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Theaters of Desire: Authors, Readers, and the Reproduction of Early Chinese Song-Drama, 1300–2000

Blending a flair for textual nuance with theoretical engagement, Theaters of Desire not only contributes to our understanding of the most influential form of early Chinese song-drama in local and international cultural contexts, but adds a Chinese perspective to the scholarship on print culture, authorship, and the regulatory discourses of desire. The book argues that, particularly between 1550 and 1680, Chinese elite editors rewrote and printed early plays and songs, so-called Yuan-dynasty zaju and sanqu , to imagine and embody new concepts of authorship, readership and desire, an interpretation that contrasts starkly with the national and racially-oriented reception of song-drama developed by European critics after 1735 and subsequently modified by Japanese and Chinese critics after 1897. By analyzing the critical and material facets of the early song and play tradition across different historical periods and cultural settings, Theaters of Desire presents a compelling case study of literary canon formation.

Theaters of Error: Problems of Performance in German and French Enlightenment Theater (Palgrave Studies in Theatre and Performance History)

This book offers provocative readings of canonical Enlightenment dramas that reflect and shape the period’s changing understanding of error. With striking interdisciplinary connections to theater treatises as well as works from the philosophical, legal, and medical discourses, it tracks the relocation of error from the moral to the physical realm, a movement that begins with Lessing and continues through the turn of the nineteenth century.Featuring detailed analyses of Lessing’s Miß Sara Sampson, Diderot’s Le Fils naturel, Schiller’s Die Räuber, and Kleist’s Die Familie Schroffenstein alongside rich close readings of diverse primary sources, ranging from previously untranslated acting treatises by Sainte-Albine and Engel to texts from the German Archiv des Criminalrechts, this study introduces the reader to new Enlightenment sources and compellingly concludes that ultimately it is no longer evil, but rather bodily irregularities and mistakes in reading the body that become the driving principle of Enlightenment drama.

Theaters of Error: Problems of Performance in German and French Enlightenment Theater (Palgrave Studies in Theatre and Performance History)

This book offers provocative readings of canonical Enlightenment dramas that reflect and shape the period’s changing understanding of error. With striking interdisciplinary connections to theater treatises as well as works from the philosophical, legal, and medical discourses, it tracks the relocation of error from the moral to the physical realm, a movement that begins with Lessing and continues through the turn of the nineteenth century.Featuring detailed analyses of Lessing’s Miß Sara Sampson, Diderot’s Le Fils naturel, Schiller’s Die Räuber, and Kleist’s Die Familie Schroffenstein alongside rich close readings of diverse primary sources, ranging from previously untranslated acting treatises by Sainte-Albine and Engel to texts from the German Archiv des Criminalrechts, this study introduces the reader to new Enlightenment sources and compellingly concludes that ultimately it is no longer evil, but rather bodily irregularities and mistakes in reading the body that become the driving principle of Enlightenment drama.

Theaters of Justice: Judging, Staging, and Working Through in Arendt, Brecht, and Delbo (Cultural Memory in the Present #440)

What role do legal trials have in collective processes of coming to terms with a history of mass violence? How does the theatrical structure of a criminal trial facilitate and limit national processes of healing and learning from the past? This study begins with the widely publicized, historic trials of three Nazi war criminals, Eichmann, Barbie, and Priebke, whose explicit goal was not only to punish, but also to establish an officially sanctioned version of the past. The Truth and Reconciliation commissions in South America and South Africa added a therapeutic goal, acting on the belief that a trial can help bring about a moment of closure. Horsman challenges this belief by reading works that reflect on the relations among pedagogy, therapy, and legal trials. Philosopher Hannah Arendt, poet Charlotte Delbo, and dramaturg Bertolt Brecht all produced responses to historic trials that reopened the cases those trials sought to close, bringing to center stage aspects that had escaped the confines of their legal frameworks.

Theaters of Madness: Insane Asylums and Nineteenth-Century American Culture

In the mid-1800s, a utopian movement to rehabilitate the insane resulted in a wave of publicly funded asylums—many of which became unexpected centers of cultural activity. Housed in magnificent structures with lush grounds, patients participated in theatrical programs, debating societies, literary journals, schools, and religious services. Theaters of Madness explores both the culture these rich offerings fomented and the asylum’s place in the fabric of nineteenth-century life, reanimating a time when the treatment of the insane was a central topic in debates over democracy, freedom, and modernity. Benjamin Reiss explores the creative lives of patients and the cultural demands of their doctors. Their frequently clashing views turned practically all of American culture—from blackface minstrel shows to the works of William Shakespeare—into a battlefield in the war on insanity. Reiss also shows how asylums touched the lives and shaped the writing of key figures, such as Emerson and Poe, who viewed the system alternately as the fulfillment of a democratic ideal and as a kind of medical enslavement. Without neglecting this troubling contradiction, Theaters of Madness prompts us to reflect on what our society can learn from a generation that urgently and creatively tried to solve the problem of mental illness.

Theaters of Madness: Insane Asylums and Nineteenth-Century American Culture

In the mid-1800s, a utopian movement to rehabilitate the insane resulted in a wave of publicly funded asylums—many of which became unexpected centers of cultural activity. Housed in magnificent structures with lush grounds, patients participated in theatrical programs, debating societies, literary journals, schools, and religious services. Theaters of Madness explores both the culture these rich offerings fomented and the asylum’s place in the fabric of nineteenth-century life, reanimating a time when the treatment of the insane was a central topic in debates over democracy, freedom, and modernity. Benjamin Reiss explores the creative lives of patients and the cultural demands of their doctors. Their frequently clashing views turned practically all of American culture—from blackface minstrel shows to the works of William Shakespeare—into a battlefield in the war on insanity. Reiss also shows how asylums touched the lives and shaped the writing of key figures, such as Emerson and Poe, who viewed the system alternately as the fulfillment of a democratic ideal and as a kind of medical enslavement. Without neglecting this troubling contradiction, Theaters of Madness prompts us to reflect on what our society can learn from a generation that urgently and creatively tried to solve the problem of mental illness.

Theaters of Madness: Insane Asylums and Nineteenth-Century American Culture

In the mid-1800s, a utopian movement to rehabilitate the insane resulted in a wave of publicly funded asylums—many of which became unexpected centers of cultural activity. Housed in magnificent structures with lush grounds, patients participated in theatrical programs, debating societies, literary journals, schools, and religious services. Theaters of Madness explores both the culture these rich offerings fomented and the asylum’s place in the fabric of nineteenth-century life, reanimating a time when the treatment of the insane was a central topic in debates over democracy, freedom, and modernity. Benjamin Reiss explores the creative lives of patients and the cultural demands of their doctors. Their frequently clashing views turned practically all of American culture—from blackface minstrel shows to the works of William Shakespeare—into a battlefield in the war on insanity. Reiss also shows how asylums touched the lives and shaped the writing of key figures, such as Emerson and Poe, who viewed the system alternately as the fulfillment of a democratic ideal and as a kind of medical enslavement. Without neglecting this troubling contradiction, Theaters of Madness prompts us to reflect on what our society can learn from a generation that urgently and creatively tried to solve the problem of mental illness.

Theaters of Pardoning (Corpus Juris: The Humanities in Politics and Law)

From Gerald Ford's preemptive pardon of Richard Nixon and Donald Trump's claims that as president he could pardon himself to the posthumous royal pardon of Alan Turing, the power of the pardon has a powerful hold on the political and cultural imagination. In Theaters of Pardoning, Bernadette Meyler traces the roots of contemporary understandings of pardoning to tragicomic "theaters of pardoning" in the drama and politics of seventeenth-century England. Shifts in how pardoning was represented on the stage and discussed in political tracts and in Parliament reflected the transition from a more monarchical and judgment-focused form of the concept to an increasingly parliamentary and legislative vision of sovereignty.Meyler shows that on the English stage, individual pardons of revenge subtly transformed into more sweeping pardons of revolution, from Shakespeare's Measure for Measure, where a series of final pardons interrupts what might otherwise have been a cycle of revenge, to later works like John Ford's The Laws of Candy and Philip Massinger's The Bondman, in which the exercise of mercy prevents the overturn of the state itself. In the political arena, the pardon as a right of kingship evolved into a legal concept, culminating in the idea of a general amnesty, the "Act of Oblivion," for actions taken during the English Civil War. Reconceiving pardoning as law-giving effectively displaced sovereignty from king to legislature, a shift that continues to attract suspicion about the exercise of pardoning. Only by breaking the connection between pardoning and sovereignty that was cemented in seventeenth-century England, Meyler concludes, can we reinvigorate the pardon as a democratic practice.

Theatralität digitaler Medien: Eine wissenssoziologische Betrachtung medialisierten Alltagshandelns

Theatralität und die Krisen der Repräsentation: DFG-Symposion 1999 (Germanistische Symposien)

Sowohl das 17. als auch das 20. Jahrhundert sind in der abendländischen Kultur von einer tiefgehenden Krise der Repräsentation geprägt. In beiden Epochen fungiert(e) Theater als eine Art kulturelles Modell, worauf einerseits der Topos vom Theatrum mundi hinweist und andererseits eine exzessive Verwendung von Theaterbegrifflichkeit in sämtlichen kulturellen Bereichen und in den Kulturwissenschaften. Damit erhebt sich die Frage, wie Theater jeweils auf die Krise der Repräsentation bezogen war und ist, und ob sich der von der Theaterwissenschaft erarbeitete Begriff der Theatralität für ihre Bearbeitung fruchtbar machen lässt. Die Beiträge des Bandes orientieren sich an den vier Aspekten, die für die einschlägigen Theorien der Theatralität konstitutiv sind: Performance/Aufführung, Inszenierung, Körperlichkeit und Wahrnehmung.

Theatre Across Borders (Theatre Makers)

Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance?How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey?Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner?Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico.Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores:- how different cultures conceive theatre and how the norm of one place is the experiment of another;- the ways in which theatre across the world mirrors its socio political and philosophical climate;- how, for thousands of years, theatre has been a tool to both disrupt and to heal;- and how, even within the many differences, there are universals from which we can all learn and how theatre does cross bordersOf interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.

Theatre Across Borders (Theatre Makers)

Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance?How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey?Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner?Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico.Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores:- how different cultures conceive theatre and how the norm of one place is the experiment of another;- the ways in which theatre across the world mirrors its socio political and philosophical climate;- how, for thousands of years, theatre has been a tool to both disrupt and to heal;- and how, even within the many differences, there are universals from which we can all learn and how theatre does cross bordersOf interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.

Theatre and Archival Memory: Irish Drama and Marginalised Histories 1951-1977

This book presents new insights into the production and reception of Irish drama, its internationalisation and political influences, within a pivotal period of Irish cultural and social change. From the 1950s onwards, Irish theatre engaged audiences within new theatrical forms at venues from the Pike Theatre, the Project Arts Centre, and the Gate Theatre, as well as at Ireland’s national theatre, the Abbey. Drawing on newly released and digitised archival records, this book argues for an inclusive historiography reflective of the formative impacts upon modern Irish theatre as recorded within marginalised performance histories. This study examines these works' experimental dramaturgical impacts in terms of production, reception, and archival legacies. The book, framed by the device of ‘archival memory’, serves as a means for scholars and theatre-makers to inter-contextualise existing historiography and to challenge canon formation. It also presents a new social history of Irish theatre told from the fringes of history and reanimated through archival memory.

Theatre and Celebrity in Britain 1660-2000

Theatre has always been a site for selling outrage and sensation, a place where public reputations are made and destroyed in spectacular ways. This is the first book to investigate the construction and production of celebrity in the British theatre. These exciting essays explore aspects of fame, notoriety and transgression in a wide range of performers and playwrights including David Garrick, Oscar Wilde, Ellen Terry, Laurence Olivier and Sarah Kane. This pioneering volume examines the ingenious ways in which these stars have negotiated their own fame. The essays also analyze the complex relationships between discourses of celebrity and questions of gender, spectatorship and the operation of cultural markets.

Theatre and Culture in Early Modern England, 1650-1737: From Leviathan to Licensing Act

Framed by the publication of Leviathan and the 1713 Licensing Act, this collection provides analysis of both canonical and non-canonical texts within the scope of an eighty-year period of theatre history, allowing for definition and assessment that uncouples Restoration drama from eighteenth-century drama. Individual essays demonstrate the significant contrasts between the theatre of different decades and the context of performance, paying special attention to the literary innovation and socio-political changes that contributed to the evolution of drama. Exploring the developments in both tragedy and comedy, and in literary production, specific topics include the playwright's relationship to the monarch, women writers' connection to the audience, the changing market for plays, and the rise of the bourgeoisie. This collection also examines aspects of gender and class through the exploration of women's impact on performance and production, masculinity and libertinism, master/servant relationships, and dramatic representations of the coffee house. Accompanied by a list of Spanish-English plays and a chronology of monarch's reigns and significant changes in theatre history, From Leviathan to Licensing Act is a valuable tool for scholars of Restoration and eighteenth-century performance, providing groundwork for future research and investigation.

Theatre and Culture in Early Modern England, 1650-1737: From Leviathan to Licensing Act

Framed by the publication of Leviathan and the 1713 Licensing Act, this collection provides analysis of both canonical and non-canonical texts within the scope of an eighty-year period of theatre history, allowing for definition and assessment that uncouples Restoration drama from eighteenth-century drama. Individual essays demonstrate the significant contrasts between the theatre of different decades and the context of performance, paying special attention to the literary innovation and socio-political changes that contributed to the evolution of drama. Exploring the developments in both tragedy and comedy, and in literary production, specific topics include the playwright's relationship to the monarch, women writers' connection to the audience, the changing market for plays, and the rise of the bourgeoisie. This collection also examines aspects of gender and class through the exploration of women's impact on performance and production, masculinity and libertinism, master/servant relationships, and dramatic representations of the coffee house. Accompanied by a list of Spanish-English plays and a chronology of monarch's reigns and significant changes in theatre history, From Leviathan to Licensing Act is a valuable tool for scholars of Restoration and eighteenth-century performance, providing groundwork for future research and investigation.

Theatre and Event: Staging the European Century (Studies in International Performance)

In the beginning of the 21st century, European theatre-makers have sought to consider the disastrous events of the 20th century as the unfinished business of the contemporary. In this book, Kear argues that by thinking through the logic of the event, contemporary performance offers an affective interrogation of 'the event' of the European century.

The Theatre and Films of Conor McPherson: Conspicuous Communities (Critical Companions)

The spellbinding premiere of The Weir at the Royal Court in 1997 wasthe first of many works to bring Conor McPherson to the attention ofthe theatre-going public. Acclaimed plays followed, including Shining City,The Seafarer, The Night Alive and Girl from the North Country, garneringinternational acclaim and being regularly produced around the globe.McPherson has also had significant successes as a theatre director, filmdirector and screenwriter, most notably, with his award-winning screenplayfor I Went Down.This companion offers a detailed and engaging critical analysis of theplays and films of Conor McPherson. It considers issues of gender and classdisparity, violence and wealth in the cultural and political contexts in whichthe work is written and performed, as well as the inclusion of song, sound,the supernatural, religious and pagan festive sensibilities through whichinitial genre perceptions are nudged elsewhere, towards the unconscious andineffable. Supplemented by a number of contributed critical and performanceperspectives, including an interview with Conor McPherson, this is a bookto be read by theatre audiences, performance-makers and students who wishto explore, contextualize and situate McPherson's provocative, exquisite andgeneration-defining writings and performances.

The Theatre and Films of Conor McPherson: Conspicuous Communities (Critical Companions)

The spellbinding premiere of The Weir at the Royal Court in 1997 wasthe first of many works to bring Conor McPherson to the attention ofthe theatre-going public. Acclaimed plays followed, including Shining City,The Seafarer, The Night Alive and Girl from the North Country, garneringinternational acclaim and being regularly produced around the globe.McPherson has also had significant successes as a theatre director, filmdirector and screenwriter, most notably, with his award-winning screenplayfor I Went Down.This companion offers a detailed and engaging critical analysis of theplays and films of Conor McPherson. It considers issues of gender and classdisparity, violence and wealth in the cultural and political contexts in whichthe work is written and performed, as well as the inclusion of song, sound,the supernatural, religious and pagan festive sensibilities through whichinitial genre perceptions are nudged elsewhere, towards the unconscious andineffable. Supplemented by a number of contributed critical and performanceperspectives, including an interview with Conor McPherson, this is a bookto be read by theatre audiences, performance-makers and students who wishto explore, contextualize and situate McPherson's provocative, exquisite andgeneration-defining writings and performances.

The Theatre and Films of Jez Butterworth (Critical Companions)

Jez Butterworth is the most critically acclaimed and commercially successful new British dramatist of the 21st century: his acclaimed play Jerusalem has had extended runs in the West End and on Broadway. This book is the first to examine Butterworth's writings for stage and film and to identify how and why his work appeals so widely and profoundly. It examines the way that he weaves suspenseful stories of eccentric outsiders, whose adventures echo widespread contemporary social anxieties, and involve surprising expressions of both violence and generosity. This book reveals how Butterworth unearths the strange forms of wildness and defiance lurking in the depths and at the edges of England: where unpredictable outbursts of humour highlight the intensity of life, and characters discover links between their haunting past and the uncertainties of the present, to create a meaningful future. Supplemented by essays from James D. Balestrieri and Elisabeth Angel-Perez, this is a clear and detailed source of reference for a new generation of theatre audiences, practitioners and directors who wish to explore the work of this seminal dramatist.

The Theatre and Films of Jez Butterworth (Critical Companions)

Jez Butterworth is the most critically acclaimed and commercially successful new British dramatist of the 21st century: his acclaimed play Jerusalem has had extended runs in the West End and on Broadway. This book is the first to examine Butterworth's writings for stage and film and to identify how and why his work appeals so widely and profoundly. It examines the way that he weaves suspenseful stories of eccentric outsiders, whose adventures echo widespread contemporary social anxieties, and involve surprising expressions of both violence and generosity. This book reveals how Butterworth unearths the strange forms of wildness and defiance lurking in the depths and at the edges of England: where unpredictable outbursts of humour highlight the intensity of life, and characters discover links between their haunting past and the uncertainties of the present, to create a meaningful future. Supplemented by essays from James D. Balestrieri and Elisabeth Angel-Perez, this is a clear and detailed source of reference for a new generation of theatre audiences, practitioners and directors who wish to explore the work of this seminal dramatist.

The Theatre and Films of Martin McDonagh (Critical Companions #2)

Martin McDonagh is one of the world's most popular dramatists. This is a highly readable and illuminating analysis of his career to date that will appeal to the legions of fans of his stage plays and the films Six Shooter and In Bruges. As a resource for students and practitioners it is unrivalled, providing an authoritative and enquiring approach to his work that moves beyond the tired discussions of national identity to offer a comprehensive critical exploration. Patrick Lonergan provides a detailed analysis of each of his plays and films, their original staging, critical reception, and the connections within and between the Leenane Trilogy, the Aran Islands plays and more recent work. It includes an interview with Garry Hynes, artistic director of Druid Theatre Company, and offers four critical essays on key features of McDonagh's work by leading international scholars: Joan Dean, Eamonn Jordan, Jose Lanters and Karen O'Brien. A series of further resources including a chronology, glossary, notes on McDonagh's use of language and a list of further reading makes this the perfect companion to one of the most exciting dramatists writing today.

Theatre and National Identity in Colonial India: Formation Of A Community Through Cultural Practice

This book critically engages with the study of theatre and performance in colonial India, and relates it with colonial (and postcolonial) discussions on experience, freedom, institution-building, modernity, nation/subject not only as concepts but also as philosophical queries. It opens up with the discourse around ‘Indian theatre’ that was started by the orientalists in the late 18th century, and which continued till much later. The study specifically focuses on the two major urban centres of colonial India: Bombay and Calcutta of the 19th and early 20th centuries. It discusses different cultural practices in colonial India, including the initiation of ‘Indian theatre’ practices, which resulted in many forms of colonial-native ‘theatre’ by the 19th century; the challenges to this dominant discourse from the ‘swadeshi jatra’ (national jatra/theatre) in Bengal, which drew upon earlier folk and religious traditions and was used as a tool by the nationalist movement; and the Indian People’s Theatre Association (IPTA) that functioned from Bombay around the 1940s, which focused on the creation of one national subject – that of the ‘Indian’. The author contextualizes the relevance of the concept of ‘Indian theatre’ in today’s political atmosphere. She also critically analyses the post-Independence Drama Seminar organized by the Sangeet Natak Akademi in 1956 and its relevance to the subsequent organization of ‘Indian theatre’. Many theatre personalities who emerged as faces of smaller theatre committees were part of the seminar which envisioned a national cultural body. This book is an important contribution to the field and is of interest to researchers and students of cultural studies, especially Theatre and Performance Studies, and South Asian Studies.

Theatre and Performance in Contemporary Scotland

This textbook offers a detailed and expansive account of theatre and performance in contemporary Scotland. It considers the underlying historical and cultural developments that have enabled the recent renaissance in Scottish theatre and the emergence of playwrights of international standing, such as David Greig, Zinnie Harris, David Harrower and Rona Munro as well as companies of significant international note. Some prominence is given to the National Theatre of Scotland, which was established in 2004 in the aftermath of Scottish devolution, and which has become a key organization in the creating and dissemination – nationally and internationally – of Scottish theatre and performance. The book aims to capture the diversity and eclecticism of Scotland’s contemporary performance culture by examining work across a spectrum from children’s theatre, community theatre, mainstream theatre for adult audiences and live and performance art.

Theatre and Performing Arts Collections

Here is an exciting book that provides detailed descriptions of dozens of the most important and unique collections of “theatricana” in the United States and Canada. In Theatre and Performing Arts Collections, distinguished theatre specialists, librarians, and curators describe the unique possessions of the best and largest collections in theatre and performing arts. Each chapter provides detailed descriptions of the collections, as well as important notes about their history--information that is not available in any other source!