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Post-Colonial Drama: Theory, Practice, Politics
by Helen Gilbert Joanne TompkinsPost-Colonial Drama is the first full-length study to address the ways in which performance has been instrumental in resisting the continuing effects of imperialism. It brings to bear the latest theoretical approaches from post-colonial and performance studies to a range of plays from Australia, Africa, Canada, New Zealand, the Caribbean and other former colonial regions. Some of the major topics discussed in Post-Colonial Drama include: * the interactions of post-colonial and performance theories * the post-colonial re-stagings of language and history * the specific enactments of ritual and carnival * the theatrical citations of the post-colonial body Post-Colonial Drama combines a rich intersection of theoretical approaches with close attention to a wide range of performance texts.
Post-Colonial Shakespeares (New Accents Ser.)
by Ania Loomba Martin OrkinFirst published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Post-Conflict Performance, Film and Visual Arts
by Des O'Rawe Mark PhelanDrawing on a range of cities and conflicts from Europe, Africa and the Middle East, the collection explores the post-conflict condition as it is lived and expressed in modern cities such as Berlin, Belfast, Bilbao, Beirut, Derry, Skopje, Sarajevo, Tunis, Johannesburg and Harare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory investigates how the memory of conflict can be inscribed in historical monuments, human bodies and hermeneutic acts of mapping, traversing, representing, and performing the city. Several essays explore the relations between memory, history and urban space; where memory is located and how it is narrated, as well as various aspects of embodied memory; testimonial memory; traumatic memory; counter-memory; false memory; post-memory. Other essays examine the representations of post-war cities and how cultural imaginations relate to the politics of reconstruction in places devastated by protracted urban warfare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory offers a comparative survey of the complex and often controversial encounters between public art, political memory and commemoration in divided societies, as well as offering insights into the political and ethical difficulties of balancing the dynamics of forgetting and remembering.
Post-Democracy
by Hannah MoscovitchThe play is based on Hannah’s experiences of being around high-level corporate executives for years as a bartender—as the daughter of socialist and left-wing thinkers, she “felt like a spy.”First produced in a digital-only production by Prairie Theatre Exchange in April 2021
Post-Show Discussions in New Play Development
by Teresa A. FisherMany theatres host post-show discussions, or talkbacks, as part of their season. This book is a critical examination of what has/has not worked with post-show discussions utilized in new play development, providing a framework for understanding discussions, steps for building the foundation of them, and various strategies for structuring them.
Post-War British Theatre (Routledge Revivals)
by John ElsomSince the Second World War, we have witnessed exciting, often confusing developments in the British theatre. This book, first published in 1976, presents an enlightening, objective history of the many facets of post-war British theatre and a fresh interpretation of theatre itself. The remarkable and profound changes which have taken place during this period range from the style and content of plays, through methods of acting, to shapes of theatres and the organisational habits of managers. Two national theatres have been brought almost simultaneously into existence; while at the other end of the financial scale, the fringe and pub theatres have kicked their way into vigorous life. The theatre in Britain has been one of the post-war success stories, to judge by its international renown and its mixture of experimental vitality and polished experience. In this book Elsom presents an approach to the problems of criticism and appreciation which range beyond those of literary analysis.
Post-War British Theatre Criticism (Routledge Revivals)
by John ElsomThis book, first published in 1981, sets out the critical reaction to some fifty key post-war productions of the British theatre, as gauged primarily through the contemporary reviews of theatre critics. The plays chosen are each, in their different ways, important in their contribution to the development of the British theatre, covering the period from immediately after the Second World War, when British theatre fell into decline, through the revival of the late 1950s, to the time in which this book was first published, in which British theatre enjoyed a high international reputation for its diversity and quality. This book is ideal for theatre studies students, as well as for the general theatre-goer.
Post-choreography: Jérôme Bel’s Choreography and Movement in Malfunction (ISSN)
by Shuntaro YoshidaThis book sheds light on the practice of French choreographer Jérôme Bel, who is active in the fields of performing arts and contemporary art.Shuntaro Yoshida examines a case study of collective creation involving the choreographer and a group of amateur workshop participants. The focus is on Atelier Danse et Voix (Dance and Voice Workshop) (2014) and workshops held with local diverse participants in Brussels, Venice, and Munich after the cancellation of the Dance and Voice Workshop. This study elucidates Bel’s creative method by exploring the relationship between choreographer and participants in a situation where the typical framework of actors has been expanded. The focus of the case study is not so much the choreographic methodology itself, but the relationship between the method and the participants and the ways in which the choreographer cedes creative decision-making power to participants. In order to investigate Bel’s creative method, this study makes use of participant observation field notes taken during a rehearsal. Additional data sources include Bel’s emailed materials, performance programs, and interviews with participants.This book will be of great interest to students and scholars in theater, performance, and dance studies.
Post-war British Drama: Sexuality And The Family In Post-war British Drama (Routledge Revivals Ser.)
by Michelene WandorIn this extensively revised and updated edition of her classic work, Look Back in Gender, Michelene Wandor confirms the symbiotic relationship between drama and gender in a provocative look at key, representative British plays from the last fifty years. Repositioning the text at the heart of hteatre studies, Wandor surveys plays by Ayckbourn, Beckett, Churchill, Daniels, Friel, Hare, Kane, Osborne, Pinter, Ravenhill, Wertenbaker, Wesker and others. Her nuanced argument, central to any analysis of contemporary drama, discusses: *the imperative of gender in the playwright's imagination *the function of gender as a major determinant of the text's structural and narrative drives *the impact of socialism and feminism on post-war British drama, and the relevance of feminist dynamics in drama *differences in the representation of the fmaily, sexuality and the mother, before and after 1968 *the impact of the slogan that the 'personal is political' on contemporary form and content.
Postdramatic Theatre
by Hans-Thies LehmannNewly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound. Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. Illustrated by a wealth of practical examples, and with an introduction by Karen Jürs-Munby providing useful theoretical and artistic contexts for the book, Postdramatic Theatre is an historical survey expertly combined with a unique theoretical approach which guides the reader through this new theatre landscape.
Posthuman Pedagogies in Practice: Arts based Approaches for Developing Participatory Futures
by Annouchka BayleyThis book investigates transdisciplinary, arts-based approaches to developing innovative and pertinent higher education pedagogy. Introducing timely critical thinking strategies, the author addresses some of the key issues facing educators today in an increasingly complex digital, technological and ecological world. The author combines emerging ideas in the New Materialism and Posthumanism schools of thought with arts-based teaching and learning, including Practice-as-Research, for Social Science contexts, thus exploring how this approach can be used to productively create new pedagogical strategies. Drawing on a rich repertoire of real-life examples, the volume suggests transferrable routes into practice that are suitable for lecturers, researchers and students. This practical and innovative volume will appeal to researchers and practitioners interested in Posthuman and New Materialist theories, and how these can be applied to the educational landscape in future.
Posthuman Spiritualities in Contemporary Performance: Politics, Ecologies and Perceptions
by Silvia BattistaThis book provides an interpretative analysis of the notion of spirituality through the lens of contemporary performance and posthuman theories. The book examines five performance/artworks: The Artist is Present (2010) by Marina Abramović; The Deer Shelter Skyscape (2007) by James Turrell; CAT (1998) by Ansuman Biswas; Journey to the Lower World by Marcus Coates (2004); and the work with pollen by Wolfgang Laib. Through the analysis of these works the notion of spirituality is grounded in materiality and embodiment allowing the conceptual juxtaposition of spirit and matter to introduce the paradoxical as the guiding thread of the narrative of the book. Here, the human is interrogated and negotiated with/within a plurality of other living organisms, intangible existences and micro and macrocosmic ecologies. Silence, meditation, shamanic journeys, reciprocal gazing, restraint, and contemplation are analyzed as technologies used to manipulate perception and adventure into the multilayered condition of matter.
Posthumanist Collaborations in Performance: A Praxis-based Approach to Qualitative Inquiry
by Tami Spry Jake Simmons Travis BrisiniPosthumanist Collaborations in Performance presents a novel approach for readers to engage with new materialist performance as a method of qualitative inquiry and as a means of combating the anthropocentric loneliness of modern life.It offers a theoretical and practical examination of how we are fundamentally entangled with a more-than-human world through practices the authors call “naturecultural performances.” The book features a collaborative body of arts-based research by three scholars working at the intersections of performance studies, new materialism, environmental studies, and qualitative inquiry. The result is an interdisciplinary body of theoretical scholarship, including a wide array of landscapes, plants, animals, minerals, and other more-than-human agencies. The book also presents practical examples and case studies of naturecultural performances, showcasing the diverse ways in which the concept of “natureculture” can be applied in research and creative practice.This book will be of interest to faculty, graduate and undergraduate students, performance practitioners, and anyone else interested in exploring or creating work based on their own fundamental relationships with the more-than-human world.
Posthumanist Shakespeares
by Stefan HerbrechterShakespeare scholars and cultural theorists critically investigate the relationship between early modern culture and contemporary political and technological changes concerning the idea of the 'human. ' The volume covers the tragedies King Lear and Hamlet in particular, but also provides posthumanist readings of other Shakespearean plays.
Pounding Nails in the Floor with My Forehead
by Eric BogosianIn his brashest solo show, performer and playwright Eric Bogosian once again aims his searing social commentary at the contemporary urban and suburban scene. "Never miss Bogosian, because the sharp-tongued, sharp-shooting Bogosian never misses."--Clive Barnes, New York Post
Poverty and Antitheatricality: Form and Formlessness in Latin American Literature, Art, and Theory
by Stephen ButtesPoverty and Antitheatricality argues that many major analytical approaches today misunderstand the problem of poverty by emphasizing its status as an experience. These experiential models transform poverty from a specific socioeconomic status lived in a particular historical sequence into a transhistorical presence of marginality that is not only inevitable but necessary. Embedded in capitalist, socialist, and populist forms of socioeconomic organization, these models paradoxically suggest that if we want to have a world free of poverty, we must always have the poor and their experience of formlessness. Taking up the paired terms—form and formlessness—Stephen Buttes demonstrates how they sustain not only debates about poverty and its political role within modernity but also the idea of the work of art within the history of modernism. Offering critiques of critical theory alongside new readings of both canonical and little-studied Latin American authors and artists, Poverty and Antitheatricality makes a compelling case that understanding the kind of problem the work of art is opens up overlooked but essential pathways to understanding poverty and the kind of problem it is.
Power and Passion in Shakespeare's Pronouns: Interrogating 'you' and 'thou'
by Penelope FreedmanIn revealing patterns of you/thou use in Shakespeare's plays, this study highlights striking and significant shifts from one to the other. Penelope Freedman demonstrates that understanding of the implications of you/thou use in early modern English has been bedevilled by overconcern with issues of power and status, and her careful research, analysing all the plays, reveals how a fuller understanding of Shakespeare's usage can provide a key to unlock puzzles of motive and character, and a glass to clarify relationships and emotions. The work focuses particularly on dialogue between men and women, and sheds new light on male and female language use. The scholarship presented in this volume is augmented with tables and a glossary of linguistic terms.
Power on Display: The Politics of Shakespeare's Genres
by Leonard TennenhouseFirst published in 1986. 'Impressively open to the complexity of cultural discourses, to the ways in which one discursive form may function as a screen for another above all to the political entailment of genre.' Stephen Greenblatt.What is the relation between literary and political power? How do the symbolic dimensions of social practice and the social dimensions of artistic practice relate to one another? Power on Display considers Shakespeare's progression from romantic comedies and history plays to tragedy and romance in the light of the general process of cultural change in the period.
Practically Perfect
by Caroline AndersonWhen surgeon Connie Wright broke her arm, she had some serious decisions to make. It seemed natural to go home, but finding Patrick Durrant pinch–hitting for her father in his general practice was disturbing. Connie thought him deeply attractive, and his small son, Edward, soon found a place in her heart. But how could she let herself fall in love when Patrick would be moving on to a permanent country practice, and Connie would of course be returning to London?
Practicing Archetype: Solo Performer Training as Critical Pedagogy (Perspectives on Performer Training)
by Göze SanerPracticing Archetype addresses performer training, specifically the self-pedagogy of actors who train solo, on their own, as an independent learning process, an opportunity for embodied research, and a form of critical pedagogy.Joining the current critical and inclusive turn in performer training, the author reconfigures the psychophysical ‘work on self’ trope as ‘encounters with the self' and turns to the genre of solo performance, including examples of solo activism from recent years, for a deeper understanding into how the self always already implicates and relates to others. The space that opens in the dialogue between performer training and solo performance is negotiated around three key themes: presence, identity, and action. Using a methodology grounded in archetypal psychology alongside liberation psychology and decolonial feminist thought, and engaging the mythological figures Echo, Odysseus, and Sisyphus, the author reviews specific archetypal images that appear in key performer training texts and revisits well-known practices through the insights drawn from solo performance. Offering audio-guided exercises traditionally used in performer training as embodied forms of inquiry into the relationships between the individual and the various collectives surrounding her, the volume proposes that solo performer training can be mobilised for multiple interrelated objectives – creative, artistic, or professional development; critical, reflective, liberatory pedagogy; and spiritual, archetypal, imaginative encounters.The book speaks to all who are engaged in performer training – students and teachers, soloists and ensembles – as well as those with an interest in embodied forms of critical pedagogy or decolonial approaches to archetype.
Practicing the City: Early Modern London on Stage
by Nina LevineIn late-sixteenth-century London, the commercial theaters undertook a novel experiment, fueling a fashion for plays that trafficked in the contemporary urban scene. But beyond the stage’s representing the everyday activities of the expanding metropolis, its unprecedented urban turn introduced a new dimension into theatrical experience, opening up a reflexive space within which an increasingly diverse population might begin to “practice” the city. In this, the London stage began to operate as a medium as well as a model for urban understanding.Practicing the City traces a range of local engagements, onstage and off, in which the city’s population came to practice new forms of urban sociability and belonging. With this practice, Levine suggests, city residents became more self-conscious about their place within the expanding metropolis and, in the process, began to experiment in new forms of collective association. Reading an array of materials, from Shakespeare and Middleton to plague bills and French-language manuals, Levine explores urban practices that push against the exclusions of civic tradition and look instead to the more fluid relations playing out in the disruptive encounters of urban plurality.
Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South (Performance Philosophy)
by Eric MullisThis book investigates how Pragmatist philosophy as a philosophical method contributes to the understanding and practice of interdisciplinary dance research. It uses the author's own practice-based research project, Later Rain, to illustrate this. Later Rain is a post-dramatic dance theater work that engages primarily with issues in the philosophy of religion and socio-political philosophy. It focuses on ecstatic states that arise in Appalachian charismatic Pentecostal church services, states characterized by dancing, paroxysms, shouting, and speaking in tongues (glossolalia). Research for this work is interdisciplinary as it draws on studio practice, ethnographic field work, cultural history, Pentecostal history and theology, folk aesthetics, anthropological understandings of ecstatic religious rituals, and dance history regarding acclaimed works that have sought to present aspects of religious ecstasy on stage; Doris Humphrey's The Shakers (1931), Mark Godden’s Angels in the Architecture (2012), Martha Clarke’s Angel Reapers (2015) and Ralph Lemon’s Geography trilogy (2005). The project thereby demonstrates a process model of dance philosophy, showing how philosophy and dance artistry intertwine in a specific creative process.
Prayer for My Enemy
by Craig Lucas"America the addicted. America the numb. America the war weary. America the lonely. All these countries compose the jagged terrain of this viscerally potent new play."--The Seattle Times "The very best we can hope for is to show the mess of life in such a way as to perhaps awaken our shared capacity for embracing it, in all its beauty and terror."--Craig LucasCraig Lucas "can masterfully distill a world of hurt and perplexity into complicated relations and single, pithy lines" (The Seattle Times), which is never more evident than in his latest play of public and private turmoil in today's America. Here we find the Noone family: son Billy returns from Iraq, his pregnant sister Marianne marries Billy's friend and former lover Tad, his mother Karen tries to keep her husband Austin from falling off the wagon--all while the Red Sox and Yankees battle for the 2004 pennant. With Prayer for My Enemy, Lucas returns to the dark territory he has explored with earlier works, "bringing light and craft to previously unlit corners," and illuminating the ways he is "one of the American theater's best writers" (Variety).Craig Lucas is a playwright, screenwriter, and director of both theater and film. His plays include Prelude to a Kiss, The Dying Gaul, Small Tragedy, Blue Window, God's Heart, The Singing Forest, and the book for the Tony Award-winning musical The Light in the Piazza. He is currently associate artistic director at the Intiman Theatre in Seattle.
Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934
by Thomas DohertyThis book explores the fascinating period in American motion picture history from 1930 to 1934 when the commandments of the Production Code Administration were violated with impunity in a series of wildly unconventional films--a time when censorship was lax and Hollywood made the most of it. Though more unbridled, salacious, subversive, and just plain bizarre than what came afterward, the films of the period do indeed have the look of Hollywood cinema--but the moral terrain is so off-kilter that they seem imported from a parallel universe. In a sense, Doherty avers, the films of pre-Code Hollywood are from another universe. They lay bare what Hollywood under the Production Code attempted to cover up and push offscreen: sexual liaisons unsanctified by the laws of God or man, marriage ridiculed and redefined, ethnic lines crossed and racial barriers ignored, economic injustice exposed and political corruption assumed, vice unpunished and virtue unrewarded--in sum, pretty much the raw stuff of American culture, unvarnished and unveiled. No other book has yet sought to interpret the films and film-related meanings of the pre-Code era--what defined the period, why it ended, and what its relationship was to the country as a whole during the darkest years of the Great Depression... and afterward.
Preaching the Blues: Black Feminist Performance in Lynching Plays (Routledge Advances in Theatre & Performance Studies)
by Maisha S. AkbarPreaching the Blues: Black Feminist Performance in Lynching Plays examines several lynching plays to foreground black women’s performances as non-normative subjects who challenge white supremacist ideology. Maisha S. Akbar re-maps the study of lynching drama by examining plays that are contingent upon race-based settings in black households versus white households. She also discusses performances of lynching plays at Historically Black Colleges and Universities (HBCUs) in the South and reviews lynching plays closely tied to black school campuses. By focusing on current examples and impacts of lynching plays in the public sphere, this book grounds this historical form of theatre in the present day with depth and relevance. Of interest to scholars and students of both general Theatre and Performance Studies, and of African American Theatre and Drama, Preaching the Blues foregrounds the importance of black feminist artists in lynching culture and interdisciplinary scholarship.