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New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. Articles in volume 74 include: Joan Littlewood's Key to Creativity: 'Go on Stage to Fail'; Grandfathers and Orphans: the Family Saga of European Theatre; Decoding Myths in the Nepalese Festival of Indra Jatra; Theatre in Education in Britain: Current Practice and Future Potential; From Object to Subject: the Israeli Theatre of the Battered Women; 'The Spirits Wouldn't Let Me Be Anything Else': Shamanic Dimensions in Theatre Practice Today; The Contaminated Audience: Researching Amateur Theatre in Wales before 1939.
Provides an international forum where theatrical scholarship and practice can meet.
One of a series discussing topics of interest in theatre studies from theoretical, methodological, philosophical and historical perspectives.
Provides an international forum where theatrical scholarship and practice can meet.
This comprehensive international bibliography is the first to attempt documentation of this diverse field, covering the history of Artist's Performance. It focuses on its early twentieth-century antecedents in such movements as Futurism, Dada, Russian Constructivism, and the Bauhaus as well as its peak period in the 1950s, 1960s, and 1970s with such developments as Gutai, Fluxus, Viennese Actionism, Situationism, and Guerrilla Art Action. Major emphasis is also given to sources on 115 individual performance artists and groups. More than 3700 entries document print and media materials dating from 1914 to 1992. Organized for maximum accessibility, the sources are also extensively cross-referenced and are indexed by artist, subject, title, and author. Three appendices identify reference works, libraries, and archives, and addenda material not found in the book text, and two others list artists by country and by group or collective.
• The book demonstrates how a vernacular British performance form emerged as a hybrid of forms from Afro-American and minstrel, as well as French mime and Italian commedia dell’arte roots. • Theatre history is an essential part of theatre and drama courses across the UK and would be recommended reading. • There is no comparable book which makes critical analysis of British pierrot troupes and concert parties in existence – the only ones that do exist on the specific topic are written as reminiscence and anecdote.
This collection provides an in-depth exploration of surtitling for theatre and its potential in enhancing accessibility and creativity in both the production and reception of theatrical performances. The volume collects the latest research on surtitling, which encompasses translating lyrics or sections of dialogue and projecting them on a screen. While most work has focused on opera, this book showcases how it has increasingly played a role in theatre by examining examples from well-known festivals and performances. The 11 chapters underscore how the hybrid nature and complex semiotic modes of theatrical texts, coupled with technological advancements, offer a plurality of possibilities for applying surtitling effectively across different contexts. The book calls attention to the ways in which agents in theatrical spaces need to carefully reflect on the role of surtitling in order to best serve the needs of diverse audiences and produce inclusive productions, from translators considering appropriate strategies to directors working on how to creatively employ it in performance to companies looking into all means available for successful implementation. Offering a space for interdisciplinary dialogues on surtitling in theatre, this book will be of interest to scholars in audiovisual translation, media accessibility, and theatre and performance studies.
Extracts from diaries, memoirs, private letters, obituaries and other rare ephemera are drawn together to build a contemporary account of the acting achievements and personal lives of three inspiring figures from the late nineteenth-century theatre; Herbert Beerbohm Tree, Henry Irving and Ellen Terry.
Robert Lepage/Ex Machina: Revolutions in Theatrical Space provides an ideal introduction to one of our most innovative companies – and a much-needed and timely reappraisal of Lepage's oeuvre. International, interdisciplinary and intercultural to the core, Ex Machina have negotiated some of the most complex creative and cultural challenges of our time. This book maps the story of that journey by analysing the full spectrum of their richly varied work. Through a comprehensive historiography of productions since 1994, Robert Lepage/Ex Machina offers a detailed picture of the relationship between director and company, while connecting Ex Machina to culturally specific features of Québec, and its theatre. This book reveals for the first time how overlooked aspects of creativity and culture shaped the company's early work, while installing a dynamic interplay between director and company that would spark a unique and ongoing evolution of praxis. Central to this re-evaluation of practice is the book's identification of an architectural aesthetic at the heart of Ex Machina's work, an aesthetic which provides its artistic and political centres of gravity. Moreover, this architectural aesthetic powers the emergence of concrete narrative as a new and distinctive mode of theatrical storytelling – uniting story and space, body and technology, content and form – and demanding that we discover the politics of these performances in the energetic gestures of theatre design, and space itself. Drawing on extensive interviews with Lepage, Ex Machina personnel and collaborative partners, Robert Lepage/Ex Machina calls upon us to revise both our creative and critical perceptions of this vital and distinctive practice.
"In Sean O'Casey: Writer at Work Christopher Murray takes a fresh look at the life of the last of the great writers of the Irish literary revival. Re-exploring the Dublin of O'Casey's childhood and the political situation in the Ireland during his early life, Murray sets them against O'Casey's autobiographies in an attempt to establish 'O'Casey's Ireland'. The second half of O'Casey's life was spent mostly outside Ireland and much of his income came from the United States. Murray examines his rise as an international figure and contrasts his later, more socialist, work with his more nationalist early work." "Christopher Murray establishes O'Casey as a self-made man of letters, an irrepressible fighter, a man who combined political courage and innocence, torn between a humanist vision of life rooted in his Dublin childhood and a utopian but blinkered loyalty to the Soviet Union." "Sean O'Casey: Writer at Work reconstructs a life committed to writing as a moral endeavour. While acknowledging that much of O'Casey's work was uneven, flawed, and overambitious, Murray argues that at its best it was infused with a passion and generosity that place it among the best bodies of drama in the twentieth century."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved