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This volume offers a novel approach to the world of adaptations through an intense cross-cultural study. The concept of ‘adaptation’ is extensively discussed here, exploring its meaning and relevance, as well as the various forms it takes. The book investigates what happens when three 20th century European plays, considered as landmark works of the age, are adapted to the Indian context in three different languages; discussing the dynamics and the results of this. It takes us into the minds of the creators – playwrights, adapters, directors, actors, and producers, and ‘others’. The interviews with directors who suffused the western plays with Indian flavor and served them to the local audience also provide valuable insights about theatrical, cultural, and ideological concerns. It also represents an interesting collection of examples and analogies hand-picked from the wide space of literature, theatre, and cinema. It offers a comprehensive base for a thorough understanding of adaptations and the allied multi-disciplinary issues.
Restaging Feminisms offers a re-encounter with the tripartite modelling of liberal, radical, and socialist feminisms foundational to establishing feminist approaches to theatre. This lucid account of past-present connections to the staging of feminism assesses the legacies and renewals of all three feminist dynamics as they intersect with austerity Britain, the Weinstein watershed, and the #MeToo movement. Feminist politics, concepts, and the role of affect in the making of political attachments inform an approach that values understanding feminism’s past as critical to reanimating and restaging socially progressive, feminist futures. The volume includes case studies of productions staged between 2016 and 2019: Caryl Churchill’s Escaped Alone; David Greig’s version of The Suppliant Women; Morgan Lloyd Malcolm’s Emilia; Nina Raine’s Consent; Townsend Theatre’s We Are The Lions Mr Manager; and Laura Wade’s Home, I’m Darling. From an author with a pioneering and thirty-year-long commitment to the study of feminism and British theatre, Restaging Feminisms is for an intergenerational feminist-theatre readership: for those who are discovering relations between feminism and theatre for the first time and those re-encountering the feminist dynamics and their renewed resonance on the contemporary British stage.
Cambridge International AS and A Level Travel and Tourism offers comprehensive coverage with an international perspective and in-depth analysis of all topics. There are free online resources available containing a wide range of international case studies. - See more at: http://education.cambridge.org/eu/subject/business-and-economics/cambridge-international-as-and-a-level-travel-and-tourism#sthash.ShgL36lw.dpuf.
Reconstructing Exhibitions in Art Institutions spans exhibition histories as anti-apartheid activism within South African community arts; collectivities and trade unions in Argentina; Civil Rights movements and Black communities in Baltimore; institutional self-critique within the neoliberal museum; reframing feminisms in USA; and revisiting Cold War Modernisms in Eastern Europe among other themes. An interdisciplinary project with a global reach, this edited volume considers the theme of exhibitions as political resistance as well as cultural critique from global perspectives including South Africa, Latin America, Eastern Europe, USA and West Europe. The book includes contributions by ten authors from the fields of art history, social sciences, anthropology, museum studies, provenance research, curating and exhibition histories. The edited volume finally examines exhibition reconstructions both as a symptom of advanced capitalism, geopolitical dynamics and social uprisings, and as a critique of imperial and capitalist violence. Art historical areas covered in the book include conceptualism, minimalism, modern painting, global modernisms, archives and community arts. This volume will be of interest to a wide range of audiences including art historians, curators, gallery studies and museum professionals, and also to scholars and students from the fields of anthropology, ethnography, sociology, and history. It would also appeal to a general public with an interest in modern and contemporary art exhibitions.
This book presents a wide range of contemporary theories borrowed from Cultural Studies augmented with practical implications that support dramatic artists in their struggle to create possible multiple realities for a postmodern future. Teachers, directors, writers, students, and many others involved in the dramatic arts will benefit from the discussions of Cultural Studies and the connections to the Dramatic Arts. The first chapters mix theory and practice while the last chapter provides questioning strategies and conventions that can be used in actual sessions to deconstruct scripted or improvised dramatic texts. This is a useful introductory text for artists, directors, teachers, students, and others involved in the Dramatic Arts who would like to energize their work through contemporary theories and practices of Cultural Studies.
In Staging and Re- cycling , John Keefe and Knut Ove Arntzen re-visit and reappraise a selection of their work to explore how the retrieval, re-approaching and re-framing of material can offer pathways for new work and new thinking. The book includes a collection of reprinted and first-published (although previously presented) textual material interspersed with editorial material - reflective essays from John and Knut on these pieces from the archives and original essays from invited scholars that explore the theme of repetition and re-cycling. The project has a number of aims: to suggest how the status of 'new' with regard to academic and staged dramaturgical materials may be reframed; to re-examine these through certain lenses and concepts (re-cycling; re-working; the spectator; landscape, post- and other dramaturgies); to explore the possibilities of critique offered by particular modes of juxtaposition, dialogue and dialectic; to offer further provocations to received ideas; and to retrieve and re-approach material, once published or presented, that becomes 'lost' in archives or on library shelves. As shown here, the role of the hyphen acts as an indicator to the status of 're-' in relation to the 'new'. Written for scholars and academics, researchers, undergraduate and postgraduate students, and practitioners working in all forms for theatre and performance, Staging and Re-cycling suggests a new form of dialogue between work, authors and readers, and draws out threads that extend back into the past and potentially forward into the future.
Visitor participation is a hot topic in the contemporary world of museums, art galleries, science centers, libraries and cultural organizations. How can your institution do it and do it well? The Participatory Museum is a practical guide to working with community members and visitors to make cultural institutions more dynamic, relevant, essential places. Museum consultant and exhibit designer Nina Simon weaves together innovative design techniques and case studies to make a powerful case for participatory practice. "Nina Simon's new book is essential for museum directors interested in experimenting with audience participation on the one hand and cautious about upending the tradition museum model on the other. In concentrating on the practical, this book makes implementation possible in most museums. More importantly, in describing the philosophy and rationale behind participatory activity, it makes clear that action does not always require new technology or machinery. Museums need to change, are changing, and will change further in the future. This book is a helpful and thoughtful road map for speeding such transformation." -Elaine Heumann Gurian, international museum consultant and author of Civilizing the Museum "This book is an extraordinary resource. Nina has assembled the collective wisdom of the field, and has given it her own brilliant spin. She shows us all how to walk the talk. Her book will make you want to go right out and start experimenting with participatory projects." -Kathleen McLean, participatory museum designer and author of Planning for People in Museum Exhibitions "I predict that in the future this book will be a classic work of museology." --Elizabeth Merritt, founding director of the Center for the Future of Museums
Revisiting a Progressive Pedagogy reviews the history of the developmental-interactive approach, a formulation rooted in developmental psychology and educational practice, progressively informing educational thinking since the early-twentieth century. This conceptualization is identified with—but not restricted to—Bank Street College of Education. Examining the origins and evolution of the approach, the contributors assess its continued heuristic and practical value for classroom practice and teacher education in light of new ideas in social science and education, and indicate new directions. The book describes and analyzes key assumptions, and assesses the compatibility of new theoretical approaches, focuses on historical precedents and current adaptations in classroom practice, and examines teacher education, giving close attention to the personal and professional development of teachers. Contributors include Edna K. Shapiro, Nancy Nager, Margery B. Franklin, Laura M. W. Martin, Linda Levine, Salvatore Vascellaro, Lucy Sprague Mitchell, Edith Gwathmey, Ann-Marie Mott, Nina Jaffe, Carol Lippman, Eva G. Haberman, Frank Pignatelli, Helen Freidus, Jonathan Silin, and Eileen Wasow.
This book makes a significant contribution to interdisciplinary engagements between Theatre Studies and Cultural Geography in its analysis of how theatre articulates transnational geographies of Asian culture and identity. Deploying a geographical approach to transnational culture, Rogers analyses the cross-border relationships that exist within and between Asian American, British East Asian, and South East Asian theatres, investigating the effect of transnationalism on the construction of identity, the development of creative praxis, and the reception of works in different social fields. This book therefore examines how practitioners engage with one another across borders, and details the cross-cultural performances, creative opportunities, and political alliances that result. By viewing ethnic minority theatres as part of global — rather than simply national — cultural fields, Rogers argues that transnational relationships take multiple forms and have varying impetuses that cannot always be equated to diasporic longing for a homeland or as strategically motivated for economic gain. This argument is developed through a series of chapters that examine how different transnational spatialities are produced and re-worked through the practice of theatre making, drawing upon an analysis of rehearsals, performances, festivals, and semi-structured interviews with practitioners. The book extends existing discussions of performance and globalization, particularly through its focus on the multiplicity of transnational spatiality and the networks between English-language Asian theatres. Its analysis of spatially extensive relations also contributes to an emerging body of research on creative geographies by situating theatrical praxis in relation to cross-border flows. Performing Asian Transnationalisms demonstrates how performances reflect and rework conventional transnational geographies in imaginative and innovative ways.