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Acting Greek Tragedy
Acting Greek Tragedy explores the dynamics of physical interaction and the dramaturgical construction of scenes in ancient Greek tragedy. Ley argues that spatial distinctions between ancient and modern theatres are not significant, as core dramatic energy can be placed successfully in either context. Guiding commentary on selected passages from Aeschylus, Sophocles and Euripides illuminates the problems involved with performing monologue, dialogue, scenes requiring three actors, and scenes with properties. A companion website - actinggreektragedy.com - offers recorded illustrations of scenes from the Workshops. What the book offers is a practical approach to the preparation of Greek scripts for performance. The translations used have all been tested in workshops, with those of Euripides newly composed for this book. The companion website can be found here: www.actinggreektragedy.com
Critical Essays on British South Asian Theatre
Critical Essays on British South Asian Theatre marks a major contribution to the understanding of one of the most remarkable examples of diasporic artistic activity in recent history. The second volume on British South Asian theater compiled by Graham Ley and Sarah Dadswell, this volume provides detailed critical analyses of theater practice and performance from the last thirty years.
A Short Introduction to the Ancient Greek Theater
Reexamining the surviving plays of Aeschylus, Sophocles, Euripides, and Aristophanes, the author discusses acting technique, scenery, the power and range of the chorus, the use of theatrical space, and parody in their plays. This edition includes notes on ancient mime and puppetry and how to read Greek playtexts as scripts.
Communities, Performance and Practice
This book examines how a predominantly negative view of community has presented a challenge to critical analysis of community performance practice. The concept of community as a form of class-based solidarity has been hollowed out by postmodernism’s questioning of grand narratives and poststructuralism’s celebration of difference. Alongside the critique of a notion of community has been a critical re-signification of community, following the thinking of philosopher Jean-Luc Nancy who conceives of community not as common being but as being-in-common. The concept of community as being-in-common generates questions that have been taken up by feminist geographers, J.K. Gibson-Graham, in theorising a post-capitalist approach to community-based development. These questions and approaches guide the analyses in researched case studies of community performance practice. The book revises theoretical debates that have defined the field of community theatre and performance. It asks how the critical re-signification of community aligns with these debates and, at the same time, opens new modes of critical analysis of community theatre and performance practice.
Mapping Migration
This edited collection examines culture and identity in Indian diaspora communities in Southeast Asia, and the UK. Using methodologies such as transnational and diaspora studies, history, autoethnography and family histories, the contributions here explore the movements of people from the Indian subcontinent across generations to a wide range of countries. Cultural practices including the use of performance, food, rituals, religion, education, employment, and names demonstrate how identities and practices are preserved, as well as adapted, in new contexts. This offers original insights into transnational movements of people, and how culture becomes a major part in the formation of a diaspora. The focus on Southeast Asia creates new knowledge by shifting the theoretical focus towards a region that shows great multiplicity in Indian migrant populations over a considerable period of time, but which has remained under-researched. The chapters on the UK act as a counterpoint to this, and contribute to the complex picture of shifting borders and practices across nations and generations.
Who's Who in Research: Performing Arts
Increasingly, academic communities transcend national boundaries. “Collaboration between researchers across space is clearly increasing, as well as being increasingly sought after,” noted the online magazine Inside Higher Ed in a recent article about research in the social sciences and humanities. Even for those scholars who don’t work directly with international colleagues, staying up-to-date and relevant requires keeping up with international currents of thought in one’s field. But when one’s colleagues span the globe, it’s not always easy to keep track of who’s who—or what kind of research they’re conducting. That’s where Intellect’s new series comes in. A set of wor...
Singing Simpkin and other Bawdy Jigs
A popular crowd-pleaser in the late 16th and mid-17th century, the dramatic jig was a short, comic, bawdy musical-drama which included elements of dance, slapstick and disguise. With a cast of ageing cuckolds and young head-strong wives, knavish clowns, roaring soldiers and country bumpkins, jigs often followed as afterpieces at London’s playhouses, and were performed at fairs, in villages and in private houses. Troublesome to the authorities, they drew the crowds by offering a lively antidote to more sober theatrical fare. This performance edition presents for the first time nine examples of English dramatic jigs from the late sixteenth century through to the Restoration; the scripts are re-united as far as possible with their original tunes. It gives a comprehensive history, discusses sources, plots, instrumentation and dancing, and offers practical information on staging jigs today. Includes: Transcriptions of the original texts Contextual notes: plot synopses and discussion of sources, themes and audience reception Musical notation for each tune, with suggestions for underlay and chords, and notes on instrumention and style Appendix of dance instructions and reconstructions
Musicality in Theatre
As the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study of musicality in the theatre, David Roesner offers a revised view of the nature of the relationship. The new perspective results from two shifts in focus: on the one hand, Roesner concentrates in particular on theatre-making - that is the creation processes of theatre - and on the other, he traces a notion of ‘musicality’ in the historical and contemporary discourses as driver of theatrical innovation and aesthetic dispositif, focusing on musical qualities, metapho...
Women in Asian Performance
Women in Asian Performance offers a vital re-assessment of women's contributions to Asian performance traditions, focusing for the first time on their specific historical, cultural and performative contexts. Arya Madhavan brings together leading scholars from across the globe to make an exciting intervention into current debates around femininity and female representation on stage. This collection looks afresh at the often centuries-old aesthetic theories and acting conventions that have informed ideas of gender in Asian performance. It is divided into three parts: erasure – the history of the presence and absence of female bodies on Asian stages; intervention – the politics of female intervention into patriarchal performance genres; reconstruction – the strategies and methods adopted by women in redefining their performance practice. Establishing a radical, culturally specific approach to addressing female performance-making, Women in Asian Performance is a must-read for scholars and students across Asian Studies and Performance Studies.
Eighteenth-Century Brechtians
Discussing the actor mutiny of 1733, theatre censorship, controversial plays and Fielding’s forgery of an actor’s biography, the book contends that some subversive Augustan and Georgian artists were early Brechtians. Reconstructions of lost episodes in theatre history include a recounting of Fielding’s last days as a stage satirist before his Little Haymarket theatre was closed, Charlotte Charke’s performances as Macheath and Polly Peachum in The Beggar’s Opera and the 1740 staging of Jonathan Swift’s Polite Conversation on a double bill with Shakespeare’s Merry Wives . . . Some documents in this collection offer another perspective on theatre history by employing fiction – s...
