'Other' Spanish theatres challenges established opinions on modern Iberian theatre by considering the roles of contrasting figures and companies who have impacted upon both the practice and the perception of Spanish and European stages. In questioning the primacy of the dramatist, this pioneering study offers a new interpretation of a nation's theatrical culture that has been viewed primarily through the prisms of a select number of playwrights. Accordingly many of the conclusions reached are new ones, and the case, for acknowledging the wide influence of Spanish practitioners on theatre in Europe and the Americas is made in persuasive terms. Through a bold documentation and interrogation of key productions and their reception both at home and abroad, 'Other' Spanish theatres focuses on the doing of performance, asking provocative questions around how performances are tested against the texts that remain. In a broad and detailed study Delgado selects six case studies which map out alternative readings of a nation's theatrical innovation through the twentieth century: muse and mentor to Federico Garcia Lorca, Margarita Xirgu; theatrical innovator and influence on Orson Welles, Enrique Rambal; tragedienne Maria Casares feted by George Craig Camus, Genet and Cocteau; actress, producer and director Nuria Espert; international director Lluis Pasqual and Catalan performance company La Cubana. -- .

Contemporary European Playwrights presents and discusses a range of key writers that have radically reshaped European theatre by finding new ways to express the changing nature of the continent's society and culture, and whose work is still in dialogue with Europe today. Traversing borders and languages, this volume offers a fresh approach to analyzing plays in production by some of the most widely-performed European playwrights, assessing how their work has revealed new meanings and theatrical possibilities as they move across the continent, building an unprecedented picture of the contemporary European repertoire. With chapters by leading scholars and contributions by the writers themselves, the chapters bring playwrights together to examine their work as part of a network and genealogy of writing, examining how these plays embody and interrogate the nature of contemporary Europe. Written for students and scholars of European theatre and playwriting, this book will leave the reader with an understanding of the shifting relationships between the subsidized and commercial, the alternative and the mainstream stage, and political stakes of playmaking in European theatre since 1989.

Immortalized in death by The Clash, Pablo Neruda, Salvador DalA-, Dmitri Shostakovich and Lindsay Kemp, Federico GarcA-a Lorca's spectre haunts both contemporary Spain and the cultural landscape beyond.

This study offers a fresh examination of one of the Spanish languagea (TM)s most resonant voices; exploring how the very factors which led to his emergence as a cultural icon also shaped his dramatic output.

The works themselves are also awarded the space that they deserve, combining performance histories with incisive textual analysis to restate Lorcaa (TM)s presence as a playwright of extraordinary vision, in works such as:

• Blood Wedding
• The Public
• The House of Bernarda Alba
• Yerma.

Federico GarcA-a Lorca is an invaluable new resource for those seeking to understand this complex and multifaceted figure: artist, playwright, director, poet, martyr and in the eyes of many, Spaina (TM)s a ~national dramatista (TM).

A wide-ranging look at the state of contemporary theatre practice, economics, and issues related to identity, politics, and technology. Contains a snapshot dissection of where theatre is, where it has been and where it might be going through the voices of established and emerging theatre artists and scholars from the UK, US and elsewhere. Offers an examination of how to make theatre in a time of crisis and why it is a vital form of communication are at the heart of the book's mission. Asks questions such as: where is theatre now taking place?; what is the relationship between play and performance?; how does funding work?; what states does theatre flourish under?; and if there is a current 'crisis of theatre' should it not be seen as a welcome opportunity to develop a vigorous 'theatre of crisis'?. The international list of contributors includes Jim Carmody, Phyllis Nagy, Michael Billington, Max Stafford-Clark, Peter Sellars, Dragan Klaic, Goat Island, Erik Ehn and many others, making up a vast array of practising artists, thinkers, and scholars. -- .

Paris has always exerted a magnetic force on artists; it has historically offered safety to those escaping oppressive regimes in Europe and farther afield. In recent years it has welcomed performers, artists and intellectuals from all over the world, offering strategies for the practice of theatre in a new Europe of ever-shifting boundaries. This book, once again available in paperback, examines the creation and development of communities of actors, directors, designers and playwrights in Paris over the past thirty years. It shows how the willingness of the city to welcome international influences has enriched its creative life. Many of the most important trends and new developments in the art of theatre have been the direct result of the creative combination of influences from all over the world. This study demonstrates how the pioneering work of Brook, Boal, Mnouchkine, Lecoq and many others has been able to draw on this vibrant, multi-cultural mix, in turn creating new work that has enriched theatre's potential to enlarge our thinking and our imagination. -- .

Beginning with a reassessment of the 1920s and 30s, this text looks beyond a consideration of just the most successful Spanish playwrights of the time, and discusses also the work of directors, theorists, actors and designers.

First Published in 1998. Routledge is an imprint of Taylor and Francis, an informa company.

This collection offers a new lens through which to examine Spain's cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of thirty-five years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espiritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of 'national' cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodovar, Jose Garci, Carlos Saura) and the younger generations of filmmakers (Cesc Gay, Amenabar, Bollain) have harnessed cinematic language towards a commentary on the nation-state. -- .

Contemporary European Playwrights presents and discusses a range of key writers that have radically reshaped European theatre by finding new ways to express the changing nature of the continent's society and culture, and whose work is still in dialogue with Europe today. Traversing borders and languages, this volume offers a fresh approach to analyzing plays in production by some of the most widely-performed European playwrights, assessing how their work has revealed new meanings and theatrical possibilities as they move across the continent, building an unprecedented picture of the contemporary European repertoire. With chapters by leading scholars and contributions by the writers themselves, the chapters bring playwrights together to examine their work as part of a network and genealogy of writing, examining how these plays embody and interrogate the nature of contemporary Europe. Written for students and scholars of European theatre and playwriting, this book will leave the reader with an understanding of the shifting relationships between the subsidized and commercial, the alternative and the mainstream stage, and political stakes of playmaking in European theatre since 1989.

Leading theatre historians and practitioners map a theatrical history that moves from the religious tropes of medieval Iberia to the postmodern practices of twenty-first-century Spain. Considering work across the different languages of Spain, from vernacular Latin to Catalan, Galician and Basque, this history engages with the work of actors and directors, designers and publishers, agents and impresarios, and architects and ensembles, in indicating the ways in which theatre has both commented on and intervened in the major debates and issues of the day. Chapters consider paratheatrical activities and popular performance, such as the comedia de magia and flamenco, alongside the works of Spain's major dramatists, from Lope de Vega to Federico Garcia Lorca. Featuring revealing interviews with actress Nuria Espert, director Lluis Pasqual and playwright Juan Mayorga, it positions Spanish theatre within a paradigm that recognizes its links and intersections with wider European and Latin American practices.

In 1994 the Arts Council of Great Britain brought together a number of theatre directors as part of the City of Drama celebrations. This is a collection of interviews and discussions with directors who have helped shape the development of theatre in the last 20 years. They include Peter Brook, Peter Stein, Augusto Boal, Jorge Lavelli, Lluis Pasqual, Lev Dodin, Maria Irene Fornes, Jonathan Miller, Jatinder Verma, Peter Sellars, Declan Donnellan, Ariane Mnouchkine, Ion Caramitru, Yukio Ninagawa and Robert Wilson. In addition to the art and craft of directing, there are discussions on multiculturalism; the "classical" repertoire; theatre companies and institutions; working in a foreign language; opera; Shakespeare; new technologies; the art of acting; design; international festivals; politics and aesthetics; the audience; and theatre and society. Finally, there is an epilogue by Peter Brook, Jonathan Miller and Oliver Sacks. -- .

Leading theatre historians and practitioners map a theatrical history that moves from the religious tropes of medieval Iberia to the postmodern practices of twenty-first-century Spain. Considering work across the different languages of Spain, from vernacular Latin to Catalan, Galician and Basque, this history engages with the work of actors and directors, designers and publishers, agents and impresarios, and architects and ensembles, in indicating the ways in which theatre has both commented on and intervened in the major debates and issues of the day. Chapters consider paratheatrical activities and popular performance, such as the comedia de magia and flamenco, alongside the works of Spain's major dramatists, from Lope de Vega to Federico Garcia Lorca. Featuring revealing interviews with actress Nuria Espert, director Lluis Pasqual and playwright Juan Mayorga, it positions Spanish theatre within a paradigm that recognizes its links and intersections with wider European and Latin American practices.