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Total Immediate Collective Imminent Terrestrial Salvation (Oberon Modern Plays)
by Tim CrouchJesus didn’t die so we could be reborn, lady, the stars did. The writer leads his followers towards the end of this world and the start of a new one. The book he’s written predicts it all – the equations, the black hole, all the words we’ll speak till then. On this last day, at this last hour, a defector finds her voice and returns. Total Immediate Collective Imminent Terrestrial Salvation is a new play by Tim Crouch (Adler & Gibb, The Author, An Oak Tree, Beginners). It tells the story of a man who, compensating for his own failure, manipulates a group of people to sit in a place together and believe in something that isn’t true.
The Total Work of Art: From Bayreuth to Cyberspace
by Matthew Wilson SmithThe Total Work of Art provides a broad survey that incorporates many canonical artists into a single narrative. With particular attention to the influence of the Total Work of Art on modern theatre and performance, this brief introduction will also be of interest to students in such fields as film studies, music history, history of art, cultural studies, and modern European literatures.
The Total Work of Art: From Bayreuth to Cyberspace
by Matthew Wilson SmithThe Total Work of Art provides a broad survey that incorporates many canonical artists into a single narrative. With particular attention to the influence of the Total Work of Art on modern theatre and performance, this brief introduction will also be of interest to students in such fields as film studies, music history, history of art, cultural studies, and modern European literatures.
Touch and the Masquerades of Nigeria
by David Griffiths D. GriffithsFirst published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Touch and the Masquerades of Nigeria
by David Griffiths D. GriffithsFirst published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Touchstone Tales: Stories of Touch Inspired by the Lives of Lutonians (Modern Plays)
by Sudha BhucharHow important is touch to you? Is there enough touch in the world or are we experiencing collective 'touch hunger' in these troubling times?Touchstone Tales is a unique collection of revealing and illuminating stories of Lutonians, seen through the prism of touch. Originally a Revoluton Arts/Wellcome collection co-commission, it is part of Wellcome's national arts partnership programme and is an artist response to 'The Touch Test', Wellcome's study on the role that touch plays in the lives and well-being of people. Pholi, a Sikh widow in isolation reminisces about Romancing in Bury Park in the 60s and delights in the children of her Polish neighbours. Hamza aka Desi cake lover awaits his Amazon parcels hoping that the arrival of 'rose petals' for his Persian love cake will help him find love in lockdown, The Ninja Sister inspires Sophia out of her shell and gives her the gift of confidence and faith in God, through sparring with the 'sisters' at Pink Diamond martial arts Club and in The Eid Hug, Anwar searches for his father's full embrace, even in middle age. Farid and Manju celebrate their inter-faith friendship through iconic song and stories of lost loves and youth in The Fairy Queen, Nazira shares her buried secret in And the world kept turning, and offers touch through performing the last rites for others, a particularly humbling experience during Covid 19 and Atif in Paisley and Roses helps customers to adorn themselves in silks and shawls and realises that it is his absent mother's touch that he is longing for in her fineries. Written by award-winning author Sudha Bhuchar, the play explores the theme of touch through a collection of fictional self-portrait monologues and a dualogue, directly inspired by creative encounters with mainly the British Muslim South Asian communities in Bury Park, Luton.
Touchstone Tales: Stories of Touch Inspired by the Lives of Lutonians (Modern Plays)
by Sudha BhucharHow important is touch to you? Is there enough touch in the world or are we experiencing collective 'touch hunger' in these troubling times?Touchstone Tales is a unique collection of revealing and illuminating stories of Lutonians, seen through the prism of touch. Originally a Revoluton Arts/Wellcome collection co-commission, it is part of Wellcome's national arts partnership programme and is an artist response to 'The Touch Test', Wellcome's study on the role that touch plays in the lives and well-being of people. Pholi, a Sikh widow in isolation reminisces about Romancing in Bury Park in the 60s and delights in the children of her Polish neighbours. Hamza aka Desi cake lover awaits his Amazon parcels hoping that the arrival of 'rose petals' for his Persian love cake will help him find love in lockdown, The Ninja Sister inspires Sophia out of her shell and gives her the gift of confidence and faith in God, through sparring with the 'sisters' at Pink Diamond martial arts Club and in The Eid Hug, Anwar searches for his father's full embrace, even in middle age. Farid and Manju celebrate their inter-faith friendship through iconic song and stories of lost loves and youth in The Fairy Queen, Nazira shares her buried secret in And the world kept turning, and offers touch through performing the last rites for others, a particularly humbling experience during Covid 19 and Atif in Paisley and Roses helps customers to adorn themselves in silks and shawls and realises that it is his absent mother's touch that he is longing for in her fineries. Written by award-winning author Sudha Bhuchar, the play explores the theme of touch through a collection of fictional self-portrait monologues and a dualogue, directly inspired by creative encounters with mainly the British Muslim South Asian communities in Bury Park, Luton.
Touring Performance and Global Exchange 1850-1960: Making Tracks (Routledge Advances in Theatre & Performance Studies)
by Gilli Bush-BaileyThis collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. This book investigates songlines, drama, opera, music theatre, dance, and circus—removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or not known at all, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Making Tracks takes a fresh look at such tracks—the material remains—demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often been conceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns—ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies and cultural history.
Touring Performance and Global Exchange 1850-1960: Making Tracks (Routledge Advances in Theatre & Performance Studies)
by Kate Flaherty Gilli Bush-BaileyThis collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. This book investigates songlines, drama, opera, music theatre, dance, and circus—removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or not known at all, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Making Tracks takes a fresh look at such tracks—the material remains—demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often been conceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns—ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies and cultural history.
Touring Theatrical Productions: An International Guide
by Dinesh YadavTouring Theatrical Productions: An International Guide is a practical and comprehensive overview of planning, staging and closing international touring productions. This book offers a step-by-step chronological journal of preparing a company for international touring, from applying for international visas to returning home after a tour. It includes discussions of invitations, contracts, scheduling, health and safety, personnel, packing and shipping, certifications, insurance, travel, unions, hotels, ethics and cuisines. Each chapter is filled with guidelines, samples of paperwork and checklists to ensure the smooth running of any international tour. Written by the Production Manager and Technical Director of India’s most travelled show The Manganiyar Seduction with Can & Abel Theatres, this book includes examples, incidents and experiences of performing in over 20 countries with over 200 shows. This how-to guide will benefit Technical Directors and Production Managers of touring productions, as well as students in Production Management, Tour Management, Art Administration and Technical Theater courses.
Touring Theatrical Productions: An International Guide
by Dinesh YadavTouring Theatrical Productions: An International Guide is a practical and comprehensive overview of planning, staging and closing international touring productions. This book offers a step-by-step chronological journal of preparing a company for international touring, from applying for international visas to returning home after a tour. It includes discussions of invitations, contracts, scheduling, health and safety, personnel, packing and shipping, certifications, insurance, travel, unions, hotels, ethics and cuisines. Each chapter is filled with guidelines, samples of paperwork and checklists to ensure the smooth running of any international tour. Written by the Production Manager and Technical Director of India’s most travelled show The Manganiyar Seduction with Can & Abel Theatres, this book includes examples, incidents and experiences of performing in over 20 countries with over 200 shows. This how-to guide will benefit Technical Directors and Production Managers of touring productions, as well as students in Production Management, Tour Management, Art Administration and Technical Theater courses.
Touring Variety in the Asia Pacific Region, 1946–1975 (Transnational Theatre Histories)
by Jonathan BollenAviation extended the horizon of international touring across Asia and the Pacific in the 1950s and 1960s. Nightclubs in Hong Kong, Manila, Melbourne, Singapore, Sydney, Tokyo, and Taipei presented an international array of touring acts. This book investigates how this happened. It explores the post-war formation of the Asia Pacific region through international touring and the transformation of entertainment during the ‘jet age’ of aviation. Drawing on archival research across the region, Bollen investigates how touring variety forged new relations between artists, audiences, and nations. Mapping tours and tracing networks by connecting fragments, he reveals how versatile artists translated repertoire in circulation as they toured, and how entrepreneurial endeavours harnessed the production of national distinction to government agendas. He argues that touring variety on commercial circuits diversified the repertoire in regional circulation, anticipating the diversity emerging in state-sanctioned multiculturalisms, and driving the government-construction of national theatres for cultural diplomacy.
Toward a Future Theatre: Conversations during a Pandemic (Theatre Makers)
by Caridad SvichFeaturing conversations with theatre makers in the US and UK during the first 8 months of the Covid-19 lockdown, this collection reveals the innovations in digital theatre as artists, companies and theatres had to adjust to the restrictions and formulate new ways of working and reaching audiences. Besides documenting in their own words the work that was generated, this book captures the artists' dreams for a new post-Covid reality in which theatre is reimagined and issues of racial and economic injustice are addressed. With conversations grouped under 5 broad areas, a host of theatre makers candidly discuss the present and the future of theatre: * R/evolution: How should theatre evolve rather than re-set? What kind of field could this be, if the arts sector is to survive in the US and UK and if white supremacist, classist, ableist, and patriarchal structures are dismantled, and acts of regeneration and reformation occur? * What does theatre look like at the local and hyper-local level and when working with young people and communities at risk? * What are the challenges of creating work in the digital realm and/or exploring socially distanced performance in new ways? * How may theatre address social inequalities and be a place for acts of political and artistic resistance? How has the pandemic galvanised their commitments to communities, arts advocacy, use of languages on the stage and page, and considerations of the living archive? * Acts of communion with audiences, readers, fellow artists, students, and within ensembles and collectives. How do we find new ways to gather and make when liveness and the shared experience are challenged?
Toward a Future Theatre: Conversations during a Pandemic (Theatre Makers)
by Caridad SvichFeaturing conversations with theatre makers in the US and UK during the first 8 months of the Covid-19 lockdown, this collection reveals the innovations in digital theatre as artists, companies and theatres had to adjust to the restrictions and formulate new ways of working and reaching audiences. Besides documenting in their own words the work that was generated, this book captures the artists' dreams for a new post-Covid reality in which theatre is reimagined and issues of racial and economic injustice are addressed. With conversations grouped under 5 broad areas, a host of theatre makers candidly discuss the present and the future of theatre: * R/evolution: How should theatre evolve rather than re-set? What kind of field could this be, if the arts sector is to survive in the US and UK and if white supremacist, classist, ableist, and patriarchal structures are dismantled, and acts of regeneration and reformation occur? * What does theatre look like at the local and hyper-local level and when working with young people and communities at risk? * What are the challenges of creating work in the digital realm and/or exploring socially distanced performance in new ways? * How may theatre address social inequalities and be a place for acts of political and artistic resistance? How has the pandemic galvanised their commitments to communities, arts advocacy, use of languages on the stage and page, and considerations of the living archive? * Acts of communion with audiences, readers, fellow artists, students, and within ensembles and collectives. How do we find new ways to gather and make when liveness and the shared experience are challenged?
Toward a General Theory of Acting: Cognitive Science and Performance (Cognitive Studies in Literature and Performance)
by J. LutterbieToward a General Theory of Acting explores the actor's art through the lens of Dynamic Systems Theory and recent findings in the Cognitive Sciences. An analysis of different theories of acting in the West from Stanislavski to Lecoq is followed by an in depth discussion of technique, improvisation, and creating a score. In the final chapter, the focus shifts to how these three are interwoven when the actor steps in front of an audience, whether performing realist, non-realist, or postdramatic theatre. Far from using the sciences to reduce acting to a formula, Lutterbie celebrates the mystery of the creative process.
(toward) a phenomenology of acting
by Phillip ZarrilliIn (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a ‘question’ to be explored in the studio and then reflected upon. This book is a vital response to Jerzy Grotowski’s essential question: "How does the actor ‘touch that which is untouchable?’" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances from Beckett to newly co-created performances to realism, it provides an account of how we ‘do’ or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting and to how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting that is ideal for both the training/rehearsal studio and research, (toward) a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice.
(toward) a phenomenology of acting
by Phillip ZarrilliIn (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a ‘question’ to be explored in the studio and then reflected upon. This book is a vital response to Jerzy Grotowski’s essential question: "How does the actor ‘touch that which is untouchable?’" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances from Beckett to newly co-created performances to realism, it provides an account of how we ‘do’ or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting and to how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting that is ideal for both the training/rehearsal studio and research, (toward) a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice.
Toward A Just Pedagogy Of Performance: Historiography, Narrative, And Equity In Dramatic Practice (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
by Charles O’MalleyThis book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.
Toward A Just Pedagogy Of Performance: Historiography, Narrative, And Equity In Dramatic Practice (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.
Towards a Cultural Philology: "Phedre" and the Construction of 'Racine'
by Amy Wygant"Amy Wygant reads Racine's ""Phedre"" (1677) through an analysis of its 17th-century cultural contexts and a consideration of its subsequent reception history. She explores the construction of Racinian language as ""musical"", the poetics of the Racinian gaze, and Racine's labyrinthine eros of memory and forgetting. Reference is made to Lully's operas, the battle between the advocates of colour and the champions of drawing in the Royal Academy of Painting and Sculpture, and Le Notre's centreless garden labyrinth at Versailles. These close textual and contextual studies relate the detail of the tragedy to the conceptual sweep of 17th-century absolutism. Wygant's interdisciplinary study draws on the music history, as well as on emblematics, the history of the formal garden and the arts of memory. Racine's great threnody, the ""recit de Theramene"", is shown as representative of expressions of loss which lie at the root of early modern literature."
Towards a Cultural Philology: "Phedre" and the Construction of 'Racine'
by Amy Wygant"Amy Wygant reads Racine's ""Phedre"" (1677) through an analysis of its 17th-century cultural contexts and a consideration of its subsequent reception history. She explores the construction of Racinian language as ""musical"", the poetics of the Racinian gaze, and Racine's labyrinthine eros of memory and forgetting. Reference is made to Lully's operas, the battle between the advocates of colour and the champions of drawing in the Royal Academy of Painting and Sculpture, and Le Notre's centreless garden labyrinth at Versailles. These close textual and contextual studies relate the detail of the tragedy to the conceptual sweep of 17th-century absolutism. Wygant's interdisciplinary study draws on the music history, as well as on emblematics, the history of the formal garden and the arts of memory. Racine's great threnody, the ""recit de Theramene"", is shown as representative of expressions of loss which lie at the root of early modern literature."
Towards a Theatrical Jurisprudence
by Marett LeiboffThis book brings the insights of theatre theory to law, legal interpretation and the jurisprudential to reshape law as a practice of response and responsibility. Confronting a Baconian antitheatrical legality embedded in its jurisprudences and interpretative practices, Marett Leiboff turns to theatre theory and practice to ground a theatrical jurisprudence, taking its cues from Han-Thies Lehmann’s conception of the post-dramatic theatre and the early work of theatre visionary Jerzy Grotowski. She asks law to move beyond an imagined ideal grounded in Aristotelian drama and tragedy, and turns to the formation of the legal interpreter ・ lawyer, judge, jurisprudent ・ as fundamental to understanding what’s “noticed” or not noticed in law. We “notice” most easily through that which is written into the body of the legal interpreter, in a way that can’t be replicated through law’s standard practices of thinking and reasoning. Without more, thinking and reasoning are the epitome of antitheatricality legality; a set of theatrical antonyms, including transgression and instinct, offer instead a set of possibilities through which to reconceive assumptions and foundational concepts etched into the legal imaginary. And by turning to critical dramaturgy, the book reveals that the liveliness that sits behind theatrical jurisprudence isn’t a new concept in law at all, but has a long pedigree and lineage that had been lost and hidden. Theatrical jurisprudence, which demands an awareness of self and beyond self, grounds a responsiveness that can’t be found within doctrine, principle, or the technocratic, but also challenges us to notice what it is we think we know as well as what we know of lives in law that aren’t our own. The book will be of interest to scholars and students in the field of jurisprudence, legal theory, theatre and performance studies, cultural studies and philosophy.
Towards a Theatrical Jurisprudence
by Marett LeiboffThis book brings the insights of theatre theory to law, legal interpretation and the jurisprudential to reshape law as a practice of response and responsibility. Confronting a Baconian antitheatrical legality embedded in its jurisprudences and interpretative practices, Marett Leiboff turns to theatre theory and practice to ground a theatrical jurisprudence, taking its cues from Han-Thies Lehmann’s conception of the post-dramatic theatre and the early work of theatre visionary Jerzy Grotowski. She asks law to move beyond an imagined ideal grounded in Aristotelian drama and tragedy, and turns to the formation of the legal interpreter ・ lawyer, judge, jurisprudent ・ as fundamental to understanding what’s “noticed” or not noticed in law. We “notice” most easily through that which is written into the body of the legal interpreter, in a way that can’t be replicated through law’s standard practices of thinking and reasoning. Without more, thinking and reasoning are the epitome of antitheatricality legality; a set of theatrical antonyms, including transgression and instinct, offer instead a set of possibilities through which to reconceive assumptions and foundational concepts etched into the legal imaginary. And by turning to critical dramaturgy, the book reveals that the liveliness that sits behind theatrical jurisprudence isn’t a new concept in law at all, but has a long pedigree and lineage that had been lost and hidden. Theatrical jurisprudence, which demands an awareness of self and beyond self, grounds a responsiveness that can’t be found within doctrine, principle, or the technocratic, but also challenges us to notice what it is we think we know as well as what we know of lives in law that aren’t our own. The book will be of interest to scholars and students in the field of jurisprudence, legal theory, theatre and performance studies, cultural studies and philosophy.
Towards a Third Theatre: Eugenio Barba and the Odin Teatret
by Ian WatsonEugenio Barba is one of Europe's leading theatre directors, at the forefront of experimental and group theatre for more than twenty years. Ian Watson provides the most comprehensive and systematic study of Barba's work, including his training methods, dramaturgy, productions and theories, as well as his work at the International School of Theatre Anthropology.