'We have good reason to be wary of mise en scene, but that is all the more reason to question this wariness ... it seems that images from a performance come back to haunt us, as if to prolong and transform our experience as spectators, as if to force us to rethink the event, to return to our pleasure or our terror.' - Patrice Pavis, from the foreword Contemporary Mise en Scene is Patrice Pavis's masterful analysis of the role that staging has played in the creation and practice of theatre throughout history. This stunningly ambitious study considers: the staged reading, at the frontiers of mise en scene; scenography, which sometimes replaces staging; the reinterpretation of classical and contemporary works; the development of intercultural theatre and ritual; new technologies and their usage live on the stage; the postmodern practice of deconstruction. But it also applies sustained critical attention to the challenges of defining mise en scene, of tracking its development, and of exploring its possible futures. Joel Anderson's powerful new translation lucidly realises Pavis's investigation of the changing possibilities for stagecraft in the context of performance art, physical theatre and modern theory.

'We have good reason to be wary of mise en scene, but that is all the more reason to question this wariness ... it seems that images from a performance come back to haunt us, as if to prolong and transform our experience as spectators, as if to force us to rethink the event, to return to our pleasure or our terror.' - Patrice Pavis, from the foreword Contemporary Mise en Scene is Patrice Pavis's masterful analysis of the role that staging has played in the creation and practice of theatre throughout history. This stunningly ambitious study considers: the staged reading, at the frontiers of mise en scene; scenography, which sometimes replaces staging; the reinterpretation of classical and contemporary works; the development of intercultural theatre and ritual; new technologies and their usage live on the stage; the postmodern practice of deconstruction. But it also applies sustained critical attention to the challenges of defining mise en scene, of tracking its development, and of exploring its possible futures. Joel Anderson's powerful new translation lucidly realises Pavis's investigation of the changing possibilities for stagecraft in the context of performance art, physical theatre and modern theory.

"The Theatre of Movement and Gesture" is the first English-language translation of the classic work, "Le Theatre du Geste," by Jacques Lecoq--one of the most influential theorists and teachers of what is now known as physical theatre. Departing from the Stanislavski school of acting, Lecoq emphasized physical movement, mime and non-text-based acting. His teaching was enormously influential on a number of well-known actors, directors and theatre practitioners, including Ariane Mnouchkine, Robert Wilson, Julie Taymor, and Peter Stein. This well-illustrated volume collects a number of his writings--along with contributions from some of his disciples--and presents a precious testimony to Lecoq's special vision of the art of acting and of its close relationship with the history of mime and of masked performance.
Despite his death in 1999, Lecoq's school in Paris is still a thriving institution, with students from all over the world who make the pilgrimage there to learn about clowning, mime, maskwork, and other forms of non-text-based theatre. Lecoq left only a handful of published texts, one of which David Bradby translated as "The Moving Body," published by Methuen and Routledge Inc in paperback in 2002.

Published in France in 1987, this is the book in which Lecoq first set out his philosophy of human movement, and the way it takes expressive form in a wide range of different performance traditions. He traces the history of pantomime, sets out his definition of the components of the art of mime, and discusses the explosion of physical theatre in the second half of the twentieth century. Interviews with major theatre practitioners Ariane Mnouchkine and Jean-Louis Barrault by Jean Perret, together with chapters by Perret on A0/00tienne Decroux and Marcel Marceau, fill out the historical material written by Lecoq, and a final section by Alain GautrA(c) celebrates the many physical theatre practitioners working in the 1980s.

Propelled by illness, addiction, drink and drugs to abandon sculpture, Modogliani is a man for whom painting is a struggle, a painful obsession even. Despite his peers Picasso, Matisse and Soutine already flirting with consecration, his first one-man exhibition at Gallery Weill provokes outrage, and his nude paintings are taken off the walls. Mogidliani is as paradoxical as his paintings; passionate but inconstant, his love for his wife undermined by his nights with beggars. Even his friend and patron Leopold Zlobowski, deep in admiration of his talent, despairs.

A ship slices through the waves of the Atlantic ocean. On board is Stefan Zweig, the renowned Austrian writer, and his second wife, Lotte. They have left New York and are bound for Brazil; President Vargas has just announced that he will welcome European Jews who have been forced into exile. Will they find peace there? On 22 February 1942, Stefan Zweig and Lotte committed suicide in Petropolis, putting an end to their wanderings. Their lives during these last few months in Brazil are the subject of this graphic novel, an adaptation of the novel by Stefan Seksik.

Married and family life around the world has undergone a revolution in the last several decades: the radical democratization of intimacy in spousal and parent-child relationships. Previous principles of hierarchy, inequality, and duty that defined the relationships between husband, wife, and children have been challenged and often replaced by more fluid bonds of equality, intimacy, emotional self-disclosure, communication, and mutual trust. The key question that has emerged for our times, then, is how exactly do families sustain genuine mutuality, democracy, and strong relationships? Figuring out good answers to this question is the major theme of this book and the origin of the title Mutuality Matters. Three common strategies for creating just marriages have arisen: political and legal reform, smarter negotiating by women, and new cultural perceptions of marriage. While the authors in this book attend to all three strategies to different degrees, the primary focus is the third strategy: changing our cultural understanding of women and men in marriage. Moreover, to effect genuine cultural change, the authors recognize the need to enlist the help of religion as a key culture-forming element. Mutuality has become a common way for theologians from a variety of perspectives to talk about a more just love, a love that combines affection and justice. But many questions have been left unanswered: What exactly do people believe they have promised when they align themselves with Christian claims about love in their rituals of marriage and partnership? Do Christian views of love include the ideal of justice in marriage? Because accommodation or sacrifice is inevitable in any intimate human community, how can families insure that it will be mutual and just? How is marriage strengthened if justice is added to love at the core of mutuality? What does mutuality mean across time and distance, when participants are parents and children, when fathers are absent, when parents should be honored, or within a violent context? Is it possible to have democratic families without mutual sacrifice? Can submission be mutual? On these and other questions, the authors of this volume claim distinctive responsibility for rethinking Christian convictions about love and family life around the theme of mutuality and for strengthening the ministry of religious communities as those communities seek to empower and support families in their practice of mutuality. The essays written for this volume reflect the development of practical theology as one method for exploring the religious meanings of family and enhancing the practice of family living by 1) assuming that all theory has implications for practice and all practices are theory laden and 2) drawing into dialogue the knowledge and interpretations of a variety of perspectives including philosophy, biblical criticism, anthropology, liturgical studies, pastoral care, ethics, cross-cultural studies, and religious education. This collection of essays is noteworthy for both this interdisciplinary scope and its richly ecumenical representation.

Examining the relationship between theatre and photography, this book shows how the two intertwine and provide vantage points for understanding each other. Joel Anderson explores the theory and practice of photographing theatre and performance, as well as theatre and photography's mutual preoccupation with posing, staging, framing, and stillness.

In this pathbreaking study, Axel Honneth argues that "the struggle for recognition" is, and should be, at the center of social conflicts. Moving smoothly between moral philosophy and social theory, Honneth offers insights into such issues as the social forms of recognition and nonrecognition, the moral basis of interaction in human conflicts, the relation between the recognition model and conceptions of modernity, the normative basis of social theory, and the possibility of mediating between Hegel and Kant.

In recent years the concepts of individual autonomy and political liberalism have been the subjects of intense debate, but these discussions have occurred largely within separate academic disciplines. Autonomy and the Challenges to Liberalism contains essays devoted to foundational questions regarding both the notion of the autonomous self and the nature and justification of liberalism. Written by leading figures in moral, legal and political theory, the volume covers inter alia the following topics: the nature of the self and its relation to autonomy, the social dimensions of autonomy and the political dynamics of respect and recognition, and the concept of autonomy underlying the principles of liberalism.

In recent years the concepts of individual autonomy and political liberalism have been the subjects of intense debate, but these discussions have occurred largely within separate academic disciplines. Autonomy and the Challenges to Liberalism contains for the first time new essays devoted to foundational questions regarding both the notion of the autonomous self and the nature and justification of liberalism. Written by leading figures in moral, legal and political theory, the volume covers inter alia the following topics: the nature of the self and its relation to autonomy, the social dimensions of autonomy and the political dynamics of respect and recognition, and the concept of autonomy underlying the principles of liberalism.