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Since its original publication in 1996, Marvin Carlson's Performance: A Critical Introduction has remained the definitive guide to understanding performance as a theatrical activity. It is an unparalleled exploration of the myriad ways in which performance has been interpreted, its importance to disciplines from anthropology to linguistics, and how it underpins essential concepts of human society. In this comprehensively revised and updated third edition, Carlson tackles the pressing themes and theories of our age, with expanded coverage of : the growth and importance of racial and ethnic performance; the emergence of performance concerned with age and disability; the popularity and significance of participatory and immersive theatre; the crucial relevance of identity politics and cultural performance in the twenty-first century. Also including a fully updated bibliography and glossary, this classic text is an invaluable touchstone for any student of performance studies, theatre history, and the performing and visual arts.

This volume is the first to provide a book-length study of Pinter's overtly political activity. With chapters on political drama, poetry, and speeches, it charts a consistent tension between aesthetics and politics through Pinter's later career and defines the politics of the work in terms of a pronounced sensory dimension and capacity to affect audiences. The book brings to light unpublished letters and drafts from the Pinter Archive in the British Library and draws his political poems and speeches, which have previously been overshadowed by his plays, into the foreground. Intended for students, instructors, and researchers in drama and theatre, performance studies, literature, and media studies, this book celebrates Pinter's later life and work by discerning a coherent political voice and project and by registering the complex ways that project troubles the divide between aesthetics and politics.

In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels'public'for the Globe and'private'for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.

The Glossary of Literary and Cultural Theory provides researchers and students with an up-to-date guide through the vibrant and changing debates in Literary and Cultural Studies. In a field where meanings are frequently complex and ambiguous, this text is remarkable for its clarity and usefulness. This third edition includes 17 entirely new entries and updates to more than a dozen others which address key concepts and contemporary positions in both literary and cultural theory. New entries include:• Actor Network Theory• Anthropocene• Ecocriticism• Digital Humanities• Postcapitalism• World Literature

Beginning with a focus on the ethical foundations of caregiving in health and expanding towards problems of ethics and justice implicated in a range of issues, this book develops and expands the notion of care itself and its connection to practice.Organised around the themes of culture as a restraint on caregiving in different social contexts and situations, innovative methods in healthcare, and the way in which culture works to position care as part of a rhetorical approach to dependency, responsibility, and justice, The Ethics of Care presents case studies examining institutional responses to end-of-life issues, the notion of informed consent, biomedicine, indigenous rights and postcolonialism in care and theoretical approaches to the concept of care. Offering discussions from a variety of disciplinary approaches, including sociology, communication, and social theory, as well as hermeneutics, phenomenology, and deconstruction, this book will appeal to scholars across the social sciences with interests in healthcare, medicine, justice and the question of how we think about care as a notion and social form, and how this is related to practice.

This diverse collection of essays and testimonies challenges critical orthodoxies about the twenty-first century boom in immersive theatre and performance. A culturally and institutionally eclectic range of producers and critics comprehensively reconsider the term ‘immersive'and the practices it has been used to describe. Applying ecological, phenomenological and political ideas to both renowned and lesser-known performances, contributing scholars and artists offers fresh ideas on the ethics and practicalities of participatory performance. These ideas interrogate claims that have frequently been made by producers and by critics that participatory performance extends engagement. These claims are interrogated across nine dimensions of engagement: bodily, technological, spatial, temporal, spiritual, performative, pedagogical, textual, social. Enquiry is focussed along the following seams of analysis: the participant as co-designer; the challenges facing the facilitator of immersive/participatory performance; the challenges facing the critic of immersive/participatory performance; how and why immersion troubles boundaries between the material and the magical.

This new edition of Physical Theatres: A Critical Introduction continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice. This comprehensive book: traces the roots of physical performance in classical and popular theatrical traditions looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jérôme Bel examines the contemporary practice of companies such as Théatre du Soleil, Complicite and Goat Island focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood. Extensive cross references ensure that Physical Theatres: A Critical Introduction can be used as a standalone text or together with its companion volume, Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance.New to this edition: a chapter on The Body and Technology, exploring the impact of digital technologies on the portrayal, perception and reading of the theatre body, spanning from onstage technology to virtual realities and motion capture; additional profiles of Jerzy Grotowski, Wrights and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial performance, new training practices, immersive and site-specific theatres, and the latest developments in neuroscience, especially as these impact on the place and role of the spectator.

Signs of War and Peace focuses on the role public display plays in the conflict in Northern Ireland. In doing so, it ranges freely over other times, places, and events that shed light on the social and political processes and dynamics involved in public display traditions, such as the Saint Patrick's Day parades in Boston, Massachusetts, and the popular spontaneous shrines to Lady Diana in London. The book is about the nature of public display, its relationships to class-based aesthetics, tradition, and popular style. It is also about contest, conflict, and civil war, and the ways the former are intimately intertwined with the latter, both in Northern Ireland and elsewhere throughout the world. The work is interdisciplinary, combining ethnographic, anthropological, folkloristic, and performance studies approaches. The manuscript benefits from large amount of field work in Ireland, and as a result contains both ethnographic data and revealing interviews with many people in Northern Ireland who have participated in the display events Santino seeks to analyze. The perspective that Santino offers helps to explain the intensity of the conflict as well as the origination, motivations, and justifications of bonfires, murals, commemorative displays, parades, etc. that symbolically articulate what he terms the'dual master narratives'that underlie and in many ways help to articulate the parameters of that conflict.

Memorials to Shattered Myths: Vietnam to 9/11 traces the evolution and consequences of a new hybrid paradigm, which grants a heroic status to victims of national tragedies, and by extension to their families, thereby creating a class of privileged participants in the permanent memorial process. Harriet F. Senie suggests that instead the victims'families be able to determine the nature of an interim memorial, one that addresses their needs in the critical time between the murder of their loved ones and the completion of the permanent memorial. She also observes that the memorials discussed herein are inadvertently based on strategies of diversion and denial that direct our attention away from actual events, and reframe tragedy as secular or religious triumph. In doing so, they camouflage history, and seen as an aggregate, they define a nation of victims, exactly the concept they and their accompanying celebratory narratives were apparently created to obscure.

Haunted Landscapes offers a fresh and innovative approach to contemporary debates about landscape and the supernatural. Landscapes are often uncanny spaces embroiled in the past; associated with absence, memory and nostalgia. Yet experiences of haunting must in some way always belong to the present: they must be felt. This collection of essays opens up new and compelling areas of debate around the concepts of haunting, affect and landscape. Landscape studies, supernatural studies, haunting and memory are all rapidly growing fields of enquiry and this book synthesises ideas from several critical approaches – spectral, affective and spatial – to provide a new route into these subjects. Examining urban and rural landscapes, haunted domestic spaces, landscapes of trauma, and borderlands, this collection of essays is designed to cross disciplines and combine seemingly disparate academic approaches under the coherent locus of landscape and haunting. Presenting a timely intervention in some of the most pressing scholarly debates of our time, Haunted Landscapes offers an attractive array of essays that cover topics from Victorian times to the present.

The Oxford Handbook of Sound and Image in Western Art examines, under one umbrella, different kinds of analogies, mutual influences, integrations and collaborations of audio and visual in different art forms. The book represents state-of-the-art case studies with key figures of modern thinking constituting a foundation for discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core thematic sections. The first, Sights and Sounds, concentrates on the interaction between the experience of seeing and the experience of hearing. Examples of painting, classic and digital animation, video art, choreography, and music performance are examined in this section. Sound, Space, and Matter explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, silence, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section, Performance, Performativity, and Text, shows how new light shed by modernism and the avant-garde on the performative aspect of music have led it - together with sound, voice, and text - to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in fine art, visual poetry, short film, and cinema. Sitting at the cutting edge of the field of music and visual arts, the book offers a unique, at times controversial view of this rapidly evolving area of study. Artists, curators, students and scholars will find here a panoramic view of cutting-edge discourse in the field, by an international roster of scholars and practitioners.

The first in-depth study of the ceremonial and music performed at British royal and state funerals over the past 400 years.British royal and state funerals are among the most elaborate and solemn occasions in European history. This book is the first in-depth study of the ceremonial and the music performed at these events over the past 400 years, fromthe funeral of Elizabeth I in 1603. Covering funerals of both royalty and non-royalty, including Nelson, Wellington and Churchill, this study goes up to the funerals of Queen Elizabeth The Queen Mother in 2002 and the ceremonial funeral of Baroness Thatcher in 2013. While some of these funerals have received a good deal of attention - especially the 1997 funeral of Diana, Princess of Wales - these extraordinary events have largely not been discussed in their longer historical context. The book examines the liturgical changes in the Anglican funeral rite since the Reformation and also the change from the so-called'public'to'private'funerals. It includes many new findings onthe development of the ceremonial and its intricate peculiarities, as well as new insights into the music and its performance. British Royal and State Funerals shows that, despite a strong emphasis on continuity in the choice of music, the ceremonial itself has shown an astonishing flexibility over the last four centuries. Overall, the book also contributes to the debate on the monarchy's changing public image over time by paying particular attention to topics such as tradition and propaganda. Drawing on substantial research in principal libraries and archives, including those of Westminster Abbey, the College of Arms, Lambeth Palace and the British Library, this book is an exhaustive resource for musicologists, musicians and historians alike, providing an unprecedented insight into this most sombre of royal and state occasions. MATTHIAS RANGE is author of Music and Ceremonial at British Coronations (2012). He is a post-doctoral researcher for the Digital Image Archive of Medieval Music and its partner AHRC-funded Tudor Partbooks project at the Faculty of Music, University of Oxford.

The issue of the mental health consequences of disasters is always timely, but, at present, its consideration serves a pressing need if one takes into account the great number of co-existing and super-imposed disasters occurring throughout the world.Taking Greece as an example, on top of the economic disaster that has produced serious mental health problems, the country is faced with a serious refugee problem produced by human-made disasters that have occurred elsewhere and produce serious mental health problems to the refugees and the host population alike.This volume deals with the mental health consequences of Natural Disasters, Human-made Disasters, and a third category, Economic Disasters.This volume will help contribute to more efficient management and mitigation of the mental health effects of such disasters.

What sort of thing is a theatre image? How is it produced and consumed? Who is responsible for the images? Why do the images stay with us when the performance is over? How do we learn to speak of what we see and imagine? And how do we relate what we experience in the theatre to what we share with each other of the world? The Illuminated Theatre is a book about theatricality and spectatorship in the early twenty-first century. In a wide-ranging analysis that draws upon theatrical, visual and philosophical approaches, it asks how spectators and audiences negotiate the complexities and challenges of contemporary experimental performance arts. It is also a book about how European practitioners working across a range of forms, from theatre and performance to dance, opera, film and visual arts, use images to address the complexities of the times in which their work takes place. Through detailed and impassioned accounts of works by artists such as Dickie Beau, Wendy Houstoun, Alvis Hermanis and Romeo Castellucci, along with close readings of experimental theoretical and art writing from Gillian Rose to T.J. Clark and Marie-José Mondzain, the book outlines the historical, aesthetic and political dimensions of a contemporary ‘suffering of images.'

How did social, cultural and political events in Britain during the 2000s shape contemporary British fiction? The means of publishing, buying and reading fiction changed dramatically between 2000 and 2010. This volume explores how the socio-political and economic turns of the decade, bookended by the beginning of a millennium and an economic crisis, transformed the act of writing and reading. Through consideration of, among other things, the treatment of neuroscience, violence, the historical and youth subcultures in recent fiction, the essays in this collection explore the complex and still powerful relation between the novel and the world in which it is written, published and read. This major literary assessment of the fiction of the 2000s covers the work of newer voices such as Monica Ali, Mark Haddon, Tom McCarthy, David Peace and Zadie Smith as well as those more established, such as Salman Rushdie, Hilary Mantel and Ian McEwan making it an essential contribution to reading, defining and understanding the decade.

In the dark of the blackout before the curtain rises, the theater holds its many worlds suspended on the verge of appearance. How can a performance sustain this sense of potentiality that grounds all live production? Or if a stage-world does begin, what kinds of future might appear within its frame? Conceiving of the theater as a cultural institution devoted to experimenting with the future, this book begins and ends on the dramatic stage; in between it traverses literature, dance, sculpture, and performance art to explore the various futures we make in a live event. After Live conceives of traditional dramatic theater as a place for taming the future and then conceptualizes how performance beyond this paradigm might stage the unruly nature of futurity. Chapters offer insights into the plays of Beckett, Churchill, Eno, and Gombrowicz, devised theater practices, and include an extended exploration of the Italian director Romeo Castellucci. Through the lens of potentiality, other chapters present novel approaches to minimalist sculpture and dance, then reflect on how the beholder him or herself is called upon to perform when confronted by such work.

The face is central to contemporary politics. In Deleuze and Guattari's work on faciality we find an assertion that the face is a particular politics, and dismantling the face is also a politics. This book explores the politics of such diverse issues as images and faces in photographs and portraits; expressive faces; psychology and neuroscience; face recognition; face blindness; facial injury, disfigurement and face transplants through questions such as: What it might mean to dismantle the face, and what politics this might entail, in practical terms? What sort of a politics is it? Is it already taking place? Is it a politics that is to be desired, a better politics, a progressive politics? The book opens up a vast field of further research that needs to be taken forward to begin to address the politics of the face more fully, and to elaborate the alternative forms of personhood and politics that dismantling the face opens to view. The book will be agenda-setting for scholars located in the field of international politics in particular but cognate areas as well who want to pursue the implications of face politics for the crucial questions of subjectivity, sovereignty and personhood.

From statistical databases to story archives, from fan sites to the real-time reactions of Twitter-empowered athletes, the digital communication revolution has changed the way sports fans relate to their favorite teams. In this volume, contributors from Australia, Ireland, New Zealand, the United Kingdom, and the United States analyze the parallel transformation in the field of sport history, showing the ways powerful digital tools raise vital philosophical, epistemological, ontological, methodological, and ethical questions for scholars and students alike. Chapters consider how the philosophical and theoretical understanding of the meaning of history influence a willingness to engage with digital history, and conceptualize the relationship between history making and the digital era. As the writers show, digital media's mostly untapped potential for studying the recent past via blogs, chat rooms, gambling sites, and the like forge a symbiosis between sports and the internet, and offer historians new vistas to explore and utilize. Sport History in the Digital Era also shows how the best digital history goes beyond a static cache of curated documents. Instead, it becomes a truly public history that serves as a dynamic site of enquiry and discussion. In such places, scholars enter into a give-and-take with individuals while inviting the audience to grapple with, rather than passively absorb, the evidence being offered. Timely and provocative, Sport History in the Digital Era affirms how the information revolution has transformed sport and sport history--and shows the road ahead. Contributors include Douglas Booth, Mike Cronin, Martin Johnes, Matthew Klugman, Geoffery Z. Kohe, Tara Magdalinski, Fiona McLachlan, Bob Nicholson, Rebecca Olive, Gary Osmond, Murray G. Phillips, Stephen Robertson, Synthia Sydnor, Holly Thorpe, and Wayne Wilson.

Discussing crises through diverse examples, including the UK's National Theatre, public art installations, Occupy LSX, repatriation ceremonies and performances of the everyday, this book asks how performance captures and resists what is considered (politically, ideologically, culturally or socially)'inside'or'outside'Europe.

Digesting Recipes: The Art of Culinary Notation scrutinises the form of the recipe, using it as a means to explore a multitude of subjects in post-war Western art and culture, including industrial mass-production, consumerism, hidden labour, and art engaged with the everyday. Each chapter is presented as a dish in a nine-course meal, drawing on examples from published cookbooks and the work of artists such as Alison Knowles, Yoko Ono, Annette Messager, Martha Rosler, Barbara T. Smith, Bobby Baker and Mika Rottenberg. A recipe is an instruction, the imperative tone of the expert, but this constraint can offer its own kind of potential. A recipe need not be a domestic trap but might instead offer escape – something to fantasise about or aspire to. It can hold a promise of transformation both actual and metaphorical. It can be a proposal for action, or envision a possible future.

With all the heated debates around religion and homosexuality today, it might be hard to see the two as anything but antagonistic. But in this book, Dominic Janes reveals the opposite: Catholic forms of Christianity, he explains, played a key role in the evolution of the culture and visual expression of homosexuality and male same-sex desire in the nineteenth and twentieth centuries. He explores this relationship through the idea of queer martyrdom—closeted queer servitude to Christ—a concept that allowed a certain degree of latitude for the development of same-sex desire. Janes finds the beginnings of queer martyrdom in the nineteenth-century Church of England and the controversies over Cardinal John Henry Newman's sexuality. He then considers how liturgical expression of queer desire in the Victorian Eucharist provided inspiration for artists looking to communicate their own feelings of sexual deviance. After looking at Victorian monasteries as queer families, he analyzes how the Biblical story of David and Jonathan could be used to create forms of same-sex partnerships. Finally, he delves into how artists and writers employed ecclesiastical material culture to further queer self-expression, concluding with studies of Oscar Wilde and Derek Jarman that illustrate both the limitations and ongoing significance of Christianity as an inspiration for expressions of homoerotic desire. Providing historical context to help us reevaluate the current furor over homosexuality in the Church, this fascinating book brings to light the myriad ways that modern churches and openly gay men and women can learn from the wealth of each other's cultural and spiritual experience.

Applied Theatre: Aesthetics re-examines how the idea of'the aesthetic'is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems.

This engaging and informative resource provides readers with an understanding of the social, cultural, and historical influences that shape our encounters with death, dying, and bereavement—a universal experience across humanity.Written in an engaging and accessible style by leading international scholars and practitioners from within the field of death and bereavement studies, this book will have broad appeal, providing in a single volume insights from some of the key thinkers within the interdisciplinary field of death, dying, and bereavement. Its approximately 200 entries will serve as useful starting points for those new to the topic and will be informative to those already acquainted with some of the core concepts and ideas within this burgeoning field of inquiry. This encyclopedia will serve as an essential resource for high school and undergraduate students, those engaged in independent research, and professionals whose work involves caring for the dead, dying, and bereaved. It will also be of great interest to general readers intrigued by the social, medical, and cultural dimensions to human mortality. Underscored by the inescapable biological certainties that affect us all, The A–Z of Death and Dying offers a highly relevant examination of the social and historical variation in the rituals, practices, and beliefs surrounding the end of life.

Volume 33 of Theatre History Studies explores war. War is a paradox—horrifying and compelling, galvanizing and devastating, a phenomenon that separates and decimates while at the same time creating and strengthening national identity and community bonds. War is the stuff of great drama. War and theatre is a subject of increasing popularity among scholars of theatre. The essays in this special edition of Theatre History Studies brings together a unique collection of work by thirteen innovative scholars whose work explores such topics as theatre performances during war times, theatre written and performed to resist war, and theatre that fosters and promotes war. The contributors to this volume write poignantly about nationhood and about how war—through both propaganda and protest—defines a people. The contributors also delve into numerous fascinating themes that transcend time, peoples, nations, and particular conflicts: the foundations of nationalism and the concepts of occupied and occupier, nostalgia and utopia, and patriotism and revolution. These essays survey a march of civil and international wars spanning three centuries. Arranged chronologically, they invite comparisons between themes and trace the development of the major themes of war. Ideas manifest in the theatre of one period recall ideologies and propaganda of the past, reflect those of the present, and anticipate wars to come.

‘This work goes where other books fear to tread. It reaches the parts other scholars might imagine in their dreams but would neither have the international reach nor the critical acumen and forensic flourish to deliver.'Alan Read, King's College London‘This book is not only timely. It is overdue – and it is a masterpiece unrivalled by any book I know of.'Erika Fischer-Lichte, Freie Universität Berlin‘The first and only book that focuses on the intersections of performance, terror and terrorism as played out beyond a Euro-American context post-9/11. It is an important work, both substantively and methodologically.'Jenny Hughes, University of Manchester ‘A profound and tightly bound sequence of reflections … a rigorously provocative book.'Stephen Barber, Kingston University LondonIn this exceptional investigation Rustom Bharucha considers the realities of Islamophobia, the legacies of Truth and Reconciliation, the deadly certitudes of State-controlled security systems and the legitimacy of counter-terror terrorism, drawing on a vast spectrum of human cruelties across the global South. The outcome is a brilliantly argued case for seeing terror as a volatile and mutant phenomenon that is deeply lived, experienced, and performed within the cultures of everyday life.

We train because we are human and we become human because we train. This is the surprising and original conclusion of Anatomy of Performance Training, in which John Matthews shows how training is a very human response to the problems of having a body and living in the world. Using illustrative case-studies of professional practice, each chapter addresses a specific body part, offering a self-contained discussion of its symbolic and practical significance in the artistic, and commercial, activities of training. These anatomical case-studies are cross-referenced with other disciplines (such as sport, high diving, deep diving and artisan craft) to further expand our understanding of performance. Stand-alone chapters, ideal for reference, build towards an overall conclusion that the uniquely human practice of training is emerging as a new and pervasive ideology globally.Ideal for readers seeking to understand the relationship the body has with the theatre and training, or for teachers looking for a new, innovative approach to performance, Anatomy of Performance Training is an accessible, original contribution to the philosophy of training for performance.

Contemporary theatrical productions as diverse in form as experimental performance, new writing, West End drama, musicals and live art demonstrate a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. Featuring seventeen interviews with internationally-renowned theatre and performance artists, Theatre and Adaptation provides an exceptionally rich study of the variety of work developed in recent years. First-hand accounts illuminate a diverse range of approaches to stage adaptation, ranging from playwriting to directing, Javanese puppetry to British children's theatre, and feminist performance to Japanese Noh. The transition of an existing source to the stage is not a smooth one: this collection examines the practices and the complex set of negotiations each work of transition and appropriation involves. Including interviews with Socìetas Raffaello Sanzio, Handspring Puppet Company, Katie Mitchell, Rimini Protokoll, Elevator Repair Service, Simon Stephens, Ong Keng Sen and Toneelgroep Amsterdam, the volume reveals performance's enduring desire to return, rewrite and repeat.

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.

This volume brings together important work at the intersection of politics and performance studies. While the languages of theatre and performance have long been deployed by other disciplines, these are seldom deployed seriously and pursued systematically to discover the actual nature of the relationship between performance as a set of behavioural practices and the forms and the transactions of these other disciplines. This book investigates the structural similarities and features of politics and performance, which are referred to here as ‘grammar', a concept which also emphasizes the common communicational base or language of these fields. In each of the chapters included in this collection, key processes of both politics and performance are identified and analyzed, demonstrating the critical and indivisible links between the fields. The book also underlines that neither politics nor performance can take place without actors who perform and spectators who receive, evaluate and react to these actions. At the heart of the project is the ambition to bring about a paradigm change, such that politics cannot be analyzed seriously without a sophisticated understanding of its performance. All the chapters here display a concrete set of events, practices, and contexts within which politics and performance are inseparable elements.This work will be of great interest to students and scholars in both International Relations and Performance Studies.

This volume explores the cultural, literary, theatrical, and political changes in Irish society from 1980. The so-called ‘Celtic Tiger'brought about cultural and economic rejuvenation in Ireland but this new found confidence and prosperity was destabilised by other events, such as the scandals in the Catholic Church, bringing into question the role of traditional institutions in contemporary Irish life. The ending of the Troubles and signing of the Good Friday Agreement similarly heralded a new era in terms of positive political change, but recent paramilitary activity threatens to undermine the progress made in the 1990s, as waves of new violence hit the North. Equally, recent economic recession has halted the radical growth seen in the Republic over recent decades. This book therefore problematises the concept of change and progress by juxtaposing these events, and asking what real changes can be traced in modern Ireland. The contributors frequently reflect on the changes and upheavals this period of dramatic economic, political and cultural change has prompted. The volume includes contributions from the fields of politics, cultural studies, sport, history, geography, media and film studies, and theatre and literature. As such it is a decidedly interdisciplinary study, exploring wide-ranging topics and issues relevant to contemporary Irish Studies.

Ob die Gründerfigur einer Religion ('Mann Moses'), ein von Verlusten gezeichneter Aristokratensohn ('Wolfsmann') oder ein verzagter Glücksritter ('Black Hamlet') - alle drei schlagen tief im Herzen des psychoanalytischen Gedächtnisses und präsentieren sich doch auch als versierte Saboteure. Sie bekommen es mit Gespenstern und den psychoanalytischen Konzepten des Verdrängten, der Krypta und des Traumas zu tun. Dabei stehen sie dafür ein, dass Erinnerungen stets nur mangelhaft im Gedächtnis erscheinen, bringen jedoch auch die Konzeption des Werdens als'Anti-Gedächtnis'zur Geltung. Um dem Spannungsfeld zwischen Gedächtnis und Werden auf die Spur zu kommen, analysiert Tobias Hinrichs in diesem Buch die vielschichtige Gedächtniskonstruktion in Sigmund Freuds'Der Mann Moses und die monotheistische Religion'und widmet sich daraufhin dessen'berühmtestem Fall', dem Wolfsmann, der sich zeitlebens durch Finten und Rätsel wieder aus dem freudschen Gedächtnis zu befreien versuchte. Als Drittes tritt der'Black Hamlet'hinzu, Wulf Sachs'Biographie eines traditionellen Heilers, der im Südafrika der Vorapartheid zwischen gefährliche Machtdiskurse gerät.

Performance Studies in Motion offers multiple perspectives on the current field of performance studies and suggests its future directions. Featuring new essays by pioneers Richard Schechner and Barbara Kirshenblatt-Gimblett, and by international scholars and practitioners, it shows how performance can offer a new way of seeing the world, and testifies to the dynamism of this discipline. Beginning with an overview of the development of performance studies, the essays offer new insights into: contemporary experimental and postdramatic theatre; participatory performance and museum exhibitions; the performance of politicians, political institutions and grassroots protest movements; theatricality at war and in contemporary religious rituals, and performative practices in therapy, education and life sciences. Employing original reflexive approaches to concrete case studies and situations, contributors introduce a variety of applications of performance studies methodologies to contemporary culture, art and society, creating new interdisciplinary links between the arts, humanities, and social and natural sciences. With studies from and about places as diverse as Austria, Belgium, China, France, Germany, Israel, Korea, Palestine, the Philippines, Poland, Rwanda and the USA, Performance Studies in Motion showcases the vitality and breadth of the field today.

L'auteur ne se borne pas à retracer l'évolution, les mutations et les dynamiques qui sous-tendent les institutions britanniques (l'Eglise anglicane, la Chambre des lords, la Chambre des communes et la royauté) dans une tranche historique précise. Il s'arrête aussi sur des faits quotidiens sans lesquels il serait difficile de saisir toute la quintessence d'une histoire culturelle (la mode vestimentaire, l'espace festif et leur signification symbolique).

In recent years we have witnessed an increasing convergence of work in International Politics and Performance Studies around the troubled, and often troubling, relationship between politics and aesthetics. Whilst examination of political aesthetics, aesthetic politics, and politics of aesthetic practice has been central to research in both disciplines for some time, the emergence of a distinctive ‘performative turn'in International Politics and a critical return to the centrality of politics and the concept of ‘the political'in Performance Studies highlights the importance of investigating the productivity of bringing the methods and approaches of the two fields of enquiry into dialogue and mutual relation.Exploring a wide range of issues including rioting, youth-driven protests, border security practices and the significance of cultural awareness in war, this text provides an accessible and cutting edge survey of the intersection of international politics and performance examining issues surrounding the politics of appearance, image, event and place; and discusses the development and deployment of innovative critical and creative research methods, from auto-ethnography to site-specific theatre-making, from philosophical aesthetics to the aesthetic thought of new securities scenario-planning. The book's focus throughout is on the materiality of performance practices—on the politics of making, spectating, and participating in a variety of modes as political actors and audiences—whilst also seeking to explicate the performative dynamics of creative and critical thinking. Structured thematically and framed by a detailed introduction and conclusion, the focus is on producing a dialogue between contributors and providing an essential reference point in this developing field. This work is essential reading for students of politics and performance and will be of great interest to students and scholars of IR, performance studies and cultural studies.

Jean Genet and the politics of theatre is the first publication to situate the politics of Genet's theatre within the social, spatial and political contexts of France in the 1950s and 1960s. The book's innovative approach departs significantly from existing scholarship on Genet. Where scholars have tended to bracket Genet as either an absurdist, ritualistic or, more recently, a resistant playwright, this study argues that his theory and practice of political theatre have more in common with the affirmative ideas of thinkers such as Henri Lefebvre, Jacques Rancière and Alain Badiou. By doing so, the monograph positions Genet as a revolutionary playwright, interested in producing progressive forms of democracy. This original and interdisciplinary reading of Genet's late work will be of interest to students and practitioners of Theatre, as well as those interested in French and History.

Travelling through theories of emotion and affect, this book addresses the key ways in which media studies can be brought to bear upon everyday encounters with online cultures and practices. The book takes stock of where we are emotionally with regard to the Internet in the context of other screen media.

Today's celebrity conservationists, many of whom made their reputations through television and other visual media, play a major role in drawing public attention to an increasingly threatened world. This book, one of the first to address this contribution, focuses on five key figures: the English naturalist David Attenborough, the French marine adventurer Jacques-Yves Cousteau, the American primatologist Dian Fossey, the Canadian scientist-broadcaster-activist David Suzuki, and the Australian'crocodile hunter'Steve Irwin. Some of the issues the author addresses include: What is the changing relationship between western conservation and celebrity? How has the spread of television helped shape and mediate this relationship? To what extent can celebrity conservation be seen as part of a global system in which conservation, like celebrity, is big business? The book critically examines the heroic status accorded to the five figures mentioned above, taking in the various discourses – around nature, science, nation, gender – through which they and their work have been presented to us. In doing so, it fills in the cultural, historical and ideological background behind contemporary celebrity conservationism as a popular expression of a chronically endangered world.

Based on the groundbreaking ITV/The Learning Channel documentary series, and drawn from years of research and dozens of interviews with friends and associates speaking on the record for the first time, Diana contains never-before-revealed information and stunning insights about the beloved -- and largely misunderstood -- Princess of Wales. From claims that Diana was ready to leave Charles just weeks before the wedding to her lifelong battle against depression, from world-exclusive interviews with Diana's beau James Hewitt and her'surrogate mother-in-law'Shirley Hewitt to details about the unconventional'arrangements'in the royal household -- between Diana and James, Charles and Camilla Parker Bowles -- Diana is an honest, objective, and unparalleled biography. With thirty-two photographs -- including several never before published -- Diana shows all facets of this fascinating woman: her magic, her manipulations, her dazzling public persona, and her place in her people's hearts and history.

Theatre in the Expanded Field is a fiercely original, bold and daring exploration of the fields of theatre and performance studies and the received narratives and histories that underpin them. Rich with interdisciplinary reference, international, eclectic and broad-ranging in its examples, it offers readers a compelling and provocative reassessment of the disciplines, one that spans pre-history to the present day.Sixty years ago, in 1962, Richard Southern wrote a remarkable book called The Seven Ages of the Theatre. It was unusual in its time for taking a trans-disciplinary, new-historical and avowedly internationalist approach to its subject - nothing less than a totalizing view of its field. Theatre in the Expanded Field does not attempt to mimic Southern's work but rather takes his spirit of adventure and ambition as its frame for the contemporary moment of performance and its diverse pasts. Identifying seven ways of exploring the performance field, from pre-history to postdramatic theatre the book presents studies of both contemporary and historical works not as a chronological succession, but in keeping with their coeval qualities, as movements or'generations'of connection and interaction, dissensus and interruption. It does this with the same purpose as Richard Southern's original work: to provide for the planning of responsive performance spaces'now'. Illustrated throughout with line-drawings, Theatre in the Expanded Field is as richly rewarding as it is ambitious and expansive in it vision.

This collection documents and examines political and protest theatre produced between the 9/11 attacks in 2001 and Obama's election in 2008 by British and American artists responding to their own governments'actions and policies during this time. The plays take up topics such as the ongoing wars on terror, Blair's support of U.S. policies, the flawed intelligence that led to the Iraq war, and illegal detentions and torture at Abu Ghraib. The authors argue that engaged artists faced a radically different sociopolitical context for their work after 9/11 compared to earlier social protest movements and new forms of theatre, and different emotional strategies were necessary to meet the challenges. The subtitle Patriotic Dissent suggests the double stance of many artists-- influenced by patriotic expressions of national solidarity, yet critical of the ways that patriotic language was put to use against others. The articles represent a broad range of theatre: Broadway musicals, documentary theatre, adaptations of classical theatre, new plays by British playwrights, street performances and installations, and musical concerts. The contributors'case studies evaluate the effectiveness of important instances of political theatre and protest from this decade, arguing for the significance, relevance, and continuing necessity for evolving forms of political theatre today.

Der Fußball bringt kulturelle Muster und soziale Identitäten hervor, die weit ins Feld der Memorialkultur reichen. So hat sich im britischen Vereinsfußball eine differenzierte Erinnerungs- und Bestattungskultur herausgebildet, die sogar Beisetzungen im Stadion vorsieht. Führende europäische Sporthistoriker stellen in diesem Band das bunte Spektrum der Memorialkultur im Vereinsfußball dar. Ausführlich analysieren sie die Medien, Künste und Rituale des Erinnerns, vereinsoffizielle und fankulturelle Praktiken sowie die Strategien der Fußballclubs und -verbände zur Herstellung einer'corporate identity'. Am Beispiel des deutschen Fußballs kommt darüber hinaus die'memoria damnata'zur Sprache: das absichtsvolle Verschweigen und Vergessen von Sportlern im Nationalsozialismus und unter dem SED-Regime.

In November 1998, millions of television viewers watched as Thomas Youk died. Suffering from the late stages of Lou Gehrig's disease, Youk had called upon infamous Michigan pathologist Dr. Jack Kevorkian to help end his life on his own terms. After delivering the videotape to 60 Minutes, Kevorkian was arrested and convicted of manslaughter, despite the fact that Youk's family firmly believed that the ending of his life qualified as a good death.Death is political, as the controversies surrounding Jack Kevorkian and, more recently, Terri Schiavo have shown. While death is a natural event, modern end-of-life experiences are shaped by new medical, demographic, and cultural trends. People who are dying are kept alive, sometimes against their will or the will of their family, with powerful medications, machines, and'heroic measures.'Current research on end-of-life issues is substantial, involving many fields. Beyond the Good Death takes an anthropological approach, examining the changes in our concept of death over the last several decades. As author James W. Green determines, the attitudes of today's baby boomers differ greatly from those of their parents and grandparents, who spoke politely and in hushed voices of those who had'passed away.'Dr. Elisabeth Kübler-Ross, in the 1960s, gave the public a new language for speaking openly about death with her'five steps of dying.'If we talked more about death, she emphasized, it would become less fearful for everyone.The term'good death'reentered the public consciousness as narratives of AIDS, cancer, and other chronic diseases were featured on talk shows and in popular books such as the best-selling Tuesdays with Morrie. Green looks at a number of contemporary secular American death practices that are still informed by an ancient religious ethos. Most important, Beyond the Good Death provides an interpretation of the ways in which Americans react when death is at hand for themselves or for those they care about.

This book draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.

Das Problem der Subjektkonstitution erscheint aus einer kunst- und kulturwissenschaftlichen Perspektive als zentrale Schnittstelle bei der Betrachtung theatraler Praktiken. Gerade das theatrale Spiel mit verschiedenen Formen von Subjektivität - sei es in ihrer Fragmentierung oder als Behauptung eines autonomen Subjekts - verweist auf das Prekäre der Subjektkonstitution. Dieser Band umfasst Beiträge zu Fragen der Verfasstheit des Subjekts in gesellschaftlichen Kontexten, zu ästhetischen Praktiken, die die Affirmation und Subversion von Subjektnormen behandeln, und zur Geschichte der sich ändernden Subjektmodelle in Kunst und Alltagskultur.

Focusing on the role of genre in the formation of dominant conceptions of death and dying, Desirée Henderson examines literary texts and social spaces devoted to death and mourning in eighteenth- and nineteenth-century America. Henderson shows how William Hill Brown, Susanna Rowson, and Hannah Webster borrowed from and challenged funeral sermon conventions in their novelistic portrayals of the deaths of fallen women; contrasts the eulogies for George Washington with William Apess's'Eulogy for King Philip'to expose conflicts between national ideology and indigenous history; examines Frederick Douglass's use of the slave cemetery to represent the costs of slavery for African American families; suggests that the ideas about democracy materialized in Civil War cemeteries and monuments influenced Walt Whitman's war elegies; and offers new contexts for analyzing Elizabeth Stuart Phelps's The Gates Ajar and Emily Dickinson's poetry as works that explore the consequences of female writers claiming authority over the mourning process. Informed by extensive archival research, Henderson's study eloquently speaks to the ways in which authors adopted, revised, or rejected the conventions of memorial literature, choices that disclose their location within decisive debates about appropriate gender roles and sexual practices, national identity and citizenship, the consequences of slavery, the nature of democratic representation, and structures of authorship and literary authority.

Exploring the themes of the event, ephemerality and democracy that mark the encounter between performance and philosophy, this original study elaborates fresh perspectives on the experiences of undoing, fiasco and disaster that shadow both the both stage and everyday life.

The theatre of Richard Maxwell and the New York City Players has received significant international recognition over the past ten years. The company has received three OBIEs, for House (1999), Drummer Wanted (2002) and Good Samaritans (2005). Maxwell received a Guggenheim Fellowship in 2010 and has been commissioned by venues in the United States, the United Kingdom, Germany, Austria, the Netherlands, France, Belgium and Ireland. Although his productions generate a plethora of reviews, there is a deficit of material providing a critical and sustained engagement with his work. The aim of this book is to provide a critical survey of Maxwell's work since 1992, including his early participation in Cook County Theater Department. Touching upon the acting, production and rehearsal processes of NYC Player's work, and Maxwell's representations of space, community, race, and gender, this volume provides scholars with an important overview of a key figure in contemporary drama.

How do we rely on media for remembering? In exploring the complex ways that media converge to support our desire to capture, store and retrieve memories, this textbook offers analyses of representations of memorable events, media tools for remembering and forgetting, media technologies for archiving and the role of media producers in making memories.Theories of memory and media are covered alongside an accessible range of case studies focusing on memory in relation to radio, television, pop music, celebrity, digital media and mobile phones. Ethnographic and production culture research, including interviews with members of the public and industry professionals, is also included. Offering a comprehensive introduction to the connections and disconnections in the study of media and memory, this is the perfect textbook for media studies students.Key Features• Presents a thorough and detailed overview of key writers, theories and debates• Case studies enrich the text, offering innovative approaches and insights on methodology • Covers a range of'old'and'new'media including: from radio, television, film, photography, digital media, mobile phones and popular music• Explores discourses, forms and practices of media and memory with active learning exercises that engage readers

Stories of the missing offer profound insights into the tension between how political systems see us and how we see each other. The search for people who go missing as a result of war, political violence, genocide, or natural disaster reveals how forms of governance that objectify the person are challenged. Contemporary political systems treat persons instrumentally, as objects to be administered rather than as singular beings: the apparatus of government recognizes categories, not people. In contrast, relatives of the missing demand that authorities focus on a particular person: families and friends are looking for someone who to them is unique and irreplaceable. In Missing, Jenny Edkins highlights stories from a range of circumstances that shed light on this critical tension: the aftermath of World War II, when millions in Europe were displaced; the period following the fall of the World Trade Center towers in Manhattan in 2001 and the bombings in London in 2005; searches for military personnel missing in action; the thousands of political'disappearances'in Latin America; and in more quotidian circumstances where people walk out on their families and disappear of their own volition. When someone goes missing we often find that we didn't know them as well as we thought: there is a sense in which we are'missing'even to our nearest and dearest and even when we are present, not absent. In this thought-provoking book, Edkins investigates what this more profound'missingness'might mean in political terms.