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Jacques Ranciere has been hugely influential in the field of
political philosophy and aesthetics. This edited collection is the
first to investigate the points of contact between the work of
Ranciere and the field of theatre and performance studies. Recent
scholarly works in this discipline have drawn upon concepts from
Ranciere's writing, from theatrocracy to emancipated spectators, to
investigate problems of audience, participation, politics and
aesthetics. Before these concepts and critical tools peel away from
the works through which they emerged, this book seeks a detailed
critical assessment of the works themselves and their implications
for theatre and performance studies. The collection examines the
critical and analytical interventions that have been made to date
and looks forward towards challenges to the future uses of
Ranciere's work in performance and theatre studies. It also
considers a wide range of performance work, from a performance for
the residents of a Victorian workhouse to the activist performances
of Liberate Tate. This collection includes work by ten scholars and
is an essential resource for researchers and academics working in
areas of performance and aesthetics, performance and activism, and
performance and philosophy.
Jacques Ranciere has been hugely influential in field of political
philosophy and aesthetics. This edited collection is the first to
investigate the points of contact between the work of Ranciere and
the field of theatre and performance studies. From theatrocracy to
emancipated spectators, recent scholarly works in this discipline
have drawn upon concepts from Ranciere's writing to investigate
problems of audience, participation, politics and pedagogy. Before
these concepts and critical tools peel away from the works through
which they emerged, this book seeks a detailed critical assessment
of the works themselves and their implications for theatre and
performance studies. The collection examines the critical and
analytical interventions that have been made to date and looks
forward, towards challenges to the future uses of Ranciere's work
in performance. This book project includes work by fourteen
scholars and is an essential resource for researchers and academics
working in all areas of performance and identity, performance and
activism, and performance and philosophy.
This book explores and interrogates access and diversity in applied
theatre and drama education. Access is persistently framed as a
strategy to share power and to extend equality, but in the context
of current and recent power struggles, it is also seen as a
discourse that reinforces marginalisation and exclusion. The
political bind of access is also a conceptual problem. It is
impossible to refuse to engage in strategies to extend access to
institutions, representations, buildings, education, discourse,
etc. We cannot oppose access or strategies for access without
reinforcing marginalisation and exclusion. We can't not want access
for ourselves or for others. However, we are then in danger of
remaining immersed in a distribution of power that reinforces and
naturalises inequality as difference. For applied theatre and drama
education, the act of creating, teaching, and learning is
intrinsically connected to choice, along with the agency and
capacity to choose. What is less clear, and what still interests
us, is how the distribution of power and representation creates the
schema for an analysis of access and diversity. This book was
originally published as a special issue of Research in Drama
Education: The Journal of Applied Theatre and Performance.
What do we mean when we talk about bodies in theatre? And how does
theatre affect the way we think about the human body? Bodies are
vital elements of theatre production and spectatorship. But the
body is not just physical, it is also conceptual. Drawing on many
examples from contemporary performance, Theatre& the Body is a
provocative starting point for understanding the surprisingly
complex relationship between theatre and the body. Concise and
clear, this book explores the revealing tensions between the body,
bodies, language, representation and movement in the theatre.
Foreword by Marina Abramovic
This book explores and interrogates access and diversity in applied
theatre and drama education. Access is persistently framed as a
strategy to share power and to extend equality, but in the context
of current and recent power struggles, it is also seen as a
discourse that reinforces marginalisation and exclusion. The
political bind of access is also a conceptual problem. It is
impossible to refuse to engage in strategies to extend access to
institutions, representations, buildings, education, discourse,
etc. We cannot oppose access or strategies for access without
reinforcing marginalisation and exclusion. We can't not want access
for ourselves or for others. However, we are then in danger of
remaining immersed in a distribution of power that reinforces and
naturalises inequality as difference. For applied theatre and drama
education, the act of creating, teaching, and learning is
intrinsically connected to choice, along with the agency and
capacity to choose. What is less clear, and what still interests
us, is how the distribution of power and representation creates the
schema for an analysis of access and diversity. This book was
originally published as a special issue of Research in Drama
Education: The Journal of Applied Theatre and Performance.
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