The highly performative categories of 'Irish culture' and 'Irishness' are in need of critical address, prompted by recent changes in Irish society, the arts industry and modes of critical inquiry. This book broaches this task by considering Irish expressive culture through some of the paradigms and vocabularies offered by performance studies.

The long cultural moment that arose in the wake of 9/11 and the conflict in the Middle East has fostered a global wave of surveillance and counterinsurgency. Performance in a Militarized Culture explores the ways in which we experience this new status quo. Addressing the most commonplace of everyday interactions, from mobile phone calls to traffic cameras, this edited collection considers: How militarization appropriates and deploys performance techniques How performing arts practices can confront militarization The long and complex history of militarization How the war on terror has transformed into a values system that prioritizes the military The ways in which performance can be used to secure and maintain power across social strata Performance in a Militarized Culture draws on performances from North, Central, and South America; Europe; the Middle East; and Asia to chronicle a range of experience: from those who live under a daily threat of terrorism, to others who live with a distant, imagined fear of such danger.

Game of Thrones has changed the landscape of television during an era hailed as the Golden Age of TV. An adaptation of George R.R. Martin's epic fantasy A Song of Fire and Ice, the HBO series has taken on a life of its own with original plotlines that advance past those of Martin's books. The death of protagonist Ned Stark at the end of Season One launched a killing spree in television-major characters now die on popular shows weekly. While many shows kill off characters for pure shock value, death on Game of Thrones produces seismic shifts in power dynamics-and resurrected bodies that continue to fight. This collection of new essays explores how power, death, gender, and performance intertwine in the series.

Using a performance studies lens, this book is a study of performance in the post-9/11 context of the so-called war on terror. It analyzes conventional theatre, political protest, performance art and other sites of performance to unpack the ways in which meaning has been made in the contemporary global sociopolitical environment.

The highly performative categories of 'Irish culture' and 'Irishness' are in need of critical address, prompted by recent changes in Irish society, the arts industry and modes of critical inquiry. This book broaches this task by considering Irish expressive culture through some of the paradigms and vocabularies offered by performance studies.

The highly performative categories of 'Irish culture' and 'Irishness' are in need of critical address, prompted by recent changes in Irish society, the arts industry and modes of critical inquiry. This book broaches this task by considering Irish expressive culture through some of the paradigms and vocabularies offered by performance studies.

Since its first publication in 2002, The Performance Studies Reader has become the leading anthology of key writings on performance studies. Now in its third edition, it continues to offer an unparalleled selection of work by the foremost in this continually evolving field. These critical and theoretical contributions are joined in this edition by 16 new chapters, bringing the collection up to date with current discourse and ideas, and cross referencing exactly with Richard Schechner's Performance Studies: An Introduction. The two volumes combine perfectly to offer a unique and complete teaching resource. The Reader is also widely used by students and scholars around the world as a stand-alone text, offering a stimulating introduction to the crucial debates of Performance Studies. Each essay now includes new contextual headnotes from the editors, to introduce students to the writer and their impact on the field. Newly added to this edition are contributions from: Augusto Boal, Jill Dolan, Faye C. Fei and William H. Sun, Erika Fischer Lichte, E. Patrick Johnson, Petra Kuppers, Hans-Thies Lehmann, Bruce McConachie, Jacques Ranciere, Joseph Roach, Rebecca Schneider, Ngugi wa Thiongo The Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in performance studies, theatre, performing arts and cultural studies.