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Crisis Theatre and The Living Newspapers traces a history of the living newspaper as a theatre of crisis from Soviet Russia (1910s), through the Federal Theatre Project of the Great Depression in America (1930s), to Augusto Boal's teatro jornal in Brazil (1970s), and its resonance with documentary forms deployed in the final years of apartheid in South Africa (1990s), up until the present day in the UK (2020s). Across this Element, the author is interested in what a transnational and transhistorical examination of the living newspaper through the lens of crisis reveals about the ways in which theatre can intervene in our collective social, economic and political life. By holding these diverse examples together, the author asserts the Living Newspaper as a form of Crisis Theatre.
Crisis Theatre and The Living Newspapers traces a history of the living newspaper as a theatre of crisis from Soviet Russia (1910s), through the Federal Theatre Project of the Great Depression in America (1930s), to Augusto Boal's teatro jornal in Brazil (1970s), and its resonance with documentary forms deployed in the final years of apartheid in South Africa (1990s), up until the present day in the UK (2020s). Across this Element, the author is interested in what a transnational and transhistorical examination of the living newspaper through the lens of crisis reveals about the ways in which theatre can intervene in our collective social, economic and political life. By holding these diverse examples together, the author asserts the Living Newspaper as a form of Crisis Theatre.
This book is an extended glossary of terms used by J. L. Moreno, the inventor of psychodrama. The author listed these terms alphabetically, along with Moreno's own descriptions or definitions of the terms. She also gave the page number and the book where the quotation can be found. Any scholars who want to find key references would do well to have this book in their libraries
Between 1935 and 1939, the United States government paid out-of-work artists to write, act, and stage theatre as part of the Federal Theatre Project (FTP), a New Deal job relief program. In segregated "Negro Units" set up under the FTP, African American artists took on theatre work usually reserved for whites, staged black versions of "white" classics, and developed radical new dramas. In this fresh history of the FTP Negro Units, Kate Dossett examines what she calls the black performance community—a broad network of actors, dramatists, audiences, critics, and community activists—who made and remade black theatre manuscripts for the Negro Units and other theatre companies from New York to Seattle. Tracing how African American playwrights and troupes developed these manuscripts and how they were then contested, revised, and reinterpreted, Dossett argues that these texts constitute an archive of black agency, and understanding their history allows us to consider black dramas on their own terms. The cultural and intellectual labor of black theatre artists was at the heart of radical politics in 1930s America, and their work became an important battleground in a turbulent decade.
This book provides an overview of the inception, development and achievements of British socialist and workers theatre – a feat which has not been attempted before. It explores the connections between politics and culture (specifically theatre) and between political theory and cultural (theatrical) expression. The book is organized chronologically and uncovers much in labour and theatre history which is in danger of being lost. It can also be seen as a way into different moments in its subject’s story (e.g. post-Ibsen naturalism; agitprop theatre; ‘fringe’ theatre of the 1970s) and the relationship of such forms to specific political events and ideas at specific points in history.
Initially created to counteract broadcasts from Nazi Germany, the BBC’s Eastern Service became a cauldron of global modernism and an unlikely nexus of artistic exchange. Directed at an educated Indian audience, its programming provided remarkable moments: Listeners in India heard James Joyce reading from Finnegans Wake on the eve of independence, as well as the literary criticism of E. M. Forster and the works of Indian writers living in London. In Radio Empire, Daniel Ryan Morse demonstrates the significance of the Eastern Service for global Anglophone literature and literary broadcasting. He traces how modernist writers used radio to experiment with form and introduce postcolonial literature to global audiences. While innovative authors consciously sought to incorporate radio’s formal features into the novel, literature also exerted a reciprocal and profound influence on twentieth-century broadcasting. Reading Joyce and Forster alongside Attia Hosain, Mulk Raj Anand, and Venu Chitale, Morse demonstrates how the need to appeal to listeners at the edges of the empire pushed the boundaries of literary work in London, inspired high-cultural broadcasting in England, and formed an invisible but influential global network. Adding a transnational perspective to scholarship on radio modernism, Radio Empire demonstrates how the history of broadcasting outside of Western Europe offers a new understanding of the relationship between colonial center and periphery.
Verbatim Theatre Methodologies for Community-Engaged Practice offers a framework for developing original community-engaged productions using a range of verbatim theatre approaches. This book's methodologies offer an approach to community-engaged productions that fosters collaborative artistry, ethically nuanced practice, and social intentionality. Through research-based discussion, case study analysis, and exercises, it provides a historical context for verbatim theatre; outlines the ethics and methods for community immersion that form the foundation of community-engaged best practice; explores the value of interviews and how to go about them; provides clear pathways for translating gathered data into an artistic product; and offers rehearsal room strategies for playwrights, producers, directors, and actors in managing the specific context of the verbatim theatre form. Based on diverse, real-world practice that spans regional, metropolitan, large-scale, micro, independent, commercial, and curriculum-based work, this is a practical and accessible guide for undergraduates, artists, and researchers alike.
Over the past two decades, theatre practitioners across the West have turned to documentary modes of performance-making to confront new socio-political realities. The essays in this book place this work in context, exploring historical and contemporary examples of documentary and 'verbatim' theatre, and applying a range of critical perspectives.
This ground-breaking book is the first to bring an ecological focus to theatre and performance design, both in scholarship and in practice. Ecoscenography weaves environmental philosophies and practices across genres and fields to provide a captivating vision for the future of sustainable theatre production. The book forefronts leading designers that are driving this emerging field into the mainstream through their relational and reciprocal engagement with place, audiences, materials, and processes. Beyond its radical philosophy and framework, Ecoscenography makes a compelling case for pursuing an ecological ethic in theatre and performance design, not only as a moral imperative, but for the extraordinary possibilities that it offers for more-than-human engagement. Based on her personal insights as a leading ecological researcher and practitioner, Beer offers a rich resource for scholars, students and practitioners alike, opening up new processes and aesthetics of theatrical design that enhance the environmental and social advocacy of the field.
Eugene O'Neill - Clifford Odets - Left-wing theatre - Black drama - Thornton Wilder - Lillian Hellman - Luigi Pirandello - Arthur Miller.