The only comprehensive and in-depth history of mime and physical theatre in the UK, from its roots, influences and early pioneers, to the leading lights and international successes of today. Includes original interviews with pioneers in the field, including: Joseph Seelig, Helen Lannaghan, Steven Berkoff, Julian Chagrin, Annabel Arden, Nola Rae, Denise Wong, David Glass, Justin Case and Toby Sedgwick. A one-stop shop for anyone studying contemporary UK theatre and its physical innovators, including Forced Entertainment, DV8, and Improbable.

In Nobody Will Shoot You If You Make Them Laugh: One Man's Journey Through The Mountains And Valleys of Life, the businessman and adventurer Simon Murray tells his extraordinary life story. From an orphanage in Leicester through the rigours and brutality of the English public school system in the 1950s, to a five-year spell in French Foreign Legion, his early life was recounted in his million-selling book Legionnaire. Since 1965 he has been one of the most successful businessmen operating out of Hong Kong. Starting as a sales manager for Jardine Matheson he worked his way up to running Hutchison Whampoa. He has also been actively involved with the Hong Kong Electricity Company, Deutsche Bank Asia Pacific, Glencore and Huawei among others. In-between he founded Orange and other mobile telephone operators across Asia and Africa. He has been off the path many times: climbed in the Atlas Mountains; trekked up to Everest and Annapurna; climbed Kilimanjaro and abseiled down the Shard in London. He is the oldest man to walk unsupported to the South Pole. He has run the Marathon des Sables, 250 kilometres across the Moroccan desert when he was 60 years old, and follows his motto 'Do not follow where the path may lead, but go instead where there is no path and leave a trail' somewhat earnestly. He was awarded the CBE from the Queen and been decorated with the Order of Merit and the Legion d'Honneur in France. He claims his greatest success is his marriage of 54 years to Jennifer and the raising of three children and his six grandchildren.

The only comprehensive and in-depth history of mime and physical theatre in the UK, from its roots, influences and early pioneers, to the leading lights and international successes of today. Includes original interviews with pioneers in the field, including: Joseph Seelig, Helen Lannaghan, Steven Berkoff, Julian Chagrin, Annabel Arden, Nola Rae, Denise Wong, David Glass, Justin Case and Toby Sedgwick. A one-stop shop for anyone studying contemporary UK theatre and its physical innovators, including Forced Entertainment, DV8, and Improbable.

Introduction to Contemporary Print Culture examines the role of the book in the modern world. It considers the book's deeply intertwined relationships with other media through ownership structures, copyright and adaptation, the constantly shifting roles of authors, publishers and readers in the digital ecosystem and the merging of print and digital technologies in contemporary understandings of the book object. Divided into three parts, the book first introduces students to various theories and methods for understanding print culture, demonstrating how the study of the book has grown out of longstanding academic disciplines. The second part surveys key sectors of the contemporary book world - from independent and alternative publishers to editors, booksellers, readers and libraries - focusing on topical debates. In the final part, digital technologies take centre stage as eBook regimes and mass-digitisation projects are examined for what they reveal about information power and access in the twenty-first century. This book provides a fascinating and informative introduction for students of all levels in publishing studies, book history, literature and English, media, communication and cultural studies, cultural sociology, librarianship and archival studies and digital humanities.

Introduction to Contemporary Print Culture examines the role of the book in the modern world. It considers the book's deeply intertwined relationships with other media through ownership structures, copyright and adaptation, the constantly shifting roles of authors, publishers and readers in the digital ecosystem and the merging of print and digital technologies in contemporary understandings of the book object. Divided into three parts, the book first introduces students to various theories and methods for understanding print culture, demonstrating how the study of the book has grown out of longstanding academic disciplines. The second part surveys key sectors of the contemporary book world - from independent and alternative publishers to editors, booksellers, readers and libraries - focusing on topical debates. In the final part, digital technologies take centre stage as eBook regimes and mass-digitisation projects are examined for what they reveal about information power and access in the twenty-first century. This book provides a fascinating and informative introduction for students of all levels in publishing studies, book history, literature and English, media, communication and cultural studies, cultural sociology, librarianship and archival studies and digital humanities.

This volume offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth century actor training. Jacques Lecoq's influence on the theatre of the latter half of the twentieth century cannot be overestimated. Now reissued Jacques Lecoq is the first book to combine: an historical introduction to his life and the context in which he worked an analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatre detailed studies of the work of Theatre de Complicite and Mummenschanz practical exercises demonstrating Lecoq's distinctive approach to actor training.

This new edition of Physical Theatres: A Critical Introduction continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice. This comprehensive book: traces the roots of physical performance in classical and popular theatrical traditions looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jerome Bel examines the contemporary practice of companies such as Theatre du Soleil, Complicite and Goat Island focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood. Extensive cross references ensure that Physical Theatres: A Critical Introduction can be used as a standalone text or together with its companion volume, Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance. New to this edition: a chapter on The Body and Technology, exploring the impact of digital technologies on the portrayal, perception and reading of the theatre body, spanning from onstage technology to virtual realities and motion capture; additional profiles of Jerzy Grotowski, Wrights and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial performance, new training practices, immersive and site-specific theatres, and the latest developments in neuroscience, especially as these impact on the place and role of the spectator.

Adaptation constitutes the driving force of contemporary culture, with stories adapted across an array of media formats. However, adaptation studies has been concerned almost exclusively with textual analysis, in particular with compare-and-contrast studies of individual novel and film pairings. This has left almost completely unexamined crucial questions of how adaptations come to be made, what are the industries with the greatest stake in making them, and who the decision-makers are in the adaptation process. The Adaptation Industry re-imagines adaptation not as an abstract process, but as a material industry. It presents the adaptation industry as a cultural economy of six interlocking institutions, stakeholders and decision-makers all engaged in the actual business of adapting texts: authors; agents; publishers; book prize committees; scriptwriters; and screen producers and distributors. Through trading in intellectual property rights to cultural works, these six nodal points in the adaptation network are tightly interlinked, with success for one party potentially auguring for success in other spheres. But marked rivalries between these institutional forces also exist, with competition characterizing every aspect of the adaptation process. This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process.

Adaptation constitutes the driving force of contemporary culture, with stories adapted across an array of media formats. However, adaptation studies has been concerned almost exclusively with textual analysis, in particular with compare-and-contrast studies of individual novel and film pairings. This has left almost completely unexamined crucial questions of how adaptations come to be made, what are the industries with the greatest stake in making them, and who the decision-makers are in the adaptation process. The Adaptation Industry re-imagines adaptation not as an abstract process, but as a material industry. It presents the adaptation industry as a cultural economy of six interlocking institutions, stakeholders and decision-makers all engaged in the actual business of adapting texts: authors; agents; publishers; book prize committees; scriptwriters; and screen producers and distributors. Through trading in intellectual property rights to cultural works, these six nodal points in the adaptation network are tightly interlinked, with success for one party potentially auguring for success in other spheres. But marked rivalries between these institutional forces also exist, with competition characterizing every aspect of the adaptation process. This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process.

Physical Theatres: A Critical Reader is an invaluable resource for students of physically orientated theatre and performance. This book aims to trace the roots and development of physicality in theatre by combining practical experience of the field with a strong historical and theoretical underpinning. In exploring the histories, cross-overs and intersections of physical theatres, this critical Reader provides: six new, specially commissioned essays, covering each of the book's main themes, from technical traditions to contemporary practises discussion of issues such as the foregrounding of the body, training and performance processes, and the origins of theatre in both play and human cognition a focus on the relationship and tensions between the verbal and the physical in theatre contributions from Augusto Boal, Stephen Berkoff, Etienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq, Yoshi Oida, Mike Pearson, and Aristotle.

This volume offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth century actor training. Jacques Lecoq's influence on the theatre of the latter half of the twentieth century cannot be overestimated. Now reissued Jacques Lecoq is the first book to combine: an historical introduction to his life and the context in which he worked an analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatre detailed studies of the work of Theatre de Complicite and Mummenschanz practical exercises demonstrating Lecoq's distinctive approach to actor training.

Physical Theatres: A Critical Reader is an invaluable resource for students of physically orientated theatre and performance. This book aims to trace the roots and development of physicality in theatre by combining practical experience of the field with a strong historical and theoretical underpinning. In exploring the histories, cross-overs and intersections of physical theatres, this critical Reader provides: six new, specially commissioned essays, covering each of the book's main themes, from technical traditions to contemporary practises discussion of issues such as the foregrounding of the body, training and performance processes, and the origins of theatre in both play and human cognition a focus on the relationship and tensions between the verbal and the physical in theatre contributions from Augusto Boal, Stephen Berkoff, Etienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq, Yoshi Oida, Mike Pearson, and Aristotle.

The French Foreign Legion – mysterious, romantic, deadly – is filled with men of dubious character, and hardly the place for a proper Englishman just nineteen years of age. Yet in 1960, Simon Murray traveled alone to Paris, Marseilles, and on to Algeria to fulfill the toughest contract of his life: a five-year stint in the Legion. Along the way, he kept a diary.

Legionnaire is a compelling, firsthand account of Murray's experience with this legendary band of soldiers. Subjected to brutal sergeants, merciless training methods and barbaric punishments – all in the hostile, sun-baked North African desert – Murray and his fellow men were pushed to breaking point, and beyond.

Sixty years on, it remains a remarkable account of one of the most notorious military groups, a tale of true adventure and one man's determination never to surrender.

This new edition of Physical Theatres: A Critical Introduction continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice. This comprehensive book: traces the roots of physical performance in classical and popular theatrical traditions looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jerome Bel examines the contemporary practice of companies such as Theatre du Soleil, Complicite and Goat Island focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood. Extensive cross references ensure that Physical Theatres: A Critical Introduction can be used as a standalone text or together with its companion volume, Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance. New to this edition: a chapter on The Body and Technology, exploring the impact of digital technologies on the portrayal, perception and reading of the theatre body, spanning from onstage technology to virtual realities and motion capture; additional profiles of Jerzy Grotowski, Wrights and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial performance, new training practices, immersive and site-specific theatres, and the latest developments in neuroscience, especially as these impact on the place and role of the spectator.

How has the Internet changed literary culture? 2nd Place, N. Katherine Hayles Award for Criticism of Electronic Literature by The Electronic Literature Organization Reports of the book's death have been greatly exaggerated. Books are flourishing in the Internet era-widely discussed and reviewed in online readers' forums and publicized through book trailers and author blog tours. But over the past twenty-five years, digital media platforms have undeniably transformed book culture. Since Amazon's founding in 1994, the whole way in which books are created, marketed, publicized, sold, reviewed, showcased, consumed, and commented upon has changed dramatically. The digital literary sphere is no mere appendage to the world of print-it is where literary reputations are made, movements are born, and readers passionately engage with their favorite works and authors. In The Digital Literary Sphere, Simone Murray considers the contemporary book world from multiple viewpoints. By examining reader engagement with the online personas of Margaret Atwood, John Green, Gary Shteyngart, David Foster Wallace, Karl Ove Knausgaard, and even Jonathan Franzen, among others, Murray reveals the dynamic interrelationship of print and digital technologies. Drawing on approaches from literary studies, media and cultural studies, book history, cultural policy, and the digital humanities, this book asks: What is the significance of authors communicating directly to readers via social media? How does digital media reframe the "live" author-reader encounter? And does the growing army of reader-reviewers signal an overdue democratizing of literary culture or the atomizing of cultural authority? In exploring these questions, The Digital Literary Sphere takes stock of epochal changes in the book industry while probing books' and digital media's complex contemporary coexistence.

This book is a collection of essays advancing the discourse in well-being science, authored by key thought leaders in positive psychology and its variants, including positive education, character education, and positive organizational scholarship. The authors address topics such as the next big ideas in well-being research and practice, potential strategies , as well as current gaps and limitations of the field. This book will be of particular interest for policy makers, educators and practitioners, as well as researchers.

This book is a collection of essays advancing the discourse in well-being science, authored by key thought leaders in positive psychology and its variants, including positive education, character education, and positive organizational scholarship. The authors address topics such as the next big ideas in well-being research and practice, potential strategies , as well as current gaps and limitations of the field. This book will be of particular interest for policy makers, educators and practitioners, as well as researchers.

Based on action research and implementation at one of the world's great schools, this book provides a much-needed exploration of how to implement positive education at a whole school level. Evidence-Based Approaches in Positive Education summarises the integration of a whole-school mental health and well-being strategy, positive psychology programs and pastoral care models from 3 - 18 years of age. Positive education is the teaching of scientifically validated programs from positive psychology and character education that have an impact on student and staff well-being. It is an approach that focuses on teaching, building and embedding social and emotional learning throughout a student's experience. St Peter's College - Adelaide is the only institution in the world to integrate Martin Seligman's well-being theory throughout all aspects of both its strategic intent and positive education programs. The School's vision is to be a world-class school where all boys flourish. Its mission is to provide an exceptional education that brings out the very best in every boy. This is done within an intellectually and spiritually rich environment that nurtures international-mindedness, intercultural understanding, respect and a commitment to social justice. This book captures the developments of the St Peter's College journey. It focuses on the integration of well-being across seven strategic goals: Academics; Well-being; Student Life; Entrepreneurship; Innovation and Partnerships; People, Culture and Change; Sustainability and Environment; Community Engagement, Advancement, and Philanthropy. A uniquely Australian school, the impact of a St Peter's College education is to build great men: who believe safety, service and integrity and fundamental parts of their lives; who are active members of communities that are socially and culturally diverse; who engage in political, ethical, and environmental challenges as good citizens. Since 1847, St Peter's College alumni have had global and life-changing impact in all fields of human endeavour. The School's alumni include three Nobel Laureates, 42 Rhodes Scholars, Olympians and Archbishops, artists and scientists, educators and journalists, actors and politicians, philanthropists and physicians, CEOs, diplomats and soldiers, explorers, painters and poets. This book shares evidence-based practices and makes a substantial contribution to the rapidly developing field of positive psychology and its application in schools.

Based on action research and implementation at one of the world's great schools, this book provides a much-needed exploration of how to implement positive education at a whole school level. Evidence-Based Approaches in Positive Education summarises the integration of a whole-school mental health and well-being strategy, positive psychology programs and pastoral care models from 3 - 18 years of age. Positive education is the teaching of scientifically validated programs from positive psychology and character education that have an impact on student and staff well-being. It is an approach that focuses on teaching, building and embedding social and emotional learning throughout a student's experience. St Peter's College - Adelaide is the only institution in the world to integrate Martin Seligman's well-being theory throughout all aspects of both its strategic intent and positive education programs. The School's vision is to be a world-class school where all boys flourish. Its mission is to provide an exceptional education that brings out the very best in every boy. This is done within an intellectually and spiritually rich environment that nurtures international-mindedness, intercultural understanding, respect and a commitment to social justice. This book captures the developments of the St Peter's College journey. It focuses on the integration of well-being across seven strategic goals: Academics; Well-being; Student Life; Entrepreneurship; Innovation and Partnerships; People, Culture and Change; Sustainability and Environment; Community Engagement, Advancement, and Philanthropy. A uniquely Australian school, the impact of a St Peter's College education is to build great men: who believe safety, service and integrity and fundamental parts of their lives; who are active members of communities that are socially and culturally diverse; who engage in political, ethical, and environmental challenges as good citizens. Since 1847, St Peter's College alumni have had global and life-changing impact in all fields of human endeavour. The School's alumni include three Nobel Laureates, 42 Rhodes Scholars, Olympians and Archbishops, artists and scientists, educators and journalists, actors and politicians, philanthropists and physicians, CEOs, diplomats and soldiers, explorers, painters and poets. This book shares evidence-based practices and makes a substantial contribution to the rapidly developing field of positive psychology and its application in schools.

Mixed Media is the first book to explore the feminist press movement which transformed literary culture in the last quarter of the 20th century. It is both a survey of the movement itself and a detailed critique of its impact. / Murray explores the main debates that feminist presses addressed: the nature of independence; the politics of race, feminist publishing and the academy; radical writing and publishing practice; and feminism's interface with mainstream publishing. The book reassesses feminist publishing's seeming decline, as well as exploring the fast-growing disciplines of cultural industries and media production. It is an invaluable resource for undergraduates and postgraduates in publishing studies, cultural and media studies and gender studies.

This book engages with the relationship between ruins, dilapidation, and abandonment and cultural events performed within such spaces. Following the author's fieldwork in the UK, Bosnia Herzegovina, Poland, Germany, Greece, and Sicily, chapters describe, investigate, and reflect upon live performance events which have taken place in sites of decay and abandonment. The book's main focus is upon modern economic ruins and ruins of warfare. Each chapter provides several case studies based upon the author's own site visits and interviews with actors, directors, producers, curators, writers, and other artists. The book contextualises these events within the wider framework of Ruin Studies and provides brief summaries of how we might understand the ruin in terms of time, politics, culture, and atmospheres. The book is particularly preoccupied with artists' reasons and motivations for placing performance events in ruined spaces and how these work dramaturgically.