- Author : Philip Rush
- Publisher : Rhinegold Publishing Ltd
- Release Date : 2004-10-01
- Genre : Uncategorized
- Pages : 231
- ISBN : 9781904226307
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The contributors awareness of the innate ambiguity of the terms sacred and performance provides an animated discussion of their relationship, including a variety of differing critical responses to an array of plays, texts and performances. The book examines not only the structural understandings and functions of the sacred in theatre, but also experimental and personal experiences. Sacred Theatre examines both theatrical and more multi-disciplinary approaches to the sacred, offering stimulation for discussion within performance and theatre teaching.
This new in paperback edition of World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This Encyclopedia is indispensable for anyone interested in the cultures of the Americas or in modern theatre. It is also an invaluable reference tool for students and scholars of a wide range of disciplines including history, performance studies, anthropology and cultural studies.
In 1953, Samuel Beckett’s Waiting for Godot premiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition. Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.
This highly accessible and original introduction to British-Asian theatre explores the creativity, innovation and diversity of major British-Asian theatre companies. Including coverage of Tara Arts, Tamasha and Kali theatre companies, as well as important writers such as Hanif Kureishi and Gurpreet Kaur Bhatti, the book analyses the dramaturgy, cultural and political contexts and critical receptions that have informed major productions. Complete with plot summaries and illustrated throughout, the text explores the extraordinary contribution that British-Asian theatre has made to the British stage over the past thirty years.
Meyerhold on Theatre brings together in one volume Vsevolod Meyerhold's most significant writings and utterances, and covers his entire career as a director from 1902 to 1939. It contains a comprehensive selection from all published material, unabridged and translated from the original Russian, updated and supplemented with a critical commentary relating Meyerhold to his period and eye-witness accounts describing all his productions. The book is illustrated with photographs of Meyerhold's designs and productions. Within this diverse collection of sometimes dense, sometimes lyrical, and always fascinating writings, Meyerhold emerges from this book as a forerunner of such directors as Brecht, Piscator, Planchon and Brook, a relentless enemy of naturalism and a supreme exponent of total theatre whose influence continues to be felt throughout the theatre of today. This fourth edition features a new introduction by Prof. Jonathan Pitches, which helps to demystify some of the terminology Meyerhold and his associates used, and indicates the fundamental connection between culture and politics represented in his life and art.
It is the very nature of representation to be theatrical and self-referential. This book undercuts the fact that all representational knowledge is autonomous and sovereign. At times, theatrical representations can misguide and mislead. Representation can also ineluctably project ones own preferences and preoccupations. Thus, representation and subjective interpretation divulge into myriad domains. This book is concerned with the effects and consequences of representation and its politics. This book examines not only how language as well as representation produce meaning, but also how discursive knowledge connected to power regulates, conducts, and constructs identities and defines the way certain things are thought about practices and are studied. The book takes note of the fact that within the framework of performance, a performative subject does not wear a coherent identity as it is fragmented, decentered, simulated and is unstable, while being both virtual as well as actual. In the field of semiotics, theatre is historically and reciprocally affected by practice, especially within contingent conditions of time. In theatre semiotics, the new image of knowledge is that of turbulence. Here, knowledge is not so much a system as it is a confluence. Carrying this stance further we can say that contemporary Assamese theatre is characterised by shifting counter-voices and sub-textual underpinnings. This act forces reading into two directions: dialogic openness and variability of meaning that question the theatre directors as the only ones who know.
Theatre in the Expanded Field is a fiercely original, bold and daring exploration of the fields of theatre and performance studies and the received narratives and histories that underpin them. Rich with interdisciplinary reference, international, eclectic and broad-ranging in its examples, it offers readers a compelling and provocative reassessment of the disciplines, one that spans pre-history to the present day. Sixty years ago, in 1962, Richard Southern wrote a remarkable book called The Seven Ages of the Theatre. It was unusual in its time for taking a trans-disciplinary, new-historical and avowedly internationalist approach to its subject - nothing less than a totalizing view of its field. Theatre in the Expanded Field does not attempt to mimic Southern's work but rather takes his spirit of adventure and ambition as its frame for the contemporary moment of performance and its diverse pasts. Identifying seven ways of exploring the performance field, from pre-history to postdramatic theatre the book presents studies of both contemporary and historical works not as a chronological succession, but in keeping with their coeval qualities, as movements or 'generations' of connection and interaction, dissensus and interruption. It does this with the same purpose as Richard Southern's original work: to provide for the planning of responsive performance spaces 'now'. Illustrated throughout with line-drawings, Theatre in the Expanded Field is as richly rewarding as it is ambitious and expansive in it vision.
Theatre and Performance in East Africa looks at indigenous performances to unearth the aesthetic principles, sensibilities and critical framework that underpin African performance and theatre. The book develops new paradigms for thinking about African performance in general through the construction of a critical framework that addresses questions concerning performance particularities and coherences, challenging previous understandings. To this end, it establishes a common critical and theoretical framework for indigenous performance using case studies from East Africa that are also reflected elsewhere in the continent. This book will be of great interest to students and scholars of theatre and performance, especially those with an interest in the close relationship between theatre and performance with culture.
Why are so many theatre productions adaptations of one kind or another? Why do contemporary practitioners turn so frequently to non-dramatic texts for inspiration? This study explores the fascination of novels, short stories, children's books and autobiographies for theatre makers and examines what 'becomes' of literary texts when these are filtered into contemporary practice that includes physical theatre, multimedia performance, puppetry, immersive and site-specific performance and live art. In Adaptation in Contemporary Theatre, Frances Babbage offers a series of fresh critical perspectives on the theory of adaptation in theatre-making, focusing on meditations of prose literature within contemporary performance. Individual chapters explore the significance and impact of books as physical objects within productions; the relationship between the dramatic adaptation and literary edition; storytelling on the page and in performance; literary space and theatrical space; and prose fiction reframed as 'found text' in contemporary theatre and live art. Case studies are drawn from internationally acclaimed companies including Complicite, Elevator Repair Service, Kneehigh, Forced Entertainment, Gob Squad, Teatro Kismet and Stan's Cafe. Adaptation in Contemporary Theatre is a compelling and provocative resource for anyone interested in the potential and the challenges of using prose literature as material for new theatrical performance.
The Second World War went beyond previous military conflicts. It was not only about specific geographical gains or economic goals, but also about the brutal and lasting reshaping of Europe as a whole. Theatre in Europe Under German Occupation explores the part that theatre played in the Nazi war effort. Using a case-study approach, it illustrates the crucial and heavily subsidised role of theatre as a cultural extension of the military machine, key to Nazi Germany’s total war doctrine. Covering theatres in Oslo, Riga, Lille, Lodz, Krakau, Warsaw, Prague, The Hague and Kiev, Anselm Heinrich looks at the history and context of their operation; the wider political, cultural and propagandistic implications in view of their function in wartime; and their legacies. Theatre in Europe Under German Occupation focuses for the first time on Nazi Germany’s attempts to control and shape the cultural sector in occupied territories, shedding new light on the importance of theatre for the regime’s military and political goals.
Using examples of refugee arts and theatrical activity since the 1990s, this book examines how the 'refugee crisis' has conditioned all arts and cultural activity with refugees in a world where globalization and migration go hand in hand.
What do we mean by entertainment? How does this concept relate to theatre? Should theatre be for pleasure or instruction? Can it not be both? In this stimulating book, Jim Davis examines this relationship, by assessing audience reception, political theatre and melodrama, and ultimately questions the limits of entertainment in theatre.
This foundational study offers an accessible introduction to Native American and First Nations theatre by drawing on critical Indigenous and dramaturgical frameworks. It is the first major survey book to introduce Native artists, plays, and theatres within their cultural, aesthetic, spiritual, and socio-political contexts. Native American and First Nations theatre weaves the spiritual and aesthetic traditions of Native cultures into diverse, dynamic, contemporary plays that enact Indigenous human rights through the plays' visionary styles of dramaturgy and performance. The book begins by introducing readers to historical and cultural contexts helpful for reading Native American and First Nations drama, followed by an overview of Indigenous plays and theatre artists from across the century. Finally, it points forward to the ways in which Native American and First Nations theatre artists are continuing to create works that advocate for human rights through transformative Native performance practices. Addressing the complexities of this dynamic field, this volume offers critical grounding in the historical development of Indigenous theatre in North America, while analysing key Native plays and performance traditions from the mainland United States and Canada. In surveying Native theatre from the late 19th century until today, the authors explore the cultural, aesthetic, and spiritual concerns, as well as the political and revitalization efforts of Indigenous peoples. This book frames the major themes of the genre and identifies how such themes are present in the dramaturgy, rehearsal practices, and performance histories of key Native scripts.
Not every presidential visit to the theatre is as famous as Lincoln's last night at Ford's, but American presidents attended the theatre long before and long after that ill-fated night. In 1751, George Washington saw his first play, The London Merchant, during a visit to Barbados. John Quincy Adams published dramatic critiques. William McKinley avoided the theatre while in office, on professional as well as moral grounds. Richard Nixon met his wife at a community theatre audition. Surveying 255 years, this volume examines presidential theatre-going as it has reflected shifting popular tastes in America.
This engaging text explores the role of the writer and the text in collaborative practice through the work of contemporary writers and companies working in Britain, offering students and aspiring writers and directors effective practical strategies for collaborative work.
This collection addresses key questions in women's theatre history and retrieves a number of previously "hidden" histories of women performers. The essays range across the past 300 years--topics covered include Susanna Centlivre and the notion of intertheatricality; gender and theatrical space; the repositioning of women performers such as Wagner's Muse, Willhelmina Schröder-Devrient, the Comédie Français' "Mademoiselle Mars," Mme. Arnould-Plessey, and the actresses of the Russian serf theatre.