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This volume brings together important work at the intersection of
politics and performance studies. While the languages of theatre
and performance have long been deployed by other disciplines, these
are seldom deployed seriously and pursued systematically to
discover the actual nature of the relationship between performance
as a set of behavioural practices and the forms and the
transactions of these other disciplines. This book investigates the
structural similarities and features of politics and performance,
which are referred to here as 'grammar', a concept which also
emphasizes the common communicational base or language of these
fields. In each of the chapters included in this collection, key
processes of both politics and performance are identified and
analyzed, demonstrating the critical and indivisible links between
the fields. The book also underlines that neither politics nor
performance can take place without actors who perform and
spectators who receive, evaluate and react to these actions. At the
heart of the project is the ambition to bring about a paradigm
change, such that politics cannot be analyzed seriously without a
sophisticated understanding of its performance. All the chapters
here display a concrete set of events, practices, and contexts
within which politics and performance are inseparable elements.
This work will be of great interest to students and scholars in
both International Relations and Performance Studies.
This volume brings together important work at the interstection of
politics and performance studies. While the languages of theatre
and performance have long been deployed by other disciplines such
as psychology (Freud's primal 'scene'), sociology (Goffman's
'backstage'), and politics (politicians 'play' to the public, stage
debates), this metaphorical attribution has seldom been taken
seriously and pursued systematically to discover the actual nature
of the relationship between performance as a set of behavioural
practices and the forms and the transactions of these other realms.
Rather than take these for granted, this book investigates the
relationship between politics and performance to discover
structural similarities we are calling 'grammar'. Designed to mean
that certain features of political transactions shared by
performances are fundamental to both disciplines, the concept of
grammar also emphasizes the common communicational base or language
of these fields. Neither politics nor performance can take place
without actors who perform and spectators who receive, evaluate and
react to these actions.In each of the essays included in this
collection, key processes of both politics and performance are
identified and analyzed, demonstrating the critical and indivisible
links between the fields. At the heart of the project is the
ambition to bring about a paradigm change, such that politics
cannot be analyzed seriously without a sophisticated understanding
of its performance. These essays were chosen for the volume because
they display a concrete set of events, practices, and contexts
within which politics and performance are inseparable elements.
This work will be of great interest to students and scholars in
both International Relations and Performance Studies.
This book explores how citizenship is differently gendered and
performed across national and regional boundaries. Using
'citizenship' as its organizing concept, it is a collection of
multidisciplinary approaches to legal, socio-cultural and
performative aspects of gender construction and identity: violence
against women, victimhood and agency, and everyday issues of
socialization in a globalized world. It brings together scholars of
politics, media, and performance who are committed to dialogue
across both nation and discipline. This study is the culmination of
a two-year project on the topic of 'Gendered Citizenship', arising
from an international collaboration that has sought to develop a
comparative and yet singular perspective on performance in relation
to key political themes facing our countries of origin in the early
decades of this century. The research is interdisciplinary and
multinational, drawing on Indian, European, and North and South
American contexts.
Essential for students of Theatre Studies, this series of six
decadal volumes provides a critical survey and reassessment of the
theatre produced in each decade from the 1950s to the present. Each
volume equips readers with an understanding of the context from
which work emerged, a detailed overview of the range of theatrical
activity and a close study of the work of four of the major
playwrights by a team of leading scholars. Chris Megson's
comprehensive survey of the theatre of the 1970s examines the work
of four playwrights who came to promience in the decade and whose
work remains undiminished today: Caryl Churchill (by Paola Botham),
David Hare (Chris Megson), Howard Brenton (Richard Boon) and David
Edgar (Janelle Reinelt). It analyses their work then, its legacy
today and provides a fresh assessment of their contribution to
British theatre. Interviews with the playwrights, with directors
and with actors provides an invaluable collection of documents
offering new perspectives on the work. Revisiting the decade from
the perspective of the twenty-first century, Chris Megson provides
an authoritative and stimulating reassessment of British
playwriting in the 1970s.
Essential for students of Theatre Studies, this series of six
decadal volumes provides a critical survey and reassessment of the
theatre produced in each decade from the 1950s to the present. Each
volume equips readers with an understanding of the context from
which work emerged, a detailed overview of the range of theatrical
activity and a close study of the work of four of the major
playwrights by a team of leading scholars. Chris Megson's
comprehensive survey of the theatre of the 1970s examines the work
of four playwrights who came to promience in the decade and whose
work remains undiminished today: Caryl Churchill (by Paola Botham),
David Hare (Chris Megson), Howard Brenton (Richard Boon) and David
Edgar (Janelle Reinelt). It analyses their work then, its legacy
today and provides a fresh assessment of their contribution to
British theatre. Interviews with the playwrights, with directors
and with actors provides an invaluable collection of documents
offering new perspectives on the work. Revisiting the decade from
the perspective of the twenty-first century, Chris Megson provides
an authoritative and stimulating reassessment of British
playwriting in the 1970s.
David Edgar's writings address the most basic questions of how
humans organize and govern themselves in modern societies. This
study brings together the disciplines of political philosophy and
theatre studies to approach the leading British playwright as a
political writer and a public social critic. Edgar uses theatre as
a powerful tool of public discourse, an aesthetic modality for
engaging with and thinking/feeling through the most pressing social
issues of the day. In this he is a supreme rationalist: he deploys
character, plot and language to explore ideas, to make certain
kinds of discursive cases and model hypothetical alternatives.
Reinelt and Hewitt analyze twelve of Edgar's most important plays,
including Maydays and Pentecost, and also provide detailed
discussions of key performances and critical reception to
illustrate the playwright's artistic achievement in relation to his
contributions as a public figure in British cultural life.
David Edgar's writings address the most basic questions of how
humans organize and govern themselves in modern societies. This
study brings together the disciplines of political philosophy and
theatre studies to approach the leading British playwright as a
political writer and a public social critic. Edgar uses theatre as
a powerful tool of public discourse, an aesthetic modality for
engaging with and thinking/feeling through the most pressing social
issues of the day. In this he is a supreme rationalist: he deploys
character, plot and language to explore ideas, to make certain
kinds of discursive cases and model hypothetical alternatives.
Reinelt and Hewitt analyze twelve of Edgar's most important plays,
including Maydays and Pentecost, and also provide detailed
discussions of key performances and critical reception to
illustrate the playwright's artistic achievement in relation to his
contributions as a public figure in British cultural life.
This Companion addresses the work of women playwrights in Britain throughout the twentieth century. Chapters explore the historical and theatrical contexts in which women have written for the theater and examine the work of individual playwrights such as Caryl Churchill, Pam Gems, and Timberlake Wertenbaker. The volume brings together a transatlantic team of feminist theater scholars and practitioners. A chronological section on playwriting from the 1920s to the 1970s is followed by chapters that raise issues of nationality and identity. Later sections question accepted notions of the canon and include chapters on nonmainstream writing, including black and lesbian performance.
This Companion addresses the work of women playwrights in Britain throughout the twentieth century. Chapters explore the historical and theatrical contexts in which women have written for the theater and examine the work of individual playwrights such as Caryl Churchill, Pam Gems, and Timberlake Wertenbaker. The volume brings together a transatlantic team of feminist theater scholars and practitioners. A chronological section on playwriting from the 1920s to the 1970s is followed by chapters that raise issues of nationality and identity. Later sections question accepted notions of the canon and include chapters on nonmainstream writing, including black and lesbian performance.
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