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DAH Theatre: A Sourcebook is a collection of essays about the work of one of the most successful and innovative performance groups in contemporary history. With a direct line of descent from Jerzy Grotowski and Eugenio Barba, DAH Theatre, founded during the worst of times in the former Yugoslavia, amidst a highly patriarchal society, predominantly run by women, has thrived now for twenty-five years. The chapters in this book, for the most part, have been written by both theatre scholars and practitioners, all of whom have either seen, studied with or worked with this groundbreaking troupe. What makes DAH so exceptional? The levels of innovation and passion for them extend far beyond the world of mere performance. They have been politically and socially driven by the tragedies and injustices that they have witnessed within their country and have worked hard to be a force of reconciliation, equity and peace within the world. And those efforts, which began on the dangerous streets of Belgrade in 1991, today, have reached throughout the world. Though they still make their home in Serbia, audiences from as far afield as New Zealand, Mongolia, Brazil and the U.S. have discovered their power – both in purely aesthetic terms and as passionate activists.
​​The Art of Transitional Justice examines the relationship between transitional justice and the practices of art associated with it. Art, which includes theater, literature, photography, and film, has been integral to the understanding of the issues faced in situations of transitional justice as well as other issues arising out of conflict and mass atrocity. The chapters in this volume take up this understanding and its demands of transitional justice in situations in several countries: Afghanistan, Serbia, Srebenica, Rwanda, Northern Ireland, Cambodia, as well as the experiences of resulting diasporic communities. In doing so, it brings to bear the insights from scholars, civil society groups, and art practitioners, as well as interdisciplinary collaborations.
In what ways does political trauma influence the art arising from it? Is there an aesthetic of war and exile in theatrical works that emerge from such experiences? Are there cultural markers defining such works from areas like Eastern Europe and Israel? This book considers these questions in an examination of plays, performances and theater artists that speak from a place of political violence and displacement. The author's critical inquiry covers a variety of theatrical experimentations, including Brechtian distancing, black humor, pastiche, surreal and hyper-real imagery, reversed chronologies and disrupted narratives. Drawing on postmodern theories and performance studies as well as interviews and personal statements from the artists discussed, this study explores the transformative power of the theater arts and their function as catalysts for social change, healing and remembrance.
How can art act as an intercultural mediator for dialogue? In order to scrutinize this question, relevant theoretical ideas are discussed and artistic intervention projects examined so as to highlight its cultural, political, economic, social, and transformational impacts. This thought-provoking work reveals why art is needed to help multicultural neighbourhoods and societies be sustainable, as well as united by diversity. This edited collection underlines the significance of arts and media as a tool of understanding, mediation, and communication across and beyond cultures. The chapters with a variety of conceptual and methodological approaches from particular contexts demonstrate the complexity in the dynamics of (inter)cultural communication, culture, identity, arts, and media. Overall, the collection encourages readers to consider themselves as agents of the communication process promoting dialogue.
Theatre in Eastern and Central Europe was never the same after the fall of the Berlin Wall in 1989. In the transition to a postcommunist world, “alternative theatre” found ways to grapple with political chaos, corruption, and aggressive implementation of a market economy. Three decades later, this volume is the first comprehensive examination of alternative theatre in ten former communist countries. The essays focus on companies and artists that radically changed the language and organization of theatre in the countries formerly known as the Eastern European bloc. This collection investigates the ways in which postcommunist alternative theatre negotiated and embodied change not only locally but globally as well. Contributors: Dennis Barnett, Dennis C. Beck, Violeta Decheva, Luule Epner, John Freedman, Barry Freeman, Margarita Kompelmakher, Jaak Rahesoo, Angelina Ros ̧ca, Ban ̧uta Rubess, Christopher Silsby, Andrea Tompa, S. E. Wilmer
Arts and Community Change: Exploring Cultural Development Policies, Practices and Dilemmas addresses the growing number of communities adopting arts and culture-based development methods to influence social change. Providing community workers and planners with strategies to develop arts policy that enriches communities and their residents, this collection critically examines the central tensions and complexities in arts policy, paying attention to issues of gentrification and stratification. Including a variety of case studies from across the United States and Canada, these success stories and best practice approaches across many media present strategies to design appropriate policy for unique populations. Edited by Max Stephenson, Jr. and A. Scott Tate of Virginia Tech, Arts and Community Change presents 10 chapters from artistic and community leaders; essential reading for students and practitioners in economic development and arts management.
The Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers and practitioners. This is the follow-on text from The Twentieth-Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century’s leading practitioners through the voices of over 140 individuals. The contributors in this volume reflect the diverse and eclectic culture of practices that now make up the expanded field of performance, and their stories, reflections and working processes collectively offer a snapshot of contemporary artistic concerns. Many of the pieces have been specially commissioned for this edition and comprise a range of written forms – scholarly, academic, creative, interviews, diary entries, autobiographical, polemical and visual. Ideal for university students and instructors, this volume’s structure and global span invites readers to compare and cross-reference significant approaches outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings. For those who engage with new, live and innovative approaches to performance and the interplay of radical ideas, The Twenty-First Century Performance Reader is invaluable.
"This volume gathers ten years of interviews with leading theatre and performance practitioners and critical reflections on plays and theatre-works in performance ... The collections features, among others, conversations with distinguished artists ... and reviews of work by Alan Bennett, Nilo Cruz, Will Eno, Sarah Kane, Bryony Lavery, Eduardo Machado, Suzan-Lori Parks and more."--Page [4] of cover.
This work is a timely contribution to the debates surrounding feminism, theatre and performance. The excellent, cross-generational mix of theatre scholars and practitioners engaging in lively, cutting-edge debates on critical topics make this essential reading for students and scholars in Theatre and Performance Studies as well as Gender Studies.
Bringing together a truly global range of scholars, this volume explores heritage, memory, and identity through a diverse set of subjects, including heritage sites, practices of memorialization, museums, sites of contestation, and human rights.