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.

What sort of thing is a theatre image? How is it produced and consumed? Who is responsible for the images? Why do the images stay with us when the performance is over? How do we learn to speak of what we see and imagine? And how do we relate what we experience in the theatre to what we share with each other of the world? The Illuminated Theatre is a book about theatricality and spectatorship in the early twenty-first century. In a wide-ranging analysis that draws upon theatrical, visual and philosophical approaches, it asks how spectators and audiences negotiate the complexities and challenges of contemporary experimental performance arts. It is also a book about how European practitioners working across a range of forms, from theatre and performance to dance, opera, film and visual arts, use images to address the complexities of the times in which their work takes place. Through detailed and impassioned accounts of works by artists such as Dickie Beau, Wendy Houstoun, Alvis Hermanis and Romeo Castellucci, along with close readings of experimental theoretical and art writing from Gillian Rose to T.J. Clark and Marie-Jose Mondzain, the book outlines the historical, aesthetic and political dimensions of a contemporary 'suffering of images.'

What sort of thing is a theatre image? How is it produced and consumed? Who is responsible for the images? Why do the images stay with us when the performance is over? How do we learn to speak of what we see and imagine? And how do we relate what we experience in the theatre to what we share with each other of the world? The Illuminated Theatre is a book about theatricality and spectatorship in the early twenty-first century. In a wide-ranging analysis that draws upon theatrical, visual and philosophical approaches, it asks how spectators and audiences negotiate the complexities and challenges of contemporary experimental performance arts. It is also a book about how European practitioners working across a range of forms, from theatre and performance to dance, opera, film and visual arts, use images to address the complexities of the times in which their work takes place. Through detailed and impassioned accounts of works by artists such as Dickie Beau, Wendy Houstoun, Alvis Hermanis and Romeo Castellucci, along with close readings of experimental theoretical and art writing from Gillian Rose to T.J. Clark and Marie-Jose Mondzain, the book outlines the historical, aesthetic and political dimensions of a contemporary 'suffering of images.'

Through specific examples, case studies and essays by specialist writers, academics, and a new generation of theatre researchers, this collection of specially commissioned essays looks at current theatre practices across Europe.

From ThA(c)atre du Soleil to SocA¬etas Raffaello Sanzio, the authors reconsider the possibilities of theatre practice, its relation to history and location and its place in Europe at the turn of the twenty-first century.

Contemporary Theatres in Europe examines a wide range of topics including:

• mainstream European theatre
• experimental performance
• music theatre
• theatre for children
• dance theatre.

Tailor-made for students, offering clear examples of different ways of thinking and writing about performance, this is a richly detailed introduction which brings key themes to life for all students of European theatre.

Through specific examples, case studies and essays by specialist writers, academics, and a new generation of theatre researchers, this collection of specially commissioned essays looks at current theatre practices across Europe.

From ThA(c)atre du Soleil to SocA¬etas Raffaello Sanzio, the authors reconsider the possibilities of theatre practice, its relation to history and location and its place in Europe at the turn of the twenty-first century.

Contemporary Theatres in Europe examines a wide range of topics including:

• mainstream European theatre
• experimental performance
• music theatre
• theatre for children
• dance theatre.

Tailor-made for students, offering clear examples of different ways of thinking and writing about performance, this is a richly detailed introduction which brings key themes to life for all students of European theatre.

Fluid stages, morphing theatre spaces, ambulant spectators, and occasionally disappearing performers: these are some of the key ingredients of nomadic theatre. They are also theatre's response to life in the 21st century, which is increasingly marked by the mobility of people, information, technologies and services. While examining how contemporary theatre exposes and queries this mobile turn in society, Liesbeth Groot Nibbelink introduces the concept of nomadic theatre as a vital tool for analyzing how movement and mobility affect and implicate the theatre, how this makes way for local operations and lived spaces, and how physical movements are stepping stones for theorizing mobility at large. Now available in paperback, this book focuses on ambulatory performances and performative installations, asking how they stage movement and in turn mobilize the stage. By analyzing the work of leading European artists such as Rimini Protokoll, Dries Verhoeven, Ontroerend Goed, and Signa, Nomadic Theatre demonstrates that mobile performances radically rethink the conditions of the stage and alter our understanding of spectatorship. Nomadic Theatre instigates connections across disciplinary fields and feeds dramaturgical analysis with insights derived from media theory, urban philosophy, cartography, architecture, and game studies. It illustrates how theatre, as a material form of thought, creatively and critically engages with mobile existence both on the stage and in society.

Thinking Through Theatre and Performance presents a bold and innovative approach to the study of theatre and performance. Instead of topics, genres, histories or theories, the book starts with the questions that theatre and performance are uniquely capable of asking: How does theatre function as a place for seeing and hearing? How do not only bodies and voices but also objects and media perform? How do memories, emotions and ideas continue to do their work when the performance is over? And how can theatre and performance intervene in social, political and environmental structures and frameworks? Written by leading international scholars, each chapter of this volume is built around a key performance example, and detailed discussions introduce the methodologies and theories that help us understand how these performances are practices of enquiry into the world. Thinking through Theatre and Performance is essential for those involved in making, enjoying, critiquing and studying theatre, and will appeal to anyone who is interested in the questions that theatre and performance ask of themselves and of us.

In 1991, sports divers discovered a previously unknown section of wooden shipwreck, subsequently named Alum Bay 1, lying in the sheltered waters of Alum Bay on the north-west coast of the Isle of Wight. The identity of the vessel was initially unknown but it was strongly linked to the loss of the 38-gun frigate HMS Pomone on the nearby Needles in 1811, an identification formally confirmed by the research detailed in this monograph. Archaeological work on the site since 1993 has comprised a seabed survey of the site, targeted excavation of specific areas and sampling of structural remains for dendrochronological and metallurgical analysis. In 2001, a second shipwreck was discovered a short distance away and the focus of archaeological work shifted to this new set of remains, named Alum Bay 2. This vessel proved to be a much smaller vessel that was upturned on the seabed and covered by a thin layer of sediment. This vessel was also subject to archaeological survey and investigation, including dendrochronological analysis. On the basis of the ship structure surviving on the seabed, Alum Bay 2 has been classified as a relatively small vessel that was likely to have been involved in local transport or coastal trade in the very late 18th century and early decades of the 19th century. The role of public engagement in the management of such archaeological sites was developed further in the mid-2000s when a dive trail was established around the two Alum Bay shipwrecks. The dive trail in Alum Bay provides an interesting case study in this form of archaeological interaction with the diving public. In concert with such outreach work, further archaeological survey was been undertaken across Alum Bay in the light of a number of isolated finds being reported by sports divers including parts of cannon carriages and hull elements. Investigative work in Alum Bay has also encompassed the broken remains of the Victorian Pier that was constructed in 1887 to serve the growing boom in seaside tourism. The two shipwrecks of Alum Bay 1 and 2 provide a snapshot of two different aspects of English shipbuilding, naval and merchant, in the very late 18th and early 19th century. The archaeological work conducted in their investigation forms the core of this monograph, with further chapters that discuss the wider searches of Alum Bay and also the installation and use of the public Alum Bay Dive Trail. Such an account represents the results of twenty years of archaeological investigation within Alum Bay by the Maritime Archaeology Trust (which incorporates the Hampshire and Wight Trust for Maritime Archaeology). This work has been undertaken across a time span in which maritime archaeology in the UK has seen tremendous changes, becoming ever more integrated into the wider heritage discipline and with increasing numbers of professional archaeologists working within the marine zone. Throughout this period, archaeological work in Alum Bay has brought together professional and a-vocational archaeologists, who have worked successfully alongside each other. The various fieldwork seasons have provided extensive opportunities for people to receive archaeological training and develop their experience. This monograph therefore represents the last stage of this work, addressing the processing, analysis, interpretation and finally publication and dissemination.

What happens to politics when it takes the form of theatre? How has theatre both exploited and undermined politics both in society and on the stage? Theatre& Politics explores the complex relationship between theatre and politics, questioning some of the assumptions that often arise when they are brought together. Challenging ideas about 'entertainment' and 'communication', the book draws on a broad range of key writing from Plato to Ranciere, and theatrical examples from Shakespeare and his adaptors through Peter Handke to debbie tucker green.

Fluid stages, morphing theatre spaces, ambulant spectators, and occasionally disappearing performers: these are some of the key ingredients of nomadic theatre. They are also theatre's response to life in the 21st century, which is increasingly marked by the mobility of people, information, technologies and services. While examining how contemporary theatre exposes and queries this mobile turn in society, Liesbeth Groot Nibbelink introduces the concept of nomadic theatre as a vital tool for analyzing how movement and mobility affect and implicate the theatre, how this makes way for local operations and lived spaces, and how physical movements are stepping stones for theorizing mobility at large. This book focuses on ambulatory performances and performative installations, asking how they stage movement and in turn mobilize the stage. By analyzing the work of leading European artists such as Rimini Protokoll, Dries Verhoeven, Ontroerend Goed, and Signa, Nomadic Theatre demonstrates that mobile performances radically rethink the conditions of the stage and alter our understanding of spectatorship. Nomadic Theatre instigates connections across disciplinary fields and feeds dramaturgical analysis with insights derived from media theory, urban philosophy, cartography, architecture, and game studies. It illustrates how theatre, as a material form of thought, creatively and critically engages with mobile existence both on the stage and in society.

Thinking Through Theatre and Performance presents a bold and innovative approach to the study of theatre and performance. Instead of topics, genres, histories or theories, the book starts with the questions that theatre and performance are uniquely capable of asking: How does theatre function as a place for seeing and hearing? How do not only bodies and voices but also objects and media perform? How do memories, emotions and ideas continue to do their work when the performance is over? And how can theatre and performance intervene in social, political and environmental structures and frameworks? Written by leading international scholars, each chapter of this volume is built around a key performance example, and detailed discussions introduce the methodologies and theories that help us understand how these performances are practices of enquiry into the world. Thinking through Theatre and Performance is essential for those involved in making, enjoying, critiquing and studying theatre, and will appeal to anyone who is interested in the questions that theatre and performance ask of themselves and of us.