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Theory for Theatre Studies: Movement (Theory for Theatre Studies)
by Rachel FenshamHow do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance concept. These include analysis of Satoshi Miyagi's production of Sophocles' Antigone (2017), Thomas Ostermeier's production of Ibsen's Hedda Gabler (2008), the Berliner Ensemble's Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatre's production of War Horse (2007). The final section considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States, and United Kingdom. The volume is supported by further online resources including video material, questions, and exercises.
Theory for Theatre Studies: Movement (Theory for Theatre Studies)
by Rachel FenshamHow do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance concept. These include analysis of Satoshi Miyagi's production of Sophocles' Antigone (2017), Thomas Ostermeier's production of Ibsen's Hedda Gabler (2008), the Berliner Ensemble's Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatre's production of War Horse (2007). The final section considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States, and United Kingdom. The volume is supported by further online resources including video material, questions, and exercises.
Theory for Theatre Studies: Sound (Theory for Theatre Studies)
by Susan BennettSound provides a lively and engaging overview of relevant critical theory for students and researchers in theatre and performance studies. Addressing sound across history and through progressive developments in relevant technologies, the volume opens up the study of theatrical production and live performance to understand conceptual and pragmatic concerns about the sonic. By way of developed case studies (including Aristophanes's The Frogs, Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini Protokoll's Situation Rooms), readers can explore new methodologies and approaches for their own work on sound as a performance component. In an engagement with the burgeoning interdisciplinary field of sound studies, this book samples exciting new thinking relevant to theatre and performance studies.Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Sound provides a balance of essential background information and new scholarship, and is grounded in detailed examples that illuminate and equip readers for their own sonic explorations. Volumes follow a consistent three-part structure: a historical overview of how the term has been understood within the discipline; more recent developments illustrated by substantive case studies; and emergent trends and interdisciplinary connections. Volumes are supported by further online resources including chapter overviews, illustrative material and guiding questions. Online resources to accompany this book are available at:https://bloomsbury.com/uk/theory-for-theatre-studies-sound-9781474246460/
Theory for Theatre Studies: Sound (Theory for Theatre Studies)
by Susan BennettSound provides a lively and engaging overview of relevant critical theory for students and researchers in theatre and performance studies. Addressing sound across history and through progressive developments in relevant technologies, the volume opens up the study of theatrical production and live performance to understand conceptual and pragmatic concerns about the sonic. By way of developed case studies (including Aristophanes's The Frogs, Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini Protokoll's Situation Rooms), readers can explore new methodologies and approaches for their own work on sound as a performance component. In an engagement with the burgeoning interdisciplinary field of sound studies, this book samples exciting new thinking relevant to theatre and performance studies.Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Sound provides a balance of essential background information and new scholarship, and is grounded in detailed examples that illuminate and equip readers for their own sonic explorations. Volumes follow a consistent three-part structure: a historical overview of how the term has been understood within the discipline; more recent developments illustrated by substantive case studies; and emergent trends and interdisciplinary connections. Volumes are supported by further online resources including chapter overviews, illustrative material and guiding questions. Online resources to accompany this book are available at:https://bloomsbury.com/uk/theory-for-theatre-studies-sound-9781474246460/
Theory for Theatre Studies: Space (Theory for Theatre Studies)
by Susan Bennett Kim SolgaSpace: it's everywhere, all around, a given. It's abstract and yet not abstract at all, because it governs all human relations, shapes the way we understand our place on the planet, and orients us toward others (for better and for worse). How do theatre scholars understand space and place in performance? What tools do they use to theorize the political work space does on – and beyond – the stage? How can students use these tools to unpack the workings of space and place in the performances they see, the plays they study, and the experiences they have outside their classrooms?Theory for Theatre Studies: Space provides a comprehensive introduction to the 'spatial turn' in modern theatre and performance theory, exploring topics as diverse as embodied space, environmental performance politics and urban performance studies. The book is written in accessible prose and features in-depth case studies of Platform's audio walk And While London Burns, Katie Mitchell's Fraülein Julie, Young Jean Lee's The Shipment, and Evalyn Parry and Laakkuluk Williamson Bathory's Kiinalik: These Sharp Tools. TfTS: Space begins with fresh readings of historical dramatic theory, discusses twentieth-century theoretical trends at length, and ends by asking what it will take (and what work is already underway) to decolonize the Western, settler-colonial stage.Online resources to accompany this book are available at:www.bloomsbury.com/uk/theory-for-theatre-studies-space-9781350006072/
Theory for Theatre Studies: Space (Theory for Theatre Studies)
by Kim Solga Susan BennettSpace: it's everywhere, all around, a given. It's abstract and yet not abstract at all, because it governs all human relations, shapes the way we understand our place on the planet, and orients us toward others (for better and for worse). How do theatre scholars understand space and place in performance? What tools do they use to theorize the political work space does on – and beyond – the stage? How can students use these tools to unpack the workings of space and place in the performances they see, the plays they study, and the experiences they have outside their classrooms?Theory for Theatre Studies: Space provides a comprehensive introduction to the 'spatial turn' in modern theatre and performance theory, exploring topics as diverse as embodied space, environmental performance politics and urban performance studies. The book is written in accessible prose and features in-depth case studies of Platform's audio walk And While London Burns, Katie Mitchell's Fraülein Julie, Young Jean Lee's The Shipment, and Evalyn Parry and Laakkuluk Williamson Bathory's Kiinalik: These Sharp Tools. TfTS: Space begins with fresh readings of historical dramatic theory, discusses twentieth-century theoretical trends at length, and ends by asking what it will take (and what work is already underway) to decolonize the Western, settler-colonial stage.Online resources to accompany this book are available at:www.bloomsbury.com/uk/theory-for-theatre-studies-space-9781350006072/
A Theory of Dramaturgy
by Janek SzatkowskiA Theory of Dramaturgy is the first text of its kind to define concepts and combine arguments into a coherent dramaturgical theory supported by an operative systems theory. This is a wide-ranging theory with historical and contemporary perspectives on dramaturgy, rather than simply a how-to book. Dramaturgy began in ancient Greece, born from experimentation with democracy and commentary in the theatre on the human condition. The term itself has seen constant evolution, but thanks to its introduction into common English usage within the last three decades, it has gained new importance. Dramaturgy draws focus to the communication of communication, and in theatre it examines how moving bodies, voice, sound, and light can tell a story and affect values. Beyond the theatre, in daily life, dramaturgy becomes a question of "performativity", as we constantly have to act in relation to the roles that we occupy. It is because of this that the way in which society describes itself to itself is not just a matter for scientists and theorists, but for all of those who are met on a daily basis with devised, staged, and directed versions of important values and events in our contemporary lives. Ideal for both scholars and students, A Theory of Dramaturgy explains how to approach the values, strategies, and theories that are essential to understanding arts and media, and investigates what art should do in the current world.
A Theory of Dramaturgy
by Janek SzatkowskiA Theory of Dramaturgy is the first text of its kind to define concepts and combine arguments into a coherent dramaturgical theory supported by an operative systems theory. This is a wide-ranging theory with historical and contemporary perspectives on dramaturgy, rather than simply a how-to book. Dramaturgy began in ancient Greece, born from experimentation with democracy and commentary in the theatre on the human condition. The term itself has seen constant evolution, but thanks to its introduction into common English usage within the last three decades, it has gained new importance. Dramaturgy draws focus to the communication of communication, and in theatre it examines how moving bodies, voice, sound, and light can tell a story and affect values. Beyond the theatre, in daily life, dramaturgy becomes a question of "performativity", as we constantly have to act in relation to the roles that we occupy. It is because of this that the way in which society describes itself to itself is not just a matter for scientists and theorists, but for all of those who are met on a daily basis with devised, staged, and directed versions of important values and events in our contemporary lives. Ideal for both scholars and students, A Theory of Dramaturgy explains how to approach the values, strategies, and theories that are essential to understanding arts and media, and investigates what art should do in the current world.
The Theory of the Modern Stage: An Introduction To Modern Theatre And Drama (Penguin Modern Classics)
by Eric BentleyIn The Theory of the Modern Stage, leading drama critic, Eric Bentley, brings together landmark writings by dramatists, directors and thinkers who have had a profound effect on the theatre since the mid nineteenth century, from Adolphe Appia to Émile Zola. Here, Antonin Artaud sets out a manifesto for a Theatre of Cruelty, Bertolt Brecht discusses the tension between entertainment and instruction in experimental drama and Bernard Shaw defends himself as a realist, while W. B. Yeats describes the creation of a People’s Theatre. The ideas of theatre’s great makers are revealed by their best expositors, as Eric Bentley writes about Stanislavsky belief in the importance of emotional memory when creating a dramatic role and Arthur Symons considers Richard Wagner and the relationship between genius, art and nature.
Theory/Theatre: An Introduction
by Mark FortierTheory/Theatreis a unique and highly engaging introduction to literary theory as it relates to theatre and performance. It is a brilliantly clear and readable examination of current theoretical approaches, from semiotics and poststructuralism, through cultural materialism, postcolonial studies and feminist theory. In this, the third and fully revised edition of this now classic text, Mark Fortier particularly expands and updates the sections on: queer theory postmarxist theory technology and virtuality post-colonialism and race Also including completely new writing on cognitive science, fast becoming a cornerstone of theatre and performance theory, this revised edition is an indispensable addition to every theatre student's collection. 9781317450405 9781138902039 9781317450412 9781317450399 9781317450405 9781315697628
Theory/Theatre: An Introduction (PDF)
by Mark FortierTheory/Theatreis a unique and highly engaging introduction to literary theory as it relates to theatre and performance. It is a brilliantly clear and readable examination of current theoretical approaches, from semiotics and poststructuralism, through cultural materialism, postcolonial studies and feminist theory. In this, the third and fully revised edition of this now classic text, Mark Fortier particularly expands and updates the sections on: queer theory postmarxist theory technology and virtuality post-colonialism and race Also including completely new writing on cognitive science, fast becoming a cornerstone of theatre and performance theory, this revised edition is an indispensable addition to every theatre student's collection. 9781317450405 9781138902039 9781317450412 9781317450399 9781317450405 9781315697628
Theory/Theatre: An Introduction
by Mark FortierTheory/Theatre: An Introduction provides a unique and engaging introduction to literary theory as it relates to theatre and performance. Mark Fortier lucidly examines current theoretical approaches, from semiotics, poststructuralism, to cultural materialism, postcolonial studies and feminist theory. Drawing upon examples from Shakespeare and Aphra Behn, to Chekhov, Artaud, Cixous and Churchill, the author examines the specific realities of theatre in order to come to a richer understanding of the relations between performance and cultural theory. Theory/Theatre: An Introduction is the only study of its kind and will be invaluable reading for new students and scholars of performance studies.
Theory/Theatre: An Introduction
by Mark FortierTheory/Theatre is a unique and highly engaging introduction to literary theory as it relates to theatre and performance. It is a brilliantly clear and readable examination of current theoretical approaches, from semiotics and poststructuralism, through cultural materialism, postcolonial studies and feminist theory. In this, the third and fully revised edition of this now classic text, Mark Fortier particularly expands and updates the sections on: queer theory postmarxist theory technology and virtuality post-colonialism and race Also including completely new writing on cognitive science, fast becoming a cornerstone of theatre and performance theory, this revised edition is an indispensable addition to every theatre student’s collection.
Theory/Theatre: An Introduction
by Mark FortierTheory/Theatre: An Introduction provides a unique and engaging introduction to literary theory as it relates to theatre and performance. Mark Fortier lucidly examines current theoretical approaches, from semiotics, poststructuralism, to cultural materialism, postcolonial studies and feminist theory. Drawing upon examples from Shakespeare and Aphra Behn, to Chekhov, Artaud, Cixous and Churchill, the author examines the specific realities of theatre in order to come to a richer understanding of the relations between performance and cultural theory. Theory/Theatre: An Introduction is the only study of its kind and will be invaluable reading for new students and scholars of performance studies.
Theory/Theatre: An Introduction
by Mark FortierTheory/Theatre is a unique and highly engaging introduction to literary theory as it relates to theatre and performance. It is a brilliantly clear and readable examination of current theoretical approaches, from semiotics and poststructuralism, through cultural materialism, postcolonial studies and feminist theory. In this, the third and fully revised edition of this now classic text, Mark Fortier particularly expands and updates the sections on: queer theory postmarxist theory technology and virtuality post-colonialism and race Also including completely new writing on cognitive science, fast becoming a cornerstone of theatre and performance theory, this revised edition is an indispensable addition to every theatre student’s collection.
There Came a Gypsy Riding
by Frank McGuinnessThe McKenna family convenes at their remote West Ireland holiday home to mark the 21st birthday of their late son Gene. Eccentric cousin Bridget appears along the causeway, inviting herself for birthday cake and conversation, and ready to expose a family secret. Even Margaret, the unstoppable mother, and Leo, the ever-calm father, can't hold things together in the face of an unexpected visit from the past.There Came a Gypsy Riding premiered at the Almeida Theatre, London, in January 2007.
There Has Possibly Been An Incident (Oberon Modern Plays)
by Chris ThorpeWhen life offers you a choice between heroism and compromise - what happens? Sometimes planes don’t land the way they’re supposed to. The people of a country have had enough of their leaders, but those leaders have to be replaced with something. A person steps out of a crowd and, for a moment, becomes more than human. A man walks into the lobby of a building and brings death with him to prove his point.There Has Possibly Been An Incident is the new play from award winning British playwright & performer, Chris Thorpe.
There is a Field (Oberon Modern Plays)
by Martin AskewMark’s mother wants him to bury his father and it’s up to Saleh to find him and bring him home for a proper East End send off. Only Mark is no longer Mark, he’s Abdullah. There is A Field is a London story of faith, death and family strife reshaped by local crises and global events. Synergy Theatre Project creates groundbreaking work across theatre and the justice system. They began working with Martin after his release from prison, commissioning There is a Field as his debut, full length play. Synergy is continuing their long running partnership with Theatre503 with their first major four week production. "Why you all looking at me like that? Eh? You never seen a real Muslim before? Is it cos I’m white?"
There Is A Room: Three Plays By Third Angel (Oberon Modern Plays)
by Third AngelThere Is A Room brings together three works by Third Angel: Where From Here, Presumption and What I Heard About the World. Taken chronologically, these shows turn their attention outward, from the intensity of personal relationships and our domestic lives, to the overwhelming number of stories and events taking place in the world beyond.
There's A Leak!
by Ben HalesA title in the 'Dramascripts' series, 'There's a Leak ' touches on important issues such as responsible citizenship and environmentalism. Moreover, it is a creative piece of dramatic writing that illustrates how satire and metaphor can be employed to entertain while making a strong statement.
Therese Raquin: A Realistic Novel (classic Reprint) (Oberon Classics)
by Emile Zola Pip BroughtonEmile Zola’s own stage adaptation of his taut, psychological thriller. An intense story of adultery, murder and revenge, streaked with social satire.
Thérèse Raquin: Large Print (Oberon Classics)
by Émile Zola Nona ShepphardA story of paralysing passion Late 19th century, Paris. In a small dusty haberdasher’s shop near the Seine in the dank, narrow Passage du Pont Neuf, the young and beautiful Thérèse Raquin is trapped in a loveless marriage to her sickly cousin, Camille. While her husband is out all day working, Thérèse is confined behind the counter of the small shop and – every Thursday evening – to watching her domineering aunt, Madame Raquin, play dominoes with a very odd assortment of old friends. One Thursday evening Camille brings a childhood friend to the party – the bluff and attractive Laurent – and he inspires such powerful feelings in Thérèse that she surrenders all her inhibitions and loyalties to a brutal and overwhelming passion that overturns all their lives and has results no one could have foreseen… In keeping with the innovative and challenging nature of the original work, this radical new adaptation uses music, lyrics and movement to heighten and distil the underlying themes; and a three-woman chorus to give voice to Thérèse’s secret fears and desires.
The Wonderful Wizard of Oz (Oberon Plays for Young People)
by Caroline BirdAn angry orphan escapes a grey town on the back of a hurricane. She lands in a mysterious country of tiny people and wicked witches, where the trees carry bazookas, the crows recite slam poetry, and a mouse can blow your head off. In just one day, this little girl revolutionizes an entire nation. She brings freedom, and colour. Her name is DOROTHY.
They Drink It in the Congo
by Adam BraceEastern Congo. Home to the deadliest conflict since World War II. London. Home to a festival to raise awareness of Congo. That is if Stef can get it off the ground.Adam Brace's anarchic and provocative play unpacks the problems of doing something good about something bad. And who gets to do it. They Drink It in the Congo premiered at the Almeida Theatre, London, in August 2016.
They Have Oak Trees in North Carolina (Oberon Modern Plays)
by Sarah Wooley1985; Ray and Eileen’s five year old son vanishes.22 years later a good looking American arrives in their small English village claiming to be their boy. Can this man really be their missing child or is he an impostor? And what long buried secrets will have to be revealed in order to prove his true identity? “Police said it happened all the time. What was so special about us? What was so special about you? I said, he’s my son, that makes him special. They said, could you get a cuter photo?” They Have Oak Trees in North Carolina ran at the Tristan Bates Theatre at the Actors' Centre in 2007, in a co-production with Theatre503.