, Gigi, and Camelot.

Leading composers, producers and writers consider the role of the composer in the community in Britain today and over the last fifty years. With his Aspen award lecture (1964), Benjamin Britten expressed a unique commitment to community and place. This book revisits this seminal lecture, but then uses it as a starting point of reflection, inviting leading composers, producers and writers to consider the role of the composer in the community in Britain in the last fifty years. Colin Matthews, Jonathan Reekie and John Barber reflect on Britten's aspirations as a composer and the impact of his legacy, and Gillian Moore surveys the ideals of composers since the 1960s. Eugene Skeef and Tommy Pearson discuss the influence of the London Sinfonietta, while Katie Tearle reviews the tradition of community opera at Glyndebourne. Nigel Osborne and Judith Webster explore the role of music as therapy, and James Redwood, Amoret Abis, Sean Gregory and Douglas Mitchell look at music in the classroom and creative workshops. John Sloboda, Detta Danford and Natasha Zielazinski discuss collaboration in music-making and ways of facilitating exchanges between the composer and the audience, while Christopher Fox and Howard Skempton examine the role of modernism and the use of 'other', radical techniques to stimulate new dialogues between composer and community. Peter Wiegold and Amoret Abis interview Sir Harrison Birtwistle, John Woolrich and Phillip Cashian, and Wiegold discusses his formative experiences in encountering music-making in other cultures. All of these approaches to the role and identity of the composer throw a different light on how we address 'the composer and the community': the varied, sometimes contradictory, motivations of composers; the role of music in 'enhancing lives'; the concept of 'outreach' and the different ways this is pursued; and, finally, the meaning of 'community'. Underpinning each are genuine questions about the relationship of arts to society. This book will appeal not only to composers, performers and practitioners of contemporary music but to anyone interested in the changes in twentieth-century music practice, music in education, and the role of music and the arts in the wider community and society.