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This volume brings together writings on different aspects of theatre in colonial India-history, popular culture, gender and sexuality, biographies, power struggles, IPTA, and regional theatre.
Recently in the field of theatre studies there has been an increasing amount of debate and dissonance regarding the borders of its territory, its methodologies, subject matter, and scholarly perspectives. The nature of this debate could be termed "political" and, in fact, concerns "the performance of power"—the struggle over power relations embedded in texts, methodologies, and the academy itself. This striking new collection of nineteen divergent essays represents this performance of power and the way in which the recent convergence of new critical theories with historical studies has politicized the study of the theatre. Neither play text, performance, nor scholarship and teaching can safely reside any longer in the "free," politically neutral, self-signifying realm of the aesthetic. Politicizing theatrical discourse means that both the hermeneutics and the histories of theatre reveal the role of ideology and power dynamics. New strategies and concepts—and a vital new phase of awareness—appear in these illuminating essays. A variety of historical periods, from the Renaissance through the Victorian and up to the most contemporary work of the Wooster group, illustrate the ways in which contemporary strategies do not require contemporary texts and performances but can combine with historical methods and subjects to produce new theatrical discourse.
Recently in the field of theatre studies there has been an increasing amount of debate and dissonance regarding the borders of its territory, its methodologies, subject matter, and scholarly perspectives. The nature of this debate could be termed "political" and, in fact, concerns "the performance of power"—the struggle over power relations embedded in texts, methodologies, and the academy itself. This striking new collection of nineteen divergent essays represents this performance of power and the way in which the recent convergence of new critical theories with historical studies has politicized the study of the theatre. Neither play text, performance, nor scholarship and teaching can safely reside any longer in the "free," politically neutral, self-signifying realm of the aesthetic. Politicizing theatrical discourse means that both the hermeneutics and the histories of theatre reveal the role of ideology and power dynamics. New strategies and concepts—and a vital new phase of awareness—appear in these illuminating essays. A variety of historical periods, from the Renaissance through the Victorian and up to the most contemporary work of the Wooster group, illustrate the ways in which contemporary strategies do not require contemporary texts and performances but can combine with historical methods and subjects to produce new theatrical discourse.
I have always been passionate about playing with my four children. Over and over, I have experienced that power that it has on my childrens' lives and the power it has on my life. Of course, the love for your children is strong. However, unless you are careful and intentional, day after day you can be with your children, but not connect with your children. Heighten your awareness to the seven preventers of play that keep you from truly engaging with your chilldren. Then armor yourself with the seven powers of play. Your children will be so happy that you did and so will you! Playing and connecting - our children deserve and need our eyes and our engagement!
Ideas and the presidency flirt with each other, but can they really get along? President Clinton had a romance with big ideas. He intently cultivated intellectuals, seducing them with his characteristic charm and with the promise of real influence on the political stage. Yet most often he disappointed the big thinkers whose advice he sought. Benjamin Barber was first invited to Camp David in 1994, along with other prominent members of the academic community, to participate in a "seminar" with President Clinton on the future of Democratic ideas and ideals. Afterwards, he became a steady informal adviser to the White House. For a politically committed professor like Barber, the opportunity was exhilarating—here was an opportunity to put ideas into action, to link ideas to power. The result was enlightening, if unexpected. The most unpredictable factor was the president himself: a man of astonishing intellectual gifts, a consummate listener and synthesizer of ideas, who nonetheless failed to present a stirring progressive vision or even to craft a memorable speech. With great perceptiveness, wit, and élan, Barber provides a startling meditation on truth and power—and the truth of power, which is the responsibility of the elected not to an idea but to the electorate. He identifies the fault lines that future progressive candidates must straddle if they are to win—and the gift they must have, if they are to be great, of calling forth the best in their fellow citizens. In the end, Barber give us a unique portrait of our compelling and maddening ex-president, and the hopes and disillusionments he represents.
"Elegant, deeply learned, and intellectually adventurous, its implications extend far beyond the boundaries of the Stuart and Caroline masque. It is an indispensable, exploration of political art and aestheticized politics. . . . a classic."--Stephen Greenblatt, University of California, Berkeley "A triumph of scholarship, insight, and explication, Oregel's book is truly a classic in the field of Renaissance studies. Anyone interested in Renaissance culture will find here a masterful analysis of its celebration of royal power."--Coppelia Kahn, Brown University "As knowing of art, theatrical and political history as it is sensitive to poetry, Orgel's book is learned, lively, and beautifully clear."--John Hollander, Yale University "A foundational text for the New Historicist Perspective in English Renaissance literary and cultural studies . . . as informative and suggestive as it was when new; in the clarity and grace of its writing, the breadth and precision of its arguments, the aptness and resonance of its examples, it is unsurpassed as an introduction to the dialectic of theatrical illusion and state authority--of play and power--in the culture of Elizabethan and Stuart England."--Louis Montrose, University of California, San Diego
From the colonial period to independence and into the twenty-first century, Latin American culture has been mapped as a subordinate “other” to Europe and the United States. This collection reconsiders geographical space and power and the ways in which theatrical and performance histories have been constructed throughout the Americas. Essays bridge political, racial, gender, class, and national divides that have traditionally restricted and distorted our understanding of Latin American theatre and performance. Contributors—scholars and artists from throughout the Americas, including well-known playwrights, directors, and performers—imagine how to reposition the Latina/o Americas in ways that offer agency to its multiple peoples, cultures, and histories. In addition, they explore the ways artists can create new maps and methods for their creative visions. Building on hemispheric and transnational models, this book demonstrates the capacity of theatre studies to challenge the up-down/North-South approach that dominates scholarship in the United States and presents a strong case for a repositioning of the Latina/o Americas in theatrical histories and practices.
The psychotherapist and author of Scripts People Live shows readers how to use their personal strengths to achieve what they want. Claude M. Steiner (1935–2017) was a bestselling author and psychotherapist who pioneered the popular field of Transactional Analysis, which involves analysis of an individual’s social interactions as a basis for understanding behavior. First published in 1981 and now back in print, The Other Side of Power is the sequel to Dr. Steiner’s influential Scripts People Live and feels as relevant today as ever. Power—we all want it, we all need it. We feel its effects in our business, family, and personal relationships. In this accessible volume, Dr. Steiner shows how everyone can be powerful without being power-hungry. Instead of chasing the increasingly empty and improbably “conventional American power dream,” as Dr. Steiner puts it, the other side of power—our own personal strengths—can be used to get us what we want. This humane approach is not predicated upon the exploitation or manipulation of others, which leads to power for the few and not the many. In clear terms and with specific examples, the author shows how to draw instead upon individual strengths to neutralize and turn to advantage situations that could otherwise result in feeling of powerlessness. The Other Side of Power teaches us that once we understand the nature of power, we can learn to deal with it more comfortably and use it toward more rewarding personal and professional relationships. Dr. Steiner’s classic in psychological theory offers a meaningful and practical guide to harnessing the other side of power.