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This is the first in-depth examination of contemporary
intercultural performance by women around the world. Contemporary
feminist performance is explored in the contexts of current
intercultural practices, theories and debates. Holledge and
Tompkins provide ways of thinking about and analysing contemporary
performance and representations of the performing, female,
culturally-marked body. The book includes discussions of: * ritual
performance by women from Central Australia and Korea * the
cultural exchange of A Doll's House and Antigone * plays from
Algeria, South Africa and Ghana * the work of the Takarazuka revue
company * the market forces that govern the distribution of women
and women's performance. This is an essential read for anyone
studying or interested in women's performance.
This is the first in-depth examination of contemporary intercultural performance by women around the world. Contemporary feminist performance is explored in the contexts of current intercultural practices, theories and debates. Holledge and Tompkins provide ways of thinking about and analysing contemporary performance and representations of the performing, female, culturally-marked body. The book includes discussions of: * ritual performance by women from Central Australia and Korea * the cultural exchange of A Doll's House and Antigone * plays from Algeria, South Africa and Ghana * the work of the Takarazuka revue company * the market forces that govern the distribution of women and women's performance. This is an essential read for anyone studying or interested in women's performance.
This book addresses a deceptively simple question: what accounts
for the global success of A Doll's House, Henrik Ibsen's most
popular play? Using maps, networks, and images to explore the world
history of the play's production, this question is considered from
two angles: cultural transmission and adaptation. Analysing the
play's transmission reveals the social, economic, and political
forces that have secured its place in the canon of world drama; a
comparative study of the play's 135-year production history across
five continents offers new insights into theatrical adaptation. Key
areas of research include the global tours of nineteenth-century
actress-managers, Norway's soft diplomacy in promoting gender
equality, representations of the female performing body, and the
sexual vectors of social change in theatre.
This book addresses a deceptively simple question: what accounts
for the global success of A Doll's House, Henrik Ibsen's most
popular play? Using maps, networks, and images to explore the world
history of the play's production, this question is considered from
two angles: cultural transmission and adaptation. Analysing the
play's transmission reveals the social, economic, and political
forces that have secured its place in the canon of world drama; a
comparative study of the play's 135-year production history across
five continents offers new insights into theatrical adaptation. Key
areas of research include the global tours of nineteenth-century
actress-managers, Norway's soft diplomacy in promoting gender
equality, representations of the female performing body, and the
sexual vectors of social change in theatre.
This pioneering study harnesses virtual reality to uncover the
history of five venues that have been 'lost' to us: London's 1590s
Rose Theatre; Bergen's mid-nineteenth-century Komediehuset;
Adelaide's Queen's Theatre of 1841; circus tents hosting Cantonese
opera performances in Australia's goldfields in the 1850s; and the
Stardust showroom in 1950s Las Vegas. Shaping some of the most
enduring genres of world theatre and cultural production, each
venue marks a significant cultural transformation, charted here
through detailed discussion of theatrical praxis and
socio-political history. Using virtual models as performance
laboratories for research, Visualising Lost Theatres recreates the
immersive feel of venues and reveals performance logistics for
actors and audiences. Proposing a new methodology for using
visualisations as a tool in theatre history, and providing 3D
visualisations for the reader to consult alongside the text, this
is a landmark contribution to the digital humanities.
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