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Showing 1 - 6 of 6 matches in All Departments
Since its first publication in 2002, The Performance Studies Reader has become the leading anthology of key writings on performance studies. Now in its third edition, it continues to offer an unparalleled selection of work by the foremost in this continually evolving field. These critical and theoretical contributions are joined in this edition by 16 new chapters, bringing the collection up to date with current discourse and ideas, and cross referencing exactly with Richard Schechner's Performance Studies: An Introduction. The two volumes combine perfectly to offer a unique and complete teaching resource. The Reader is also widely used by students and scholars around the world as a stand-alone text, offering a stimulating introduction to the crucial debates of Performance Studies. Each essay now includes new contextual headnotes from the editors, to introduce students to the writer and their impact on the field. Newly added to this edition are contributions from: Augusto Boal, Jill Dolan, Faye C. Fei and William H. Sun, Erika Fischer Lichte, E. Patrick Johnson, Petra Kuppers, Hans-Thies Lehmann, Bruce McConachie, Jacques Ranciere, Joseph Roach, Rebecca Schneider, Ngugi wa Thiongo The Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in performance studies, theatre, performing arts and cultural studies.
A fascinating anthology that brings together in one volume many of
the important articles written about Brecht between 1957 and 1997.
The collection explores a wide range of viewpoints about Brecht's
theatre theories and practice, as well as including three plays not
otherwise easily available in English: "The Beggar or the Dead
Dog," "Baden Lehrstuck" and "The Seven Deadly Sins of the Lower
Middle Class," This unique compendium covers all the key areas
including: the development of Brecht's aesthetic theories, the
relationship of Epic theatre to orthodox dramatic theatre, Brecht's
collaborations with Kurt Weill, Paul Dessau, and Max Frisch, and
Brecht's influence on a variety of cultures and contexts including
England, Italy, Moscow, and Japan.
Since its first publication in 2002, The Performance Studies Reader has become the leading anthology of key writings on performance studies. Now in its third edition, it continues to offer an unparalleled selection of work by the foremost in this continually evolving field. These critical and theoretical contributions are joined in this edition by 16 new chapters, bringing the collection up to date with current discourse and ideas, and cross referencing exactly with Richard Schechner's Performance Studies: An Introduction. The two volumes combine perfectly to offer a unique and complete teaching resource. The Reader is also widely used by students and scholars around the world as a stand-alone text, offering a stimulating introduction to the crucial debates of Performance Studies. Each essay now includes new contextual headnotes from the editors, to introduce students to the writer and their impact on the field. Newly added to this edition are contributions from: Augusto Boal, Jill Dolan, Faye C. Fei and William H. Sun, Erika Fischer Lichte, E. Patrick Johnson, Petra Kuppers, Hans-Thies Lehmann, Bruce McConachie, Jacques Ranciere, Joseph Roach, Rebecca Schneider, Ngugi wa Thiongo The Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in performance studies, theatre, performing arts and cultural studies.
Whether we regard it as the collected inscriptions of an earlier oral tradition or as the divinely authored source text of liturgical ritual, the Bible can be understood as a sacred performance text, a framework for an instructional theater that performs the shared moral and ethical values of a community. It's not surprising, then, that playwrights have turned to the Bible as a source for theatrical adaptation. Biblical texts have inspired more than 100 Broadway plays and musicals, ranging from early spectacles like Ben-Hur (1899) to more familiar works such as Godspell and Jesus Christ Superstar. What happens when a culture's most sacred text enters its most commercial performance venue? Playing God focuses on eleven financially and/or critically successful productions, as well as a few notable Broadway flops that highlight the difficulties in adapting the Old and New Testaments for the stage. The book is informed by both performance studies and theater history, combining analysis of play-scripts with archival research into the actual circumstances of production and reception. Biblical plays, Henry Bial argues, balance religious and commercial considerations through a complex blend of spectacle, authenticity, sincerity, and irony. Though there is no magic formula for a successful adaptation, these four analytical lenses help explain why some biblical plays thrive while others have not.
""Theater Historiography: Critical Interventions" is an
important collection. The essays on theater history are models of
meticulous research engaged through rigorous theorizing and
analysis; they often yield striking new insights into subjects we
might think we already know well. Other essays provide new
perspectives on how to approach theater and performance, and are
passionate calls to reconsider how we engage objects of study. The
larger cultural contexts and analyses in the section 'Theatre
History's Discipline' should prove invaluable for furthering
important conversations about the field." "In this exciting collection, theater historiography becomes a
veritable hotbed in which theater history and performance studies
productively, even seamlessly, intertwine. These richly diverse yet
cogently edited essays incisively address the dynamic
methodological, political, and pedagogical challenges of reading
past performances in the present. Contributors honor their teachers
with fresh interventions and a critically engaged passion for doing
theater history that will inspire both established and emerging
generations of scholars." "Redraws 'theater history' in fiercely imaginative, inspired,
and provocative ways." "A major collection that brings together new voices in the field
. . . its range and breadth are impressive, and its usefulness in
the classroom undeniable." How should theater history be practiced? Some scholars have argued that the emerging discipline of performance studies should replace theater history altogether, while traditional theater historians have sometimes rejected performance studies analyses as unsatisfactorily diffuse and less than rigorous. "Theater Historiography: Critical Interventions" draws freely on the methods and terminologies of both disciplines, showing that the critical intersection between theater history and performance studies is both desirable and inevitable. The book's original essays, based on innovative and compelling research by 23 contributors, probe key methodological questions about interdisciplinarity, postcolonialism, the archive, and digital technology. Henry Bial is Associate Professor of Theater at the University of Kansas. Scott Magelssen is Associate Professor of Theater and Film at Bowling Green State University.
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