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Adopting an innovative and theoretical approach, Greek Tragedy and
the Digital is an original study of the encounter between Greek
tragedy and digital media in contemporary performance. It
challenges Greek tragedy conventions through the contemporary
arsenal of sound masks, avatars, live code poetry, new media art
and digital cognitive experimentations. These technological
innovations in performances of Greek tragedy shed new light on
contemporary transformations and adaptations of classical myths,
while raising emerging questions about how augmented reality works
within interactive and immersive environments. Drawing on
cutting-edge productions and theoretical debates on performance and
the digital, this collection considers issues including
performativity, liveness, immersion, intermediality, aesthetics,
technological fragmentation, conventions of the chorus, theatre as
hypermedia and reception theory in relation to Greek tragedy. Case
studies include Kzryztof Warlikowski, Jan Fabre, Romeo Castellucci,
Katie Mitchell, Georges Lavaudant, The Wooster Group, Labex
Arts-H2H, Akram Khan, Urland & Crew, Medea Electronique, Robert
Wilson, Klaus Obermaier, Guy Cassiers, Luca di Fusco, Ivo Van Hove,
Avra Sidiropoulou and Jay Scheib. This is an incisive,
interdisciplinary study that serves as a practice model for
conceptualizing the ways in which Greek tragedy encounters digital
culture in contemporary performance.
Contemporary Adaptations of Greek Tragedy: Auteurship and
Directorial Visions provides a wide-ranging analysis of the role of
the director in shaping adaptations for the stage today. Through
its focus on a wide range of international productions by Katie
Mitchell, Theodoros Terzopoulos, Peter Sellars, Jan Fabre, Ariane
Mnouchkine, Tadashi Suzuki, Yukio Ninagawa, Andrei Serban, Nikos
Charalambous, Bryan Doerries and Richard Schechner, among others,
it offers readers a detailed study of the ways directors have
responded to the original texts, refashioning them for different
audiences, contexts and purposes. As such the volume will appeal to
readers of theatre and performance studies, classics and adaptation
studies, directors and theatre practitioners, and anyone who has
ever wondered 'why they did it like that' when watching a stage
production of an ancient Greek play. The volume Contemporary
Adaptations of Greek Tragedy is divided in three sections: the
first section - Global Perspectives - considers the work of a range
of major directors from around the world who have provided new
readings of Greek Tragedy: Peter Sellars and Athol Fugard in the
US, Katie Mitchell in the UK, Theodoros Terzopoulos in Greece and
Tadashi Suzuki and Yukio Ninagawa in Japan. Their work on a wide
range of plays is analysed, including Electra, Oedipus the King,
The Persians, Iphigenia at Aulis, and Ajax. Parts Two and Three -
Directing as Dialogue with the Community and Directorial Re-Visions
- focus on a range of productions of key plays from the repertoire,
including Prometheus Landscape II, Les Atrides, The Trojan Women,
The Bacchae, Antigone and The Suppliants, among others. In each,
the varying approaches of different directors are analysed,
together with a detailed investigation of the mise-en-scene. In
considering each stage production, the authors raise issues of
authenticity, contemporary resonances, translation, directorial
control/auteurship and adaptation.
Twenty-First Century Musicals stakes a place for the musical in
today's cinematic landscape, taking a look at leading contemporary
shows from their stage origins to their big-screen adaptations.
Each chapter offers a new perspective on a single musical,
challenging populist narratives and exploring underlying narratives
and sub-texts in depth. Themes of national identity; race, class
and gender; the 'voice' and 'singing live' on film; authenticity;
camp sensibilities; and the celebration of failure are addressed in
a series of questions including: How does the film adaptation
provide a different viewing experience from the stage version? What
themes are highlighted in the film adaptation? What does the new
casting bring to the work? Do camera angles dictate a different
reading from the stage version? What is lost/gained in the process
of adaptation to film? Re-interpreting the contemporary film
musical as a compelling art form, Twenty-First Century Musicals is
a must-read for any student or scholar keen to broaden their
understanding of musical performance.
The Disney Musical: Critical Approaches on Stage and Screen is the
first critical treatment of the corporation's hugely successful
musicals both on screen and on the stage. Its 13 articles open up a
new territory in the critical discussion of the Disney
mega-musical, its gender, sexual and racial politics, outreach work
and impact of stage, film and television adaptations. Covering
early 20th century works such as the first full-length feature film
Snow White and the Seven Dwarfs (1937), to The Lion King -
Broadway's highest grossing production in history, and Frozen
(2013), this edited collection offers a diverse range of
theoretical engagements that will appeal to readers of film and
media studies, musical theatre, cultural studies, and theatre and
performance. The volume is divided into three sections to provide a
contextual analysis of Disney's most famous musicals: * DISNEY
MUSICALS: ON FILM * DISNEY ADAPTATIONS: ON STAGE AND BEYOND *
DISNEY MUSICALS: GENDER AND RACE The first section employs film
theory, semiotics and film music analysis to explore the animated
works and their links to the musical theatre genre. The second
section addresses various stage versions and considers Disney's
outreach activities, cultural value and productions outside the
Broadway theatrical arena. The final section focuses on issues of
gender and race portraying representations of race,
hetero-normativity, masculinity and femininity in Newsies, Frozen,
High School Musical, Aladdin and The Jungle Book. The various
chapters address these three aspects of the Disney Musical and
offer new critical readings of a vast range of important works from
the Disney musical cannon including Enchanted, Mary Poppins,
Hunchback of Notre Dame, The Lion King and versions of musicals for
television in the early 1990s and 2000s. The critical readings are
detailed, open-minded and come to surprising conclusions about the
nature of the Disney Musical and its impact.
Twenty-First Century Musicals stakes a place for the musical in
today's cinematic landscape, taking a look at leading contemporary
shows from their stage origins to their big-screen adaptations.
Each chapter offers a new perspective on a single musical,
challenging populist narratives and exploring underlying narratives
and sub-texts in depth. Themes of national identity; race, class
and gender; the 'voice' and 'singing live' on film; authenticity;
camp sensibilities; and the celebration of failure are addressed in
a series of questions including: How does the film adaptation
provide a different viewing experience from the stage version? What
themes are highlighted in the film adaptation? What does the new
casting bring to the work? Do camera angles dictate a different
reading from the stage version? What is lost/gained in the process
of adaptation to film? Re-interpreting the contemporary film
musical as a compelling art form, Twenty-First Century Musicals is
a must-read for any student or scholar keen to broaden their
understanding of musical performance.
Contemporary Adaptations of Greek Tragedy: Auteurship and
Directorial Visions provides a wide-ranging analysis of the role of
the director in shaping adaptations for the stage today. Through
its focus on a wide range of international productions by Katie
Mitchell, Theodoros Terzopoulos, Peter Sellars, Jan Fabre, Ariane
Mnouchkine, Tadashi Suzuki, Yukio Ninagawa, Andrei Serban, Nikos
Charalambous, Bryan Doerries and Richard Schechner, among others,
it offers readers a detailed study of the ways directors have
responded to the original texts, refashioning them for different
audiences, contexts and purposes. As such the volume will appeal to
readers of theatre and performance studies, classics and adaptation
studies, directors and theatre practitioners, and anyone who has
ever wondered 'why they did it like that' when watching a stage
production of an ancient Greek play. The volume Contemporary
Adaptations of Greek Tragedy is divided in three sections: the
first section - Global Perspectives - considers the work of a range
of major directors from around the world who have provided new
readings of Greek Tragedy: Peter Sellars and Athol Fugard in the
US, Katie Mitchell in the UK, Theodoros Terzopoulos in Greece and
Tadashi Suzuki and Yukio Ninagawa in Japan. Their work on a wide
range of plays is analysed, including Electra, Oedipus the King,
The Persians, Iphigenia at Aulis, and Ajax. Parts Two and Three -
Directing as Dialogue with the Community and Directorial Re-Visions
- focus on a range of productions of key plays from the repertoire,
including Prometheus Landscape II, Les Atrides, The Trojan Women,
The Bacchae, Antigone and The Suppliants, among others. In each,
the varying approaches of different directors are analysed,
together with a detailed investigation of the mise-en-scene. In
considering each stage production, the authors raise issues of
authenticity, contemporary resonances, translation, directorial
control/auteurship and adaptation.
The Disney Musical: Critical Approaches on Stage and Screen is the
first critical treatment of the corporation's hugely successful
musicals both on screen and on the stage. Its 13 articles open up a
new territory in the critical discussion of the Disney
mega-musical, its gender, sexual and racial politics, outreach work
and impact of stage, film and television adaptations. Covering
early 20th century works such as the first full-length feature film
Snow White and the Seven Dwarfs (1937), to The Lion King -
Broadway's highest grossing production in history, and Frozen
(2013), this edited collection offers a diverse range of
theoretical engagements that will appeal to readers of film and
media studies, musical theatre, cultural studies, and theatre and
performance. The volume is divided into three sections to provide a
contextual analysis of Disney's most famous musicals: * DISNEY
MUSICALS: ON FILM * DISNEY ADAPTATIONS: ON STAGE AND BEYOND *
DISNEY MUSICALS: GENDER AND RACE The first section employs film
theory, semiotics and film music analysis to explore the animated
works and their links to the musical theatre genre. The second
section addresses various stage versions and considers Disney's
outreach activities, cultural value and productions outside the
Broadway theatrical arena. The final section focuses on issues of
gender and race portraying representations of race,
hetero-normativity, masculinity and femininity in Newsies, Frozen,
High School Musical, Aladdin and The Jungle Book. The various
chapters address these three aspects of the Disney Musical and
offer new critical readings of a vast range of important works from
the Disney musical cannon including Enchanted, Mary Poppins,
Hunchback of Notre Dame, The Lion King and versions of musicals for
television in the early 1990s and 2000s. The critical readings are
detailed, open-minded and come to surprising conclusions about the
nature of the Disney Musical and its impact.
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