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War and Theatrical Innovation by Victor Emeljanow Pdf
This book examines the relationship between wartime conflict and theatre practices. Bringing together a diverse collection of essays in one volume, it offers both a geographically and historically wide view of the subject, taking examples from Britain, Australia and America to the Middle East, Korea and China, and spanning the fifth century BCE to the present day. It explores the ways in which theatre practices have been manipulated for use in political and military propaganda, such as the employment of scenographers to work on camouflage and the application of acting methods in espionage training. It also maps the change in relationships between performers and audiences as a result of conflict, and the emergence of new forms of patronage during wartime theatre-going, boosting morale at periods when social structures and identity were being destabilized.
Touring Performance and Global Exchange 1850-1960 by Gilli Bush-Bailey,Kate Flaherty Pdf
This 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. It 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 obscure, 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. Touring Performance and Global Exchange 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 beenconceived 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.
Theatre and war have long been bedfellows. This brief study looks beyond theatre that is about war, and instead focuses on the relationship between theatre and war: how they feed into and inform one another, from rehearsal to post-production analysis. The study builds on the premise that theatre and war share a deep kinship that finds its consummate expression in the very phrase 'theatre of war.' This critical look at the entangled history of theatre and war asks pressing questions that remain pertinent to our current moment: how have the tools of theatre been used in the waging of war? How have the tools of waging war been used in the making of performance? What are the 'shared interests' of theatre and war? And how has performance become a militarized paradigm?
Theatre Diplomacy During the Cold War by William Wadsworth,Jim O'Quinn Pdf
This multi-volume work began as a biography of Martha Wadsworth Coigney, who was a pioneering thought leader and advocate of internationalism in the American theatre during the cold war. It was expanded to include the contributions of her mentors and friends Rosamond Gilder, Maurice McClelland, Roger L. Stevens, and Ellen Stewart. Coigney served as director of the International Theatre Institute (ITI) of the United States for thirty-two years and President of ITI International from 1987-1995. The International Theatre Institute is an independent NGO devoted to the UNESCO mission of peace through mutual understanding. After World War II the organization sustained cultural exchange between artists on either side of the Iron Curtain, across religious divides and war zones.
Architectures of Hiding by Rana Abughannam,Émélie Desrochers-Turgeon,Pallavi Swaranjali,Federica Goffi Pdf
Architecture manifests as a space of concealment and unconcealment, lethe and alêtheia, enclosure and disclosure, where its making and agency are both hidden and revealed. With an urgency to amplify narratives that are overlooked, silenced and unacknowledged in and by architectural spaces, histories and theories, this book contends the need for a critical study of hiding in the context of architectural processes. It urges the understanding of inherent opportunities, power structures and covert strategies, whether socio-cultural, geo-political, environmental or economic, as they are related to their hidescapes – the constructed landscapes of our built environments participating in the architectures of hiding. Looking at and beyond the intentions and agency that architects possess, architectural spaces lend themselves as apparatuses for various forms of hiding and un(hiding). The examples explored in this book and the creative works presented in the interviews enclosed in the interludes of this publication cover a broad range of geographic and cultural contexts, discursively disclosing hidden aspects of architectural meaning. The book investigates the imaginative intrigue of concealing and revealing in design processes, along with moral responsibilities and ethical dilemmas inherent in crafting concealment through the making and reception of architecture.
Restoration Staging 1660–74 cuts through prevalent ideas of Restoration theatre and drama to read early plays in their original theatrical contexts. Tim Keenan argues that Restoration play texts contain far more information about their own performance than previously imagined. Focusing on specific productions and physical staging at the three theatres operating in the first years of the Restoration – Vere Street, Bridges Street and Lincoln’s Inn Fields – Keenan analyses stage directions, scene headings and other performance clues embedded in the play-texts themselves. These close readings shed new light on staging practices of the period, building a radical new model of early Restoration staging. Restoration Staging, 1660–74 takes account of all extant new plays written for or premiered at three of London’s early theatres, presenting a much-needed reassessment of early Restoration drama.
In Theatre & War: Notes from the Field (2016, 2018), Dinesh writes about making theatre in zones of conflict. She analyzes practice; she describes various projects that she has undertaken ‘on the ground’; she theorizes strategies that might be useful to other practitioner-researchers who are involved in similar work. In this sequel of sorts, Dinesh chooses to return to the same themes: of theatre, of war. But this time, she intentionally crafts her notes from afar. From somewhere outside the field. From somewhere outside the practice. And yet, a somewhere that is consumed by the field. And the practice. Through writing that seeks to ‘do’, through writing that seeks to ‘perform’, Dinesh use different voices in this book. Voices that come from more traditional archival sources, which are then re-conceptualized as drama. Voices that come from sources that occupy the space between archived and lived experience, which are then shaped into creative vignettes. Voices that come from Dinesh’s repertoire – her own lived experiences – that are then crafted as flash fiction about past/ present/ future collaborators. By weaving together variously positioned experiences and voices through creative (re)interpretations, Theatre & War: Notes from Afar is a book that could be read; it is also a book that could be performed.
Angels in America at the British National Theatre by Emily Garside Pdf
Angels in America was one of the most significant pieces of American theatre in the 20th Century. Much has been written on Tony Kushner's epic drama. However, the National Theatre of Great Britain's productions of the show are relatively under-discussed. Not only was the National Theatre responsible for helping to originate the play in the early 1990s, but it helped revitalize interest in 2018 with Marianne Elliott's reimagined version starring Andrew Garfield and Nathan Lane. This book considers the role of the National in the play's history, and how Elliott's production reframed the play 25 years after the original; it chronicles the tumultuous first production and the play's successes in London and New York. The book also looks at the key features of the play: its representation of AIDS, its status as an iconic gay play and its searing political commentary. Concluding with an in-depth analysis of Marianne Elliott's reimagining of the play, this book is an up-to-date history of Angels in America and a reflection on its continued importance.
The Cambridge History of American Theatre by Don B. Wilmeth,Christopher Bigsby Pdf
The second volume of the authoritative, multi-volume Cambridge History of American Theatre, first published in 1999, begins in the post-Civil War period and traces the development of American theatre up to 1945. It covers all aspects of theatre from plays and playwrights, through actors and acting, to theatre groups and directors. Topics examined include vaudeville and popular entertainment, European influences, theatre in and beyond New York, the rise of the Little Theatre movement, changing audiences, modernism, the Federal Theatre movement, scenography, stagecraft, and architecture. Contextualising chapters explore the role of theatre within the context of American social and cultural history, and the role of American theatre in relation to theatre in Europe and beyond. This definitive history of American theatre includes contributions from the following distinguished academics - Thomas Postlewait, John Frick, Tice L. Miller, Ronald Wainscott, Brenda Murphy, Mark Fearnow, Brooks McNamara, Thomas Riis, Daniel J. Watermeier, Mary C. Henderson, and Warren Kliewer.
The Making of Theatrical Reputations by Yael Zarhy-Levo Pdf
Today's successful plays and playwrights achieve their prominence not simply because of their intrinsic merit but because of the work of mediators, who influence the whole trajectory of a playwright's or a theatre company's career. Critics and academic writers are primarily considered the makers of reputations, but funding organizations and various media agents as well as artistic directors, producers, and directors also pursue separate agendas in shaping the reputations of theatrical works. In The Making of Theatrical Reputations Yael Zarhy-Levo demonstrates the processes through which these mediatory practices by key authority figures situate theatrical companies and playwrights within cultural and historical memory. To reveal how these authorizing powers-that-be promote theatrical events, companies, and playwrights, Zarhy-Levo presents four detailed case studies that reflect various angles of the modern London theatre. In the case of the English Stage Company's production of John Osborne's Look Back in Anger, she centers on a specific event. She then focuses on the trajectory of a single company, the Theatre Workshop, particularly through its first decade at the Theatre Royal, Stratford East, London. Next, she explores the career of the dramatist John Arden, especially its first ten years, in part drawing upon an interview with Arden and his wife, actress and playwright Margaretta D'Arcy, before turning to her fourth study: the playwright Harold Pinter's shifting reputation throughout the different phases of his career. Zarhy-Levo's accounts of these theatrical events, companies, and playwrights through the prism of mediation bring fresh insights to these landmark productions and their creators.
'At last, the past has arrived! Performing Remains is Rebecca Schneider's authoritative statement on a major topic of interest to the field of theatre and performance studies. It extends and consolidates her pioneering contributions to the field through its interdisciplinary method, vivid writing, and stimulating polemic. Performing Remains has been eagerly awaited, and will be appreciated now and in the future for its rigorous investigations into the aesthetic and political potential of reenactments.' - Tavia Nyong'o, Tisch School of the Arts, New York University 'I have often wondered where the big, important, paradigm-changing book about re-enactment is: Schneider’s book seems to me to be that book. Her work is challenging, thoughtful and innovative and will set the agenda for study in a number of areas for the next decade.' - Jerome de Groot, University of Manchester Performing Remains is a dazzling new study exploring the role of the fake, the false and the faux in contemporary performance. Rebecca Schneider argues passionately that performance can be engaged as what remains, rather than what disappears. Across seven essays, Schneider presents a forensic and unique examination of both contemporary and historical performance, drawing on a variety of elucidating sources including the "America" plays of Linda Mussmann and Suzan-Lori Parks, performances of Marina Abramovic ́ and Allison Smith, and the continued popular appeal of Civil War reenactments. Performing Remains questions the importance of representation throughout history and today, while boldly reassessing the ritual value of failure to recapture the past and recreate the "original."
Watching War on the Twenty-First Century Stage by Clare Finburgh Delijani Pdf
What do we watch when we watch war? Who manages public perceptions of war and how? Watching War on the Twenty-First-Century Stage: Spectacles of Conflict is the first publication to examine how theatre in the UK has staged, debated and challenged the ways in which spectacle is habitually weaponized in times of war. The 'battle for hearts and minds' and the 'war of images' are fields of combat that can be as powerful as armed conflict. And today, spectacle and conflict – the two concepts that frame the book – have joined forces via audio-visual technologies in ways that are more powerful than ever. Clare Finburgh's original and interdisciplinary interrogation provides a richly provocative account of the structuring role that spectacle plays in warfare, engaging with the works of philosopher Guy Debord, cultural theorist Jean Baudrillard, visual studies specialist Marie-José Mondzain and performance scholar Hans-Thies Lehmann. She offers coherence to a large and expanding field of theatrical war representation by analyzing in detail a spectrum of works, including expressionist drama, comedy and dance theatre. She demonstrates how features unique to the theatrical art, namely the construction of a fiction in the presence of the audience, can present possibilities for a more informed engagement with how spectacles of war are produced and circulated.
Rancière and Performance by Nic Fryer,Colette Conroy Pdf
Jacques Rancière has been hugely influential in the field of political philosophy and aesthetics. This edited collection is the first to investigate the points of contact between the work of Rancière and the field of theatre and performance studies. Recent scholarly works in this discipline have drawn upon concepts from Rancière’s writing, from theatrocracy to emancipated spectators, to investigate problems of audience, participation, politics and aesthetics. Before these concepts and critical tools peel away from the works through which they emerged, this book seeks a detailed critical assessment of the works themselves and their implications for theatre and performance studies. The collection examines the critical and analytical interventions that have been made to date and looks forward towards challenges to the future uses of Rancière’s work in performance and theatre studies. It also considers a wide range of performance work, from a performance for the residents of a Victorian workhouse to the activist performances of Liberate Tate. This collection includes work by ten scholars and is an essential resource for researchers and academics working in areas of performance and aesthetics, performance and activism, and performance and philosophy.
The Routledge Handbook of Ocean Space by Kimberley Peters,Jon Anderson,Andrew Davies,Philip Steinberg Pdf
Invisible as the seas and oceans may be for so many of us, life as we know it is almost always connected to, and constituted by, activities and occurrences that take place in, on and under our oceans. The Routledge Handbook of Ocean Space provides a first port of call for scholars engaging in the ‘oceanic turn’ in the social sciences, offering a comprehensive summary of existing trends in making sense of our water worlds, alongside new, agenda-setting insights into the relationships between society and the ‘seas around us’. Accordingly, this ambitious text not only attends to a growing interest in our oceans, past and present; it is also situated in a broader spatial turn across the social sciences that seeks to account for how space and place are imbricated in socio-cultural and political life. Through six clearly structured and wide-ranging sections, The Routledge Handbook of Ocean Space examines and interrogates how the oceans are environmental, historical, social, cultural, political, legal and economic spaces, and also zones where national and international security comes into question. With a foreword and introduction authored by some of the leading scholars researching and writing about ocean spaces, alongside 31 further, carefully crafted chapters from established as well as early career academics, this book provides both an accessible guide to the subject and a cutting-edge collection of critical ideas and questions shaping the social sciences today. This handbook brings together the key debates defining the ‘field’ in one volume, appealing to a wide, cross-disciplinary social science and humanities audience. Moreover, drawing on a range of international examples, from a global collective of authors, this book promises to be the benchmark publication for those interested in ocean spaces, past and present. Indeed, as the seas and oceans continue to capture world-wide attention, and the social sciences continue their seaward ‘turn’, The Routledge Handbook of Ocean Space will provide an invaluable resource that reveals how our world is a water world.