Proposes a theoretical framework for understanding dance leadership for dancers, leaders, and students of both domains, illustrated by portraits of leaders in action in India, South Africa, the UK, the US, Brazil and Canada.
Bringing together key voices from a new wave of scholarship to examine recent practice and research in the field of contemporary dance, it examines the excitingly diverse range of choreographers and works that are transforming Ireland's performance landscape.
Representing the first comprehensive analysis of Gaga and Ohad Naharin's aesthetic approach, this book follows the sensual and mental emphases of the movement research practiced by dancers of the Batsheva Dance Company.
Suggests that staged dance productions be called 'ethno identity dances' instead of 'folk dances' and that the latter phrase refer only to the traditional dances found in village settings as an organic part of village and tribal life.
The first monograph on the work of French choreographer Jérôme Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. Contains an overview and in-depth analysis of all of his choreographies.
Explores Black British dance from a number of previously-untold perspectives. Bringing together the voices of dance-artists, scholars, teachers and choreographers, it looks at a range of performing arts from dancehall to ballet, providing valuable insights into dance theory, performance, pedagogy, identity and culture.
Revisits the territory of the performance orientation, touching on anthropology, dance, folklore, music and theatre to look for present trends in both the ethnography of performance and performance ethnography.
Explores Reid's work through her own words, both in interviews and writings; through theoretical engagements in other disciplines, such as psychology and geography; and through responses to her plays in production.
Focuses on how and to what extent the convergence of dramatic theory, theatrical practice, and various modes of audience experience contributed, during the 16th to 18th centuries, to the emergence of symbolic, social, and cultural space(s) we call 'public sphere(s).'
Offers a provocative and groundbreaking re-appraisal of the demands of acting ancient tragedy, informed by cutting-edge scholarship in the fields of actor training, theater history, and classical reception.
An anthology of Mark Edward's creative practice-led projects. It transmits and communicates his research through varied artistic means, primarily contemporary dance, immersive art installation, drag performance, and photography.
Exploring the experiences of early to mid-20th century British theater-makers in Russia, this book imagines how these travelers interpreted Russian realism, symbolism, constructivism, agitprop, pageantry, dance or cinema.
Everyone has heard of Method acting, but what about Modern acting? This book makes the simple but radical proposal that we acknowledge the Modern acting principles that continue to guide actors' work in the 21st century.
Reflects the changes in technology and educational trends (cross-disciplinary learning, entrepreneurship, first-year learning programs, critical writing requirements, course assessment, among others) that have pushed theater educators to innovate, question, and experiment with new teaching strategies.
Provides a systematic investigation of the various roles of producers in commercial and not-for-profit musical theater. Featuring fifty-one essays written by international specialists in the field, it offers new insights into the world of musical theater, its creation and its promotion.
Revisits the territory of the performance orientation, touching on anthropology, dance, folklore, music and theater to look for present trends in both the ethnography of performance and performance ethnography.
Focuses on Shine, a musical performance about how energy, humanity, and climate are interrelated. Weaving together climate science and artistic expression, it results in a funny and powerful story spanning 300 million years.
Examines age across the modern and contemporary dramatic canon. All ages are interpreted as performance and performative both on page and on stage, including professional productions and senior-theater groups.
Examines the surge of queer performance produced across Ireland since the first stirrings of the Celtic Tiger in the mid-1990s, up to the passing of the Marriage Equality referendum in the Republic in 2015.
Traces blackface types from ancient masks of grinning Africans and phallus-bearing Roman fools through to comedic medieval devils and racial impersonation via stereotypical 'black speech' explored in the Renaissance.
Frames the concept of a national play. By analysing a number of European case studies, it addresses the following question: Which play could be regarded as a country's national play, and how does it represent its national identity?
Lepage's technique is defined here as 'scenographic dramaturgy', a process and product that de-privileges dramatic text and relies instead on evocative, visual performance and intercultural collaboration to re-envision extant plays and operas.
Considers the linguistic complexities associated with Shakespeare's presence in South Africa from 1801 to early 20st-century televisual updatings of the texts as a means of exploring individual and collective forms of identity.
Investigates how the British theatrical community offered an alternative and oppositional historical narrative to the heritage culture promulgated by the Thatcher and Major governments in the 1980s and early 1990s.
Explores how historians of theatre apply ethical thinking to the attempt to truthfully represent their subject by exploring the process by which such histories are written, and the challenges they raise.
Concerned with such questions as the following: What is the life of the past in the present? How might "the theatre of death" and "the uncanny in mimesis" allow us to conceive of the afterlife of a supposedly ephemeral art practice?
The scholars and practitioners gathered here (including specialists in theatre history and literature, educational theatre, youth arts, arts policy, socially invested theatre, and activist performance) take up the question of change in thirty-five short essays.
Offers the first broad-based survey of the way artists, audiences and society at large are making use of social media, and how the emergence of social media platforms that allow two-way interaction between these groups has been held up as a 'game changer' by many in the theatre industry.
Explores what happens when women engage in violence, how the events and their reception intercept with cultural understandings of gender, how plays thoughtfully depict this topic, and how their productions impact audiences.
Offers both a geographically and historically wide view of ITS subject, taking examples from Britain, Australia and America to the Middle East, Korea and China, and spanning the 5thcentury BCE to the present day.
Harnesses the theory and practice of dramatic arts for the applied use in communication education. It introduces readers to educational role-play and how to use it, arguing that complete immersion is crucial to successful learning.