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Contemporary European Theatre Directors
This expanded second edition of Contemporary European Theatre Directors is an ambitious and unprecedented overview of many of the key directors working in European theatre over the past 30 years. This book is a vivid account of the vast range of work undertaken in European theatre during the last three decades, situated lucidly in its artistic, cultural, and political context. Each chapter discusses a particular director, showing the influences on their work, how it has developed over time, its reception, and the complex relation it has with its social and cultural context. The volume includes directors living and working in Italy, Germany, France, Spain, Poland, Russia, Romania, the UK, Belgium, Switzerland, and the Netherlands, offering a broad and international picture of the directing landscape. Now revised and updated, Contemporary European Theatre Directors is an ideal text for both undergraduate and postgraduate directing students, as well as those researching contemporary theatre practices, providing a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe following the end of the Cold War.
No Beauty for Me There where Human Life is Rare
This book is the first collection of critical essays to appear about Needcompany, a prominent, Brussels-based international theater company.
Troubleyn Laboratorium
This handsome book peers into Troubleyn/Laboratorium, the workspace, collective art space, and creative incubator of Belgian multidisciplinary artist Jan Fabre (b. 1958), whose performances, staged since the 1980s, have brought him international acclaim and recognition. Expressing the collective aims of Fabre's theatre company, Troubleyn/Laboratorium functions as his workspace as well as a nurturing environment for the activities of his theater company and young artists alike, in which artists are free to develop and materialize their creative impulses. The building, situated in a progressive multicultural neighborhood in northern Antwerp, houses a uniquely integrated collection of art works from international visual artists, writers, theatre makers, and philosophers, with whom Jan Fabre feels a close affinity and whose works represent the overall cooperative spirit of the space itself. Fostering an environment that is as progressive as the artist's varied oeuvre, Troubleyn/Laboratorium provides the grounds for an idealistic hotbed of artistic activity and this publication offers a glimpse of that possible utopia. Distributed for Mercatorfonds
Adapting Translation for the Stage
"Translating for performance is a difficult - and hotly contested - activity. Adapting Translation for the Stage presents a sustained dialogue between scholars, actors, directors, writers, and those working across these boundaries, exploring common themes and issues encountered when writing, staging, and researching translated works. It is organised into four parts, each reflecting on a theatrical genre where translation is regularly practised:The Role of Translation in Rewriting Naturalist TheatreAdapting Classical Drama at the Turn of the Twenty-First CenturyTranslocating Political Activism in Contemporary TheatreModernist Narratives of Translation in PerformanceA range of case studies fro...
Other Germanies
Explores notions of personal and cultural identity, and offers an introduction to the work of women in literature, film, dance, and visual art in Germany.
Performance and Posthumanism
Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally human domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans be they technology, objects, animals, or other forms of being works on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.
Bodycheck
In ice hockey, the term body check refers to a specific move to gain control. It is a blow from body to body, a dynamic clash of physical strength, which will determine the course of the game. In this book, too, the body is checked and there is physical confrontation. Not in the hockey ring, but on stage. This book deals with the body in contemporary (performing) arts. The focus is on exploring theoretical avenues and developing new concepts to grasp corporeal images more accurately. This theoretical research is confronted with the voice of artists whose work explicitly deals with the body. In-depth interviews with a.o. Meg Stuart, Wim Vandekeybus, Romeo Castellucci, Jerôme Bel reveal a very broad range of views on the (re)presentation of the body in today’s performing arts. The combination of these two voices –the theoretician’s and the artist’s -shows that research by artists and cultural scientists is perfectly complementary.
Les Fils d'un entrelacs sans fin
A travers l'analyse d'une vingtaine de créations de la chorégraphe belge Anne Teresa De Keersmaeker, l'auteur propose un parcours qui permet de situer l'évolution du style de l'artiste, marqué par une volonté d'assimilation intime et physique d'éléments propres à d'autres disciplines : musique, théâtre, cinéma, etc.
The Great European Stage Directors Volume 8
This volume foregrounds Pina Bausch, Romeo Castellucci and Jan Fabre as 3 leading directors who have each left an indelible mark on post-war European theatre. Combining in-depth discussions of the artists' poetics with detailed case studies of several famous and lesser-known key works, the authors featured in this volume trace a range of foundational aesthetic strategies that are central to the directors' work: the dynamics of repetition vis-à-vis fragmentation, the continued significance of language in experimental theatre and dance, the tension between theatricality and the performative reality of the stage, and the equal importance attached to text, image and body. This volume develops a vivid picture of how European stage directors have continued to redefine their own position and role throughout the latter half of the 20th century.
