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Diversity, Inclusion, and Representation in Contemporary Dramaturgy
offers fresh perspectives on how dramaturgs can support a
production beyond rigid disciplinary expectations about what
information and ideas are useful and how they should be shared. The
sixteen contributors to this volume offer personal windows into
dramaturgy practice, encouraging theater practitioners, students,
and general theater-lovers to imagine themselves as dramaturgs
newly inspired by the encounters and enquiries that are the juice
of contemporary theater. Each case study is written by a dramaturg
whose body of work explores important issues of race, cultural
equity, and culturally-specific practices within a wide range of
conventions, venues, and communities. The contributors demonstrate
the unique capacity of their craft to straddle the ravine between
stage and stalls, intention and impact. By unpacking, in the most
up-to-date ways, the central question of "Why this play, at this
time, for this audience?," this collection provides valuable
insights and dramaturgy tools for scholars and students of
Dramaturgy, Directing, and Theater Studies.
Diversity, Inclusion, and Representation in Contemporary Dramaturgy
offers fresh perspectives on how dramaturgs can support a
production beyond rigid disciplinary expectations about what
information and ideas are useful and how they should be shared. The
sixteen contributors to this volume offer personal windows into
dramaturgy practice, encouraging theater practitioners, students,
and general theater-lovers to imagine themselves as dramaturgs
newly inspired by the encounters and enquiries that are the juice
of contemporary theater. Each case study is written by a dramaturg
whose body of work explores important issues of race, cultural
equity, and culturally-specific practices within a wide range of
conventions, venues, and communities. The contributors demonstrate
the unique capacity of their craft to straddle the ravine between
stage and stalls, intention and impact. By unpacking, in the most
up-to-date ways, the central question of "Why this play, at this
time, for this audience?," this collection provides valuable
insights and dramaturgy tools for scholars and students of
Dramaturgy, Directing, and Theater Studies.
How did early modern English people write about themselves, and how
do we listen to their voices four centuries later? The authors of
Early Modern English Lives: Autobiography and Self-Representation
1500-1660 argue that identity is depicted through complex, subtle,
and often contradictory social interactions and literary forms.
Diaries, letters, daily spiritual reckonings, household journals,
travel journals, accounts of warfare, incidental meditations on the
nature of time, death and self-reflection, as well as life stories
themselves: these are just some of the texts that allow us to
address the social and historical conditions that influenced early
modern self-writing. The texts explored in Early Modern English
Lives do not automatically speak to our familiar patterns of
introspection and self-inquiry. Often formal, highly metaphorical
and emotionally restrained, they are very different in both tone
and purpose from the autobiographies that crowd bookshelves today.
Does the lack of emotional description suggest that complex
emotions themselves, in all the depth and variety that we now
understand (and expect of) them, are a relatively modern
phenomenon? This is one of the questions addressed by Early Modern
English Lives. The authors bring to our attention the kinds of
rhetorical and generic features of early modern self-representation
that can help us to appreciate people living four hundred years ago
as the complicated, composite figures they were: people whose
expression of identity involved an elaborate interplay of roles and
discourses, and for whom the notion of privacy itself was a wholly
different phenomenon.
The essays in Word and Self Estranged in English Texts, 1550-1660,
consider diverse historical contexts for writing about
'strangeness'. They draw on current practices of reading to present
contrasts and analogies within and between various social
understandings. In so doing they reveal an interplay of thematic
and stylistic modes that tells us a great deal about how, and why,
certain aspects of life and thinking were 'estranged' in sixteenth
and seventeenth century thinking. The collection's unique strength
is that it makes specific bridges between contemporary perspectives
and early modern connotations of strangeness and inhibition. The
subjects of these essays are 'strange' to our ways of thinking
because of their obvious distance from us in time and culture. And
yet, curiously, far from being entirely alien to these texts, some
of the most modern thinking-about paradigms, texts,
concepts-connects with the early modern in unexpected ways. Milton
meets the contemporary 'competent reader', Wittgenstein meets
Robert Cawdrey, Shakespeare embraces the teenager, and Marvell
matches wits with French mathematician Rene Thom. Additionally, the
early modern texts posit their own 'others', or sites of
estrangement-Moorishness, Persian art, even the human body-with
which they perform their own astonishing maneuvers of estrangement
and alignment. In reading Renaissance works from our own time and
inviting them to reflect upon our own time, Word and Self Estranged
in English Texts, 1550-1660 offers a vital reinterpretation of
early modern texts.
How did early modern English people write about themselves, and how
do we listen to their voices four centuries later? The authors of
Early Modern English Lives: Autobiography and Self-Representation
1500-1660 argue that identity is depicted through complex, subtle,
and often contradictory social interactions and literary forms.
Diaries, letters, daily spiritual reckonings, household journals,
travel journals, accounts of warfare, incidental meditations on the
nature of time, death and self-reflection, as well as life stories
themselves: these are just some of the texts that allow us to
address the social and historical conditions that influenced early
modern self-writing. The texts explored in Early Modern English
Lives do not automatically speak to our familiar patterns of
introspection and self-inquiry. Often formal, highly metaphorical
and emotionally restrained, they are very different in both tone
and purpose from the autobiographies that crowd bookshelves today.
Does the lack of emotional description suggest that complex
emotions themselves, in all the depth and variety that we now
understand (and expect of) them, are a relatively modern
phenomenon? This is one of the questions addressed by Early Modern
English Lives. The authors bring to our attention the kinds of
rhetorical and generic features of early modern self-representation
that can help us to appreciate people living four hundred years ago
as the complicated, composite figures they were: people whose
expression of identity involved an elaborate interplay of roles and
discourses, and for whom the notion of privacy itself was a wholly
different phenomenon.
Outlaws, irreverent humorists, political underdogs, authoritarians
- and the silhouette, throughout, of a contemporary Australian
woman: these are some of the figures who emerge from Philippa
Kelly's extraordinary personal tale, The King and I. Kelly uses
Shakespeare's King Lear as it has never been used before - to tell
the story of Australia and Australians through the intimate journey
she makes with Shakespeare's old king, whose struggles and torments
are touchstones for the variety, poignancy and humour of Australian
life. We hear the shrieking of birds and feel the heat of dusty
towns, and we also come to know about important moments in
Australia's social and political landscape: about the evolution of
women's rights; about the erosion and reclamation of Aboriginal
identity and the hardships experienced by transported settlers; and
about attitudes toward age and endurance. At the heart of this book
is one woman's personal story, and through this story we come to
understand many profound and often hilarious features of the land
Down Under.
This is the personal form of criticism, focusing on the
wide-ranging issues of identity and history raised by "King Lear"
by exploring Australians' engagements with the play. Outlaws,
irreverent humorists, political underdogs, authoritarians...these
are the images of Australians as revealed through the lens of "King
Lear". For a very long time there prevailed a generalized view of
Australia as a remote outpost ambiguously related to colonial
narratives of pioneering hardship. However, starting in the 1970s,
a flowering of Australian artefacts (particularly cinema), as well
as the financial affordability of travel to Australia, has led to a
growing curiosity about the country and a wish to understand its
'narrative'. As much of this narrative comes of people creating
culture and society where no laws were believed to have existed,
the idea of authority is fundamental, and "King Lear" emerges in an
astonishing variety of contexts as we consider the play as a filter
for the complexity of Australian social practices. "The King and I"
moves from 1976 through to 2009, taking moments in a personal
history to examine, through the lens of "King Lear", themes of
authority, indigenous identity, feminism, and political injustice
and unrest. "Shakespeare Now!" is a series of short books that
engage imaginatively and often provocatively with the possibilities
of Shakespeare's plays. It goes back to the source - the most
living language imaginable - and recaptures the excitement,
audacity and surprise of Shakespeare. It will return you to the
plays with opened eyes.
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