Theatre and Performance Studies 2010 (USA) by Routledge Taylor & Francis Group

Routledge

Theatre and Performance Studies New Titles and Key Backlist 2010

www.routledge.com/theatre

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Welcome to Routledge

Theatre and Performance Studies New Titles and Key Backlist 2010

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Contacts

contents

Textbooks and Student Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Craft: Acting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Directing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Devising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Routledge Performance Practitioners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Performers and Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Stanislavski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Michael Chekhov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Augusto Boal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Eugenio Barba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Routledge Theatre Classics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Performance Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Theatre History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 World Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Order Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inside Back page

Editorial Inquiries

For all territories excluding the Americas: Talia Rodgers – Publisher Email: talia.rodgers@tandf.co.uk

Ben Piggott – Assistant Editor Email: ben.piggott@tandf.co.uk

Niall Slater – Editorial Assistant Email: niall.slater@tandf.co.uk

Marketing Inquiries

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te x tbook s an d s tude n t r e f e r en c e

Textbooks and Student Reference NEW

Routledge Drama Anthology and Sourcebook: From Modernism to Contemporary Performance Edited by Maggie B. Gale, University of Manchester, UK and John F. Deeney, Manchester Metropolitan University, UK

The Routledge Drama Anthology and Sourcebook is a groundbreaking compilation of the key movements in the history of modern theatre, from the late nineteenth century to contemporary performance practice. Each of the book’s five sections comprises a selection of plays and performance texts that define their period, reproduced in full and accompanied by key theoretical writings of performers and critics that inform and contextualise their reading. Substantial introductions from experts in the field also provide these sections with an overview of the works and their significance. The works span: • naturalism and symbolism • the historical avant-garde • early political theatre • the performance of ideology • contemporary performance.

This textbook provides an unprecedented collection of comprehensive resource materials which will facilitate in-depth critical analysis. It enables a dialogue between Chekhov, Strindberg, Lorca, Marinetti and Artaud, Brecht, Churchill, Fornes, Ravenhill and Goméz-Peña, amongst many other key practitioners. Selected Contents: Introduction Part 1: Naturalism and Symbolism: Early Modernist Practice Introductory Essay Dan Rebellato 1. Thérèse Raquin Emile Zola 2. Miss Julie August Strindberg 3. Three Sisters Anton Chekhov 4. When We Dead Awaken Henrik Ibsen 5. Interior Maurice Maeterlinck 6. Naturalism in the Theatre Emile Zola 7. Preface to Miss Julie August Strindberg 8. A New Art of the Stage Arthur Symons 9. The Modern Drama Maurice Maeterlinck 10. Tragedy in Everyday Life Maurice Maeterlinck 11. On the Complete Pointlessness of Accurate Staging Pierre Quillard Part 2: The Historical Avant-Garde: Performance and Innovation Introductory Essay Maggie B. Gale 12. King Ubu Alfred Jarry 13. The Breasts of Tiresias Guillaume Apollinaire 14. The Spurt of Blood Antonin Artaud 15. Murder the Women’s Hope Oskar Kokoshka 16. Batchelor Apartment Umberto Boccioni 17. Genius and Culture Umberto Boccioni 18. Feet Filippo Tommaso Marinetti 19. Genius in a Jiffy or a Dadology Raoul Hausmann 20. The Public Federico GarcÌa Lorca 21. The Meaning of the Music Hall Filippo Tommaso Marinetti 22. No More Masterpieces and Theatre and The Plague [edited] Antonin Artaud 23. The First Surrealist Manifesto and The Second Surrealist Manifesto Andrè Breton 24. Futurist Scenography Enrico Prampolini 25. Theater, Circus, Variety Laszlo Moholy Nagy Part 3: Early Political Theatres Introductory Essay Maggie B. Gale and John F. Deeney 26. How the Vote Was Won Cicely Hamilton and Christopher St. John 27. Hoppla! This Life Ernst Töller 28. Love on the Dole Ronald Gow and Walter Greenwood 29. E=MC2 Hallie Flanagan 30. Johnny Noble Ewan McColl 31. Suffrage Theatre: Community Activism and Political Commitment Susan Carlson 32. The Work of Art in the Age of Technological Reproducibility, and Other Writings on Media Walter Benjamin 33. A Street Scene Bertolt Brecht 34. Theatre for Pleasure Bertolt Brecht 35. Rehabilitating Realism Sheila Stowell 36. The Author as Producer Terry Eagleton Part 4: Ideology and Performance/The Performance of Ideology Introductory Essay John F. Deeney 37. Blues for Mr Charlie James Baldwin 38. The Cheviot, the Stag and the Black, Black Oil John McGrath 39. Enter the Night Marie Irene Fornès 40. Far Away Caryl Churchill 41. Scenes from Family Life Mark Ravenhill 42. Theory of Cultural Production Alan Sinfield 43. The Theory and Practice of Political Theatre John McGrath 44. Forty Nine Asides for a Tragic Theatre Howard Barker 45. Introduction: Re-acting to Empire Helen Gilbert and Joanne Tompkins 46. Me, My iBook and Writing in America Mark Ravenhill Part 5: Contemporary Performance/The Contemporaneity of Practice Introductory Essay Aleksandar Dundjerovic 47. Stage Directions for Stories From The Nerve Bible [excerpts] Laurie Anderson 48. Polygraph Robert Lepage and Marie Bressard 49. ’Confess to everything, a note on Speak Bitterness, and Speak Bitterness Tim Etchells/Forced Entertainment 50. The Story of M SuAndi 51. Supernintendo Ranchero Guillermo Goméz-Peña 52. Myth Today Roland Barthes 53. The Divine Interference of Images and The Strategy of the Real Jean Baudrillard 54. Aspects: Text-space-time-body-media Hans Thies Lehmann 55. Dramaturgy and Montage Eugenio Barba 56. Laurie Anderson In Interview edited by Nicholas Zarbrugg 57. Away from The Surveillance cameras of the Art World: Strategies for Collaboration and Community Activism Guillermo Goméz-Peña June 2010: 246 x 189: 880pp Hb: 978-0-415-46606-6: $135.00 Pb: 978-0-415-46662-2: $44.95 For more information, visit: www.routledge.com/9780415466622

The Routledge Drama Anthology and Sourcebook contains the full text of the following plays and performance texts: Thérèse Raquin – Emile Zola Miss Julie – August Strindberg Three Sisters – Anton Chekhov When We Dead Awaken – Henrik Ibsen Interior – Maurice Maeterlinck King Ubu – Alfred Jarry The Breasts of Tiresias – Guillaume Apollinaire

The Spurt of Blood – Antonin Artaud The Murder of Women’s Hope – Oskar Kokoshka

Bachelor Apartment – Umberto Boccioni Genius and Culture - Umberto Boccioni Feet – Filippo Tommaso Marinetti Genius in a Jiffy or Dadaology – Raoul Hausmann

The Public – Federico Garcia Lorca How the Vote Was Won – Cicely Hamilton and Christopher St. John

Hoppola! This Life – Ernst Töller Love on the Dole – Ronald Gow and Walter Greenwood

E=MC2

– Hallie Flanagan

Johnny Noble – Ewan McColl Blues for Mr. Charlie – James Baldwin The Cheviot, the Stag and the Black, Black Oil – John McGrath Enter the Night – Marie Irene Fornés Far Away – Caryl Churchill Scenes From Family Life – Mark Ravenhill

Stage Directions for Stories From the Nerve Bible – Laurie Anderson Polygraph – Robert Lepage and Marie Bressard

Confess to everything, a note on Speak Bitterness and Speak Bitterness – Tim Etchells/Forced Entertainment

The Story of M

– SuAndi

Supernintendo Ranchero – Guillermo

Góméz-Peña

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

t ext b o o ks an d studen t refere n c e

New Textbook – 2nd Edition

Theatre Histories: An Introduction Gary Jay Williams, Bruce A. McConachie, University of Pittsburgh, USA, Carol Fisher Sorgenfrei, University of California, Los Angeles, USA and Phillip Zarrilli, University of Exeter, UK

This new edition of the innovative and widely acclaimed Theatre Histories: An Introduction offers overviews of theatre and drama in many world cultures and periods together with case studies demonstrating the methods and interpretive approaches used by today’s theatre historians. Completely revised and renewed in color, enhancements and new material include: • a full colour text design with added timelines to each opening section • a wealth of new colour illustrations to help convey the vitality of performances described • new case studies on African, Asian and Western subjects • a new chapter on modernism, and updated and expanded chapters and part introductions

• fuller definitions of terms and concepts throughout in a new glossary • a re-designed support website offering additional resources such as more links to audio-visual resources on the web, expanded bibliographies, approaches to teaching theatre and performance history, discussion questions relating to case studies and a glossary of key terms. The Companion website is available at www.theatrehistories.co.uk/ January 2010: 246 x 189: 640pp Hb: 978-0-415-46223-5: $120.00 Pb: 978-0-415-46224-2: $49.95 eBook: 978-0-203-87917-7 For more information, visit: www.routledge.com/9780415462242

New 2nd Edition

Actor Training Alison Hodge, Royal Holloway, University of London, UK

Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book, making it even more valuable for any student of the history and practice of actor training. The original chapters and bibliography are brought right up to date, along with the addition of eight more practitioners - and forty more photographs - to create a stunningly comprehensive study. The practitioners included are: Stella Adler, Eugenio Barba, Augusto Boal, Anne Bogart, Bertolt Brecht, Peter Brook, Michael Chekhov, Joseph Chaikin, Jacques Copeau, Philippe Gaulier, Jerzy Grotowski, Maria Knebel, Jacques Lecoq, Joan Littlewood, Sanford Meisner, Vsevolod Meyerhold, Ariane Mnouchkine, Monika Pagneux, Michel Saint-Denis, Wlodzimierz Staniewski, Konstantin Stanislavsky and Lee Strasberg

Each chapter is written by a leading expert on a key theatre practitioner or movement, and is accessible for readers approaching the work for the first time. Each writer clearly sets out the historical, cultural and political context to the practitioners’ work. This is followed by an incisive and enlightening analysis of the practitioner’s main principles of training, practical exercises and key productions. This book presents readers with an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre. January 2010: 246 x 174: 392pp Hb: 978-0-415-47167-1: $100.00 Pb: 978-0-415-47168-8: $34.95 eBook: 978-0-203-86137-0 For more information, visit: www.routledge.com/9780415471688

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

te x tbook s an d s tude n t r e f e r en c e

NEW

2nd Edition

Acting: The Basics Bella Merlin, University of California, Davis, USA

The Performance Studies Reader

Series: The Basics

Edited by Henry Bial, University of Kansas, USA

Acting: The Basics is a practical and theoretical guide to the world of the professional actor, skilfully combining ideas from a range of practitioners and linking the academy to the industry. It covers key areas such as:

• the development of modern drama and acting processes over the years

The second edition contains expanded introductory essays, eight entirely new pieces, and is cross-referenced with Richard Schechner’s second edition of Performance Studies: An Introduction. The two volumes combine perfectly to offer a unique and complete teaching resource. This important collection is also widely used by students and scholars around the world as a stand-alone text, offering a stimulating introduction to the crucial debates of performance studies.

• the approach and legacy of acting pioneers and practitioners from around the world • acting techniques and practicalities, including training, auditioning, rehearsing and performing – both for stage and camera. Complete with a glossary of terms and useful website suggestions, this is the ideal introduction for anyone wanting to learn more about the practice of acting and the people who have advanced its evolution. April 2010: 198 x 129: 288pp Hb: 978-0-415-46100-9: $90.00 Pb: 978-0-415-46101-6: $19.95 eBook: 978-0-203-85486-0 For more information, visit: www.routledge.com/9780415461016

Theatre Studies: The Basics Robert Leach, Cumbria Institute of the Arts, UK Series: The Basics

This is an essential read for anyone setting out to study the thrilling world of theatre for the first time. Introducing you to all the aspects of drama, theatre and performance you will be studying in your course, from the theoretical to the practical, Theatre Studies: The Basics will take you through such topics as: • dramatic genres, from tragedy to political documentary

• theories of performance • the history of the theatre in the West • acting, directing and scenography • the audience. Drawing on a wide range of examples, from Sophocles’ Oedipus Tyrannus to Gurpreet Kaur Bhatti’s controversial Behzti, and including chapter summaries and pointers to further reading, Theatre Studies: The Basics has all you need to get your studies off to a flying start. Selected Contents: Introduction. 1: Play Texts 2: Dramatic Form 3: Theatre History 4: Drama in Performance 5: Technical Considerations 6: Directing the Play 7: The Audience 8: Critical Perspectives 9: Glossary

Following on from the highly successful first anthology of critical and theoretical writings on performance studies, this is an updated and significantly expanded second edition which brings the anthology up to date with current debate.

Collecting together key critical pieces, the Reader provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in performance studies, theatre, performing arts and cultural studies. 2007: 246 x 174: 424pp Hb: 978-0-415-77274-7: $125.00 Pb: 978-0-415-77275-4: $47.95 For more information, visit: www.routledge.com/9780415772754

Textbook – 2nd Edition

Performance Studies: An Introduction Richard Schechner, Tisch School of the Arts, NYU, USA

’This isn’t merely the musings of a theatre director who never stops innovating. It is a global thinker’s striking, historic way of understanding human nature from a surprisingly practical perspective, which can be adapted in countless areas at numerous levels.’ – Sun Huizhu, Professor of Drama, Shanghai Theatre Academy ’The text is very cleverly put together with a clear idea of how its features contribute to the reading of the material. I frankly cannot imagine it being done better.’ – Simon Shepherd, Central School of Speech and Drama, London The Companion Website is available at www.routledge.com/textbooks/9780415372466 2006: 276 x 219: 368pp Hb: 978-0-415-37245-9: $120.00 Pb: 978-0-415-37246-6: $47.95 For more information, visit: www.routledge.com/9780415372466

Physical Theatres: A Critical Reader Edited by John Keefe, London Metropolitan University, UK and Simon Murray, University of Glasgow, UK

This book aims to trace the roots and development of physicality in theatre by combining practical experience of the field with a strong historical and theoretical underpinning. In exploring the histories, cross-overs and intersections of physical theatres, this critical Reader provides: • six new, specially commissioned essays, covering each of the book’s main themes, from technical traditions to contemporary practises

• discussion of issues such as the foregrounding of the body, training and performance processes, and the origins of theatre in both play and human cognition • a focus on the relationship and tensions between the verbal and the physical in theatre • contributions from Augusto Boal, Stephen Berkoff, Étienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq, Yoshi Oida, Mike Pearson, and Aristotle. 2007: 246 x 174: 320pp Hb: 978-0-415-36251-1: $125.00 Pb: 978-0-415-36252-8: $39.95 eBook: 978-0-203-01285-7 For more information, visit: www.routledge.com/9780415362528

Physical Theatres: A Critical Introduction Simon Murray, University of Glasgow, UK and John Keefe, London Metropolitan University, UK

Physical Theatres: A Critical Introduction is the first account to provide a comprehensive overview of non text-based theatre, from experimental dance to traditional mime. This book 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, Complicité 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.

2008: 198 x 129: 208pp Hb: 978-0-415-42638-1: $100.00 Pb: 978-0-415-42639-8: $19.95 eBook: 978-0-203-92694-9

2007: 246 x 174: 248pp Hb: 978-0-415-36249-8: $125.00 Pb: 978-0-415-36250-4: $33.95 eBook: 978-0-203-01282-6

For more information, visit: www.routledge.com/9780415426398

For more information, visit: www.routledge.com/9780415362504

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

t ext b o o ks an d studen t refere n c e

The Community Performance Reader

The Routledge Companion to Theatre and Performance Paul Allain and Jen Harvie

Edited by Gabrielle Cody, Vassar College, USA

Edited by Petra Kuppers, University of Michigan, Ann Arbor, USA and Gwen Robertson, Humboldt State University, USA

Series: Routledge Key Guides

2005: 234 x 156: 240pp Hb: 978-0-415-25720-6: $120.00 Pb: 978-0-415-25721-3: $30.95 eBook: 978-0-203-96403-3

NEW

Performance Studies: The Key Concepts A handy yet comprehensive survey of the field, helping students to get to grips with all the central debates and theoretical terms. It includes cross-referencing and suggestions for further reading. August 2010: 216 x 138: 288pp Hb: 978-0-415-77568-7: $110.00 Pb: 978-0-415-77569-4: $26.95 For more information, visit: www.routledge.com/9780415775694

The Applied Theatre Reader Edited by Tim Prentki, University of Winchester, UK and Sheila Preston, Central School of Speech and Drama, UK

The Applied Theatre Reader is the first book to bring together new case studies of practice by leading practitioners and academics in the field and beyond, with classic source texts from writers such as Noam Chomsky, bell hooks, Mikhail Bakhtin, Augusto Boal, and Chantal Mouffe.

This book divides the field into key themes, inviting critical interrogation of issues in applied theatre whilst also acknowledging the multi-disciplinary nature of its subject. It crosses fields such as:

Offering a comprehensive anthology of key writings in the vibrant field of community performance, spanning dance, theatre and visual practices, this Reader uniquely combines classic writings from major theorists and practitioners such as Augusto Boal, Paolo Freire, Dwight Conquergood and Jan Cohen Cruz, with newly commissioned essays that bring the anthology right up to date with current practice. 2007: 246 x 174: 304pp Hb: 978-0-415-39230-3: $122.00 Pb: 978-0-415-39231-0: $43.95 For more information, visit: www.routledge.com/9780415392310

Community Performance: An Introduction Petra Kuppers, University of Michigan, Ann Arbor, USA

• theatre in educational settings • prison theatre • community performance • theatre in conflict resolution and reconciliation • interventionist theatre • theatre for development. This collection of critical thought and practice is essential to those studying or participating in the performing arts as a means for positive change. Selected Contents: Part 1: Introduction Tim Prentki and Sheila Preston Part 2: Poetics of Representation Part 3: Ethics of Representation Part 4: Participation Part 5: Intervention Part 6: Border Crossing Part 7: Transformation Part 8: Applied Theatre and Globalisation 2008: 246 x 174: 400pp Hb: 978-0-415-42886-6: $113.00 Pb: 978-0-415-42887-3: $34.00 For more information, visit: www.routledge.com/9780415428873

Community Performance: A Reader is the first book to provide comprehensive teaching materials for this significant part of the theatre studies curriculum. It brings together core writings and critical approaches to community performance work, presenting practices in the UK, USA, Australia and beyond.

Community Performance: An Introduction is a comprehensive and accessible practice-based primer for students and practitioners of community arts, dance and theatre. It is both a classroom-friendly textbook and a handbook for the practitioner, perfectly answering the needs of a field where teaching is orientated around practice.

Offering a toolkit for students interested in running community arts groups, this book includes:

Series: Routledge Companions

For more information, visit: www.routledge.com/9780415257213

2nd Edition

Theory/Theatre An Introduction Mark Fortier 2002: 198 x 129: 272pp Hb: 978-0-415-25436-6: $120.00 Pb: 978-0-415-25437-3: $35.95 eBook: 978-0-203-99415-3 For more information, visit: www.routledge.com/9780415254373

Fifty Key Theatre Directors Edited by Shomit Mitter and Maria Shevtsova Series: Routledge Key Guides 2005: 216 x 138: 304pp Hb: 978-0-415-18731-2: $110.00 Pb: 978-0-415-18732-9: $26.95 eBook: 978-0-203-48201-8 For more information, visit: www.routledge.com/9780415187329

2nd Edition

The Twentieth-Century Performance Reader Edited by Mike Huxley and Noel Witts 2002: 246 x 174: 488pp Hb: 978-0-415-25286-7: $140.00 Pb: 978-0-415-25287-4: $49.95 For more information, visit: www.routledge.com/9780415252874

• international case-studies and first person stories by practitioners and participants • sample exercises, both practical and reflective • study questions • excerpts of illustrative material from theorists and practitioners. 2007: 246 x 174: 224pp Hb: 978-0-415-39228-0: $104.00 Pb: 978-0-415-39229-7: $29.95 eBook: 978-0-203-96400-2 For more information, visit: www.routledge.com/9780415392297

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

c r af t – act i n g

Craft – Acting

New

The Lee Strasberg Notes

2nd Edition

Edited by Lola Cohen

New

How to do Shakespeare Adrian Noble

’Adrian Noble vigorously highlights the extraordinary rhythmic, linguistic patterns Shakespeare gives the speaker. Any actor will find this book invaluable. For any student of Shakespeare it should be essential.’ – (From the Foreword by Ralph Fiennes)

’How can I bring the text alive, make it vivid, how do I make people hear it for the first time? How can I enter into that world and not feel a stranger. How can I not feel clumsy and inept? ... How can I speak it without sounding artificial or ’actory’? In other words, how can I make it real ...?’ Adrian Noble has worked on Shakespeare with everyone from oscar-nominated actors to groups of schoolchildren. Here he draws on several decades of toplevel directing experience to shed new light on how to bring some of theatre’s seminal texts to life. He shows you how to approach the perennial issues of performing Shakespeare, including: • wordplay – using colour and playing plain, wit and comedy, making language muscular • building a character – different strategies, using the text, Stanislavski and Shakespeare • shape and structure – headlining a speech, playing soliloquys, determining a speech’s purpose and letting the verse empower you • dialogue – building tension, sharing responsibility and ’passing the ball’. This guided tour of Shakespeare’s complex but unfailingly rewarding work stunningly combines instruction and inspiration. Selected Contents: Part 1: Principles 1. Apposition 2. Metaphor 3. Metre and Pulse 4. Line Endings 5. Word Play 6. Vocabulary 7. Shape and Structure Part 2: Practice 8. Early, Middle and Late 9. Prose 10. Soliloquy 11. Comedy 12. Dialogue 13. Building a Character 14. Conclusion November 2009: 216 x 138: 272pp Hb: 978-0-415-54926-4: $90.00 Pb: 978-0-415-54927-1: $26.95 eBook: 978-0-203-86605-4 For more information, visit: www.routledge.com/9780415549271

‘The Lee Strasberg Notes should be required reading, not only for actors and those aspiring to be actors but directors and producers as well. Lola Cohen’s dedication to Lee Strasberg’s work is most evident in this carefully crafted book and it is an incredible tool for everyone working, and even interested in theater and film.’ - Bonnie Bruckheimer

‘For the actor, The Lee Strasberg Notes are an indispensable companion. Put it in your coat pocket and go... For anyone interested in the multi-faceted beast that is human behaviour, the same applies. What a treat for anyone protracted of tooth or as green as grass. Everyone’s a winner. Go…’ - Johnny Depp ‘I always think upon Lee Strasberg with warmth, and reviewing his wisdom is a pleasure.’ - Francis Ford Coppola ‘Having worked with a number of the outstanding actors from the Lee Strasberg Theater and Film Institute, I can say that his work has had a profound effect on cinema as we know it today. Lola Cohen’s ‘Notes’ are about as close as we can come to experiencing the magic of what Lee gave to his students.’ - Barry Levinson ‘I studied with Lee for twenty-five years at the Actors Studio, and to read this book is to be inspired, stimulated and taught once again by his depth and articulation of The Method.’ - Ellen Burstyn

Style For Actors A Handbook for Moving Beyond Realism Robert Barton, University of Oregon, USA

’Style is a journey from tourist to native. It is living in the world of the play, not just visiting it.’ - from chapter one

Anyone who has ever struggled with capes, fans, swords, doublets and crinolines should make Style for Actors 2nd Edition their constant companion. Robert Barton has completely updated his award winning handbook for the twenty-first century with contemporary references and up-to-date illustrations. This is the definitive guide to roles in historical drama. The past is a foreign country, and this outstanding book is concerned with exploring it from the actor’s point of view. Specific guides range from Greek, Elizabethan, Restoration and Georgian theatre to more contemporary stylings, including Futurism, Surrealism and Postmodernism. Barton takes great care to present the actor with the roles and genres that will most commonly confront them. His analysis moves from entire genres to specific scenes and characters. A huge resource of nearly 150 practical exercises helps a newfound understanding of style to make the leap from page to performance. Visit the excellent companion website at www.routledge.com/textbooks/9780415485739

The Lee Strasberg Notes reproduces the original teachings of a unique voice in actor training, for the very first time. It is a stunning document in the history and ongoing practice of Strasberg’s Method. Compiled and edited by Lola Cohen, the book is based on unpublished transcripts of Strasberg’s own classes on acting, directing and Shakespeare. It recreates his theoretical approach, as well as the practical exercises used by his students, and brilliantly conveys his approach and personality. The book features Strasberg’s teachings on: • training and exercises • characters and scenes • directing and the method • Shakespeare and Stanislavski • the theater, acting and actors. Including a Preface by Anna Strasberg and a Foreword by Martin Sheen, this illuminating book brings the reader closer to Strasberg’s own methods than any other, making it a phenomenal resource for students, actors, and directors. January 2010: 216 x 138: 224pp Hb: 978-0-415-55185-4: $88.00 Pb: 978-0-415-55186-1: $24.95 eBook: 978-0-203-86313-8 For more information, visit: www.routledge.com/9780415551861

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Selected Contents: Part One: Finding Style 1. Recognizing Style: The Eyes of the Beholder 2. Analyzing Style: Survival Questions 3. Mastering Style: The Classical Actor Part Two: Exploring Style 4. Greek Period Style: Three Generations of Tragic Vision 5. Elizabethan Period Style: Theatre of Earth and Stars 6. Restoration Period Style: Decadence as One of the Fine Arts 7. Relatives of Restoration Period Style: Morals and Manners Part Three: Exploring Style 8. Displaced Style: Plays Out of Their Time 9. Genre Style: The Isms 10. Personal Style: Creating Reality September 2009: 178 x 254: 360pp Hb: 978-0-415-48572-2: $110.00 Pb: 978-0-415-48573-9: $35.95 For more information, visit: www.routledge.com/9780415485739

cra f t – actin g

Essential Acting

The Science Of Acting

A Practical Handbook for Actors, Teachers and Directors

Sam Kogan

Brigid Panet, RADA, UK

Edited by Helen Kogan, The Academy of the Science of Acting and Directing, UK

How do actors fuse thought, emotion and action within their creative process?

Acting in Musical Theatre A Comprehensive Course

What is good acting? How does one create believable characters? How can an actor understand a character if they do not understand themselves?

Essential Acting is an inspired and reliable toolbox for actors and teachers in the classroom, the rehearsal room and the workshop. RADA’s Brigid Panet has distilled fifty years of acting, directing and actor training into a unique recipe which brilliantly combines the teachings of Stanislavski and Laban into an invaluable practical resource.

In The Science of Acting, Sam Kogan uses his theories on the relationship between neuroscience, psychology and acting to answer these questions. Practical exercises provide a step-by-step guide to developing an actor’s ability, culminating in Ten Steps to Creating a Character.

These exercises are built around the need for simple, achievable techniques that can be applied by actors, teachers and directors to answer the myriad requirements of actor training. The goal is to produce a continuous level of achievement, addressing:

He presents the reader with a groundbreaking understanding of the subconscious and how it can be applied to their acting. The author’s highly original perspective on Stanislavski’s teaching gives readers a unique insight into their character’s minds.

• how to rehearse • how to work with a text • how to audition for drama school • how to access the truth of feelings and actions. Essential Acting is a must-have purchase for anyone looking for a comprehensive study guide to the necessary work of the actor. February 2009: 216 x 138: 296pp Hb: 978-0-415-47677-5: $110.00 Pb: 978-0-415-47678-2: $33.95 eBook: 978-0-203-88238-2 For more information, visit: www.routledge.com/9780415476782

August 2009: 216 x 138: 296pp Hb: 978-0-415-48811-2: $110.00 Pb: 978-0-415-48812-9: $30.95 eBook: 978-0-203-87404-2

Psychophysical Acting

The Physical Actor Exercises for Action and Awareness Annie Loui, University of California, Irvine, USA

The Physical Actor is a comprehensive book of actor’s exercises, designed for the development of a strong and flexible physical body able to move with ease through space and interact instinctively on-stage.

Annie Loui draws on her training with Etienne Decroux, Carolyn Carlson and Jerzy Grotowski to bring Contact Improvization into the theatrical sphere and explain how it can be used to work with texts and applied directly to the theatrical stage. This book will guide the reader through a full course of movement skills, from daily warm-up to: • partnering skills • spatial awareness for groups and individuals • fine motor control through mime • heightened co-ordination and sustained motion. April 2009: 216 x 138: 224pp Hb: 978-0-415-46673-8: $110.00 Pb: 978-0-415-46674-5: $31.95 eBook: 978-0-203-88176-7 For more information, visit: www.routledge.com/9780415466745

DVD

Phillip B. Zarrilli, University of Exeter, UK

’Though I attended a highly respected drama department for six years (two degrees), there was never a single course offered having anything to do with musical theatre. Therefore, I am all the more impressed by Acting in Musical Theatre, which gives a comprehensive and thought-provoking guideline to the study of performing on the musical stage. I found it fascinating and functional, and I am sure you will, as well.’ – Tom Jones, Tony Award-Winning Author/ Lyricist of The Fantasticks, 110 In the Shade and I Do, I Do! ’Acting in Musical Theatre covers it all – acting, musical terminology, style and auditions. It is a must-have resource for all teachers and students of performing in musical theatre.’ – Mary Jo Lodge, Lafayette College, USA ’Beautifully articulate and no-nonsense. A gift of a text for musical theatre.’ – Lara Teeter, Tony Award Nominee: On Your Toes. Head of Musical Theatre, Webster University, USA

For more information, visit: www.routledge.com/9780415488129

An Intercultural Approach after Stanislavski

Joe Deer, Wright State University, Ohio, USA and Rocco Dal Vera, University of Cincinnati, Ohio, USA

’Being taken step-by-step through these highly evocative and fascinating exercises and concepts of actor training by a master such as Zarrilli certainly qualifies as essential reading.’ – David Zinder

Psychophysical Acting is a direct and vital address to the demands of contemporary theatre on today’s actor. Drawing on over thirty years of intercultural experience, Phillip Zarrilli aims to equip actors with practical and conceptual tools with which to approach their work. Areas of focus include: • an historical overview of a psychophysical approach to acting from Stanislavski to the present • acting as an ‘energetics’ of performance applied to a wide range of playwrights: Samuel Beckett, Martin Crimp, Sarah Kane, Kaite O’Reilly and Ota Shogo

Acting in Musical Theatre is the only complete course in approaching a role in a musical. It is the first to combine acting, singing and dancing into a comprehensive guide, combining what have previously been treated as three separate disciplines. This book contains fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft. Drawing on decades of experience in both acting and teaching, the authors provide crucial advice on all elements of the profession, including: • fundamentals of acting applied to musical theatre • script, score and character analysis • personalizing your performance • turning rehearsal into performance • acting styles in the musical theatre • practical steps to a career. Visit the companion website at www.routledge.com/ textbooks/9780415773195 Selected Contents: Part 1: Fundamentals of Acting in Musical Theatre Part 2: Score and Libretto Analysis and Structure Part 3: The Journey of the Song Part 4: Creating a Performance Part 5: Style in Musical Theatre Part 6: The Profession

• a system of training though yoga and Asian martial arts that heightens sensory awareness, dynamic energy, and in which body and mind become one

2008: 246 x 174: 480pp Hb: 978-0-415-77318-8: $105.00 Pb: 978-0-415-77319-5: $33.95 eBook: 978-0-203-93107-3

• practical application of training principles to improvisation exercises.

For more information, visit: www.routledge.com/9780415773195

Psychophysical Acting is accompanied by Peter Hulton’s interactive DVD-ROM featuring exercises, production documentation, interviews, and reflection. 2008: 246 x 174: 272pp Hb: 978-0-415-33457-0: $120.00 Pb: 978-0-415-33458-7: $39.95 eBook: 978-0-203-37528-0 For more information, visit: www.routledge.com/9780415334587

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

c r af t – act i n g

Auditions

The Art of the Actor

Successful Singing Auditions

A Practical Guide

The Essential History of Acting from Classical Times to the Present Day

Gillyanne Kayes and Jeremy Fisher

Richard Evans

Auditions are an integral part of every performer’s life. From getting into drama school, through to a successful career in an overcrowded industry, Auditions: A Practical Guide offers crucial advice and tried-and-tested techniques to maximize success before, during and after each audition.

Written by an established casting director and former actor with thirty years of experience on a wide range of productions, this book offers a wealth of personal and professional insights covering: • drama and theatre schools • classical, contemporary, physical and musical theatre • television and radio drama • screen tests and commercial castings • voice work • recalls and workshops

Jean Benedetti How did acting begin? What is its history, and what have the great thinkers on acting said about the art and craft of performance? In this single-volume survey of the history of acting, Jean Benedetti traces the evolution of the theories of the actor’s craft drawing extensively on extracts from key texts, many of which are unavailable for the student today. Beginning with the classical conceptions of acting as rhetoric and oratory, as exemplified in the writing of Aristotle, Cicero and others, The Art of the Actor progresses to examine ideas of acting in Shakespeare’s time right through to the present day. Along the way, Benedetti considers the contribution and theories of key figures such as Diderot, Stanislavski, Meyerhold, Brecht, Artaud and Grotowski, providing a clear and concise explanation of their work illustrated by extracts and summaries of their writings. Some source materials appear in the volume for the first time in English. 2007: 254 x 178: 256pp Hb: 978-0-87830-203-1: $95.00 Pb: 978-0-87830-204-8: $27.95 For more information, visit: www.routledge.com/9780878302048

• handling job offers, and rejection.

2002: 216 x 140: 144pp Pb: 978-0-87830-163-8: $20.95 For more information, visit: www.routledge.com/9780878301638

The Theatre Arts Audition Book for Men Edited by Annika Bluhm 2003: 216 x 140: 128pp Pb: 978-0-87830-172-0: $15.95 For more information, visit: www.routledge.com/9780878301720 AVAILABLE from routledge in north america only

The Theatre Arts Audition Book for Women Edited by Annika Bluhm 2003: 216 x 140: 112pp Pb: 978-0-87830-173-7: $14.95 For more information, visit: www.routledge.com/9780878301737 AVAILABLE from routledge in north america only

From training to triumph, nerves to networking and camera to casting couch, Auditions: A Practical Guide is an entertaining, accessible, and indispensable read for every performer.

Award Monologues for Men Edited by Patrick Tucker and Christine Ozanne, both at The Original Shakespeare Company, London, UK

Audition Speeches for Men

April 2009: 198 x 129: 288pp Hb: 978-0-415-47034-6: $110.00 Pb: 978-0-415-47035-3: $27.95 eBook: 978-0-203-87832-3

Edited by Jean Marlow

For more information, visit: www.routledge.com/9780415470353

Theatre of Movement and Gesture Jacques Lecoq Edited and translated by David Bradby Published in France in 1987, this is the book in which Lecoq first set out his philosophy of human movement, and the way it takes expressive form in a wide range of different performance traditions. He traces the history of pantomime, sets out his definition of the components of the art of mime, and discusses the explosion of physical theatre in the second half of the twentieth century. 2006: 234 x 156: 184pp Hb: 978-0-415-35943-6: $120.00 Pb: 978-0-415-35944-3: $39.95 eBook: 978-0-203-00746-4 For more information, visit: www.routledge.com/9780415359443

Audition Success Don Greene 2001: 216 x 140: 160pp Pb: 978-0-87830-121-8: $20.95 For more information, visit: www.routledge.com/9780878301218 AVAILABLE from routledge in north america only

’Patrick and Christine have researched, in depth, the latest modern plays of high calibre writing, many of which are extraordinary and, indeed, unfamiliar ... I highly recommend this book to anyone studying or auditioning, as the individual information and notes given for each speech are immensely helpful.’ – David Suchet

2007: 198 x 129: 208pp Hb: 978-0-415-42837-8: $100.00 Pb: 978-0-415-42838-5: $19.95 For more information, visit: www.routledge.com/9780415428385

Award Monologues for Women Edited by Patrick Tucker and Christine Ozanne, both at The Original Shakespeare Company, London, UK Award Monologues for Women is a collection of fifty-four monologues taken from plays written since 1980 that have been nominated for the Pullitzer Prize, the Tony and the Drama Desk Awards in New York, and The Evening Standard and Laurence Olivier Awards in London. The book provides an excellent range of up-to-date audition pieces, usefully arranged in age groups, and is supplemented with audition tips to improve your acting, and to ensure that the best possible performance. 2007: 198 x 129: 192pp Hb: 978-0-415-42839-2: $100.00 Pb: 978-0-415-42840-8: $19.95 For more information, visit: www.routledge.com/9780415428408

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

2001: 216 x 140: 128pp Pb: 978-0-87830-145-4: $20.95 For more information, visit: www.routledge.com/9780878301454 AVAILABLE from routledge in north america only

Audition Speeches for Women Edited by Jean Marlow 2001: 216 x 140: 128pp Pb: 978-0-87830-146-1: $15.95 For more information, visit: www.routledge.com/9780878301461 AVAILABLE from routledge in north america only

Alternative Shakespeare Auditions for Women Edited by Simon Dunmore 1998: 216 x 140: 128pp Pb: 978-0-87830-076-1: $19.95 For more information, visit: www.routledge.com/9780878300761 AVAILABLE from routledge in north america only

More Alternative Shakespeare Auditions for Men Simon Dunmore 2002: 216 x 140: 128pp Pb: 978-0-87830-161-4: $20.95 For more information, visit: www.routledge.com/9780878301614 AVAILABLE from routledge in north america only

cra f t – actin g

More Alternative Shakespeare Auditions for Women

The Modern Monologue

American Dialects

Men

A Manual for Actors, Directors, and Writers

Simon Dunmore

Edited by Michael Earley and Philippa Keil

Lewis Herman and Marguerite Shalett Herman

2000: 216 x 140: 128pp Pb: 978-0-87830-113-3: $20.95

1993: 176pp Pb: 978-0-413-67210-0: $19.95

1997: 229 x 152: 312pp Pb: 978-0-87830-049-5: $30.95

For more information, visit: www.routledge.com/9780878301133 AVAILABLE from routledge in north america only

For more information, visit: www.routledge.com/9780413672100 AVAILABLE from routledge in north america only

For more information, visit: www.routledge.com/9780878300495 AVAILABLE from routledge in north america only

Monologues for Actors of Color

The Modern Monologue

2nd Edition

Men

Women

Foreign Dialects

Roberta Uno

Edited by Michael Earley and Philippa Keil

A Manual for Actors, Directors, and Writers

1999: 178 x 127: 160pp Pb: 978-0-87830-071-6: $21.95

1993: 160pp Pb: 978-0-87830-046-4: $21.95

For more information, visit: www.routledge.com/9780878300716 AVAILABLE from routledge in north america only

For more information, visit: www.routledge.com/9780878300464 AVAILABLE from routledge in north america only

Monologues for Actors of Color Women

Zen and the Art of the Monologue

Roberta Uno

Jay Sankey

1999: 178 x 127: 152pp Pb: 978-0-87830-069-3: $21.95

2000: 229 x 152: 160pp Pb: 978-0-87830-094-5: $23.95

For more information, visit: www.routledge.com/9780878300693 AVAILABLE from routledge in north america only

For more information, visit: www.routledge.com/9780878300945 AVAILABLE from routledge in north america only

The Classical Monologue

Acting

Men

The First Six Lessons

Acting and Reacting

Edited by Michael Earley and Philippa Keil

Richard Boleslavsky

Tools for the Modern Actor

1992: 178 x 127: 146pp Pb: 978-0-87830-032-7: $19.95

2003: 134pp Hb: 978-0-87830-006-6: $24.95 eBook: 978-0-203-49288-8

For more information, visit: www.routledge.com/9780878300327 AVAILABLE from routledge in north america only

The Classical Monologue Women Edited by Michael Earley and Philippa Keil 1992: 160pp Pb: 978-0-413-66670-3: $17.95 For more information, visit: www.routledge.com/9780413666703 AVAILABLE from routledge in north america only

The Contemporary Monologue Men Edited by Michael Earley and Philippa Keil 1995: 229 x 152: 144pp Pb: 978-0-87830-061-7: $21.95 For more information, visit: www.routledge.com/9780878300617 AVAILABLE from routledge in north america only

The Actor’s Survival Handbook

Commedia Dell’Arte A Handbook for Troupes Oliver Crick and John Rudlin 2001: 234 x 156: 272pp Pb: 978-0-415-20409-5: $43.95 eBook: 978-0-203-18173-7 For more information, visit: www.routledge.com/9780415204095

Commedia Dell’Arte: An Actor’s Handbook John Rudlin 1994: 234 x 156: 296pp Pb: 978-0-415-04770-8: $39.95 eBook: 978-0-203-40819-3 For more information, visit: www.routledge.com/9780415047708

Impro for Storytellers Keith Johnstone

Patrick Tucker and Christine Ozanne

1999: 229 x 152: 388pp Pb: 978-0-87830-105-8: $28.95

2005: 216 x 140: 360pp Pb: 978-0-87830-175-1: $20.95

For more information, visit: www.routledge.com/9780878301058

Lewis Herman and Marguerite Shalett Herman 1997: 229 x 152: 376pp Pb: 978-0-87830-020-4: $32.95 For more information, visit: www.routledge.com/9780878300204 AVAILABLE from routledge in north america only

2nd Edition

Dialects for the Stage Evangeline Machlin 2006: 229 x 152: 160pp Pb: 978-0-87830-200-0: $40.95 For more information, visit: www.routledge.com/9780878302000 AVAILABLE from routledge in north america only

Nick Moseley 2006: 254 x 178: 256pp NOT AVAILABLE FOR SALE IN THE UK Hb: 978-0-87830-205-5: $85.00 Pb: 978-0-87830-206-2: $21.95 For more information, visit: www.routledge.com/9780878302062 AVAILABLE from routledge in north america only

Impro Improvisation and the Theatre Keith Johnstone 1987: 210pp Pb: 978-0-87830-117-1: $28.95 For more information, visit: www.routledge.com/9780878301171 AVAILABLE from routledge in north america only

The Contemporary Monologue Women Edited by Michael Earley and Philippa Keil 1995: 144pp Pb: 978-0-87830-060-0: $21.95 For more information, visit: www.routledge.com/9780878300600 AVAILABLE from routledge in north america only

For more information, visit: www.routledge.com/9780878301751

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

c r af t – di r e ct i n g

Craft – Directing

Zygmunt Molik’s Voice and Body Work

DVD

The Legacy of Jerzy Grotowski Giuliano Campo and Zygmunt Molik

NEW

Contemporary European Theatre Directors

Edited by Maria M. Delgado, Queen Mary, University of London, UK and Dan Rebellato, Royal Holloway University, London, UK

And Then, You Act

NEW

’An invaluable book that we shall all be using for a long time to come’ - Michael Billington

Contemporary European Theatre Directors is an ambitious and unprecedented overview of many of the key directors working in European theatre over the past fifty years. It is a vivid account of the vast range of work undertaken in European theatre during this period, situated lucidly in its artistic, cultural and political context. The resulting study is a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe of the 1980s and 1990s. The featured directors are: Calixto Bieito, Piotr Borowski, Romeo Castellucci, Frank Castorf, Patrice Chéreau, Lev Dodin, Declan Donnellan, Kristian Frédric, Rodrigo Garc’a, Jan Lauwers, Christoph Marthaler, Simon McBurney, Daniel Mesguich, Katie Mitchell, Ariane Mnouchkine, Thomas Ostermeier, Patrice Pavis, Silviu Purcarete and Peter Sellars. Travelling from London and Craiova to St. Petersburg and Madrid, the book examines directors working with classics, new writing, and new collaborative theatre forms. Each chapter is written by a specialist in European theatre and provides a detail critique of production styles. The directors themselves provide contributions and interviews to this multi-authored work, which unites the many and varied voices of European theatre in one coherent volume. March 2010: 234 x 156: 448pp Hb: 978-0-415-46250-1: $105.00 Pb: 978-0-415-46251-8: $33.95 eBook: 978-0-203-85952-0 For more information, visit: www.routledge.com/9780415462518

Zygmunt Molik is one of the last living members of Jerzy Grotowski’s original acting company and was a leading trainer at the Teatr Laboratorium. Zygmunt Molik’s Voice and Body Work explores the unique development of voice and body exercises throughout his career in actor training.

This book, constructed from conversations between Molik and author Giuliano Campo, provides a fascinating insight into the methodology of this practitioner and teacher, and focuses on his ‘Body Alphabet’ system for actors, allowing them to combine both voice and body in their preparatory process. The book is accompanied by a DVD containing the films Dyrygent (2000), which illustrates Molik’s working methods, and Acting Therapy (1976), exploring his role in the Theatre of Participation, and also includes an extensive photo gallery documenting Zygmunt Molik’s life and work. May 2010: 216 x 138: 216pp Hb: 978-0-415-56846-3: $117.00 Pb: 978-0-415-56847-0: $32.95 For more information, visit: www.routledge.com/9780415568470

Making Art in an Unpredictable World Anne Bogart, Siti Theatre Company New York, USA

’Attractive and accessible. The book should certainly be obligatory for college students reading Theatre Studies and for drama students ... a book that I found both instructive and enlightening.’ – Max Stafford-Clark, Director of Out of Joint Theatre Company

’Outstanding ... as a writer and teacher she is incisive, illuminating, refreshingly honest and dissident ... the book addresses a wide range of ideas and practices in language that is accessible, articulate, energised.’ – David Williams, Dartington College of Arts, UK From well-known auteur of the American theatre scene, Anne Bogart, And Then, You Act is a fascinating and accessible book about directing theatre, acting and the collaborative creative process. Writing clearly and passionately, Bogart speaks to a wide audience, from undergraduates to practitioners, and makes an invaluable contribution to the field tackling themes such as: • intentionality • inspiration • why theatre matters.

The Director’s Craft

2007: 216 x 138: 160pp Hb: 978-0-415-41141-7: $99.00 Pb: 978-0-415-41142-4: $29.95 eBook: 978-0-203-96550-4

A Handbook for the Theatre

For more information, visit: www.routledge.com/9780415411424

Katie Mitchell, The Royal National Theatre, UK

’As an introduction to Stanislavski, and a demystification of the director’s role, this is a comprehensive read.’ - Total Theatre The Director’s Craft is a unique and completely indispensable step-by-step guide to directing for the stage.

Written by one of the most adventurous and respected directors working today, this book will be an essential item in every student and practitioner’s kitbag. It provides detailed assistance with each aspect of the varied challenges facing all theatre directors, and does so with startling clarity. Katie Mitchell shares and explains the key practical tools she uses to approach her work with both actors, production teams, and the text itself. She addresses topics such as: • the ideas that underpin a play’s text • preparing improvizations • Twelve Golden Rules for working with actors

A Director Prepares Seven Essays on Art and Theatre Anne Bogart 2001: 198 x 129: 168pp Hb: 978-0-415-23831-1: $99.00 Pb: 978-0-415-23832-8: $35.95 eBook: 978-0-203-16554-6 For more information, visit: www.routledge.com/9780415238328

Changing the Performance A Companion Guide to Arts, Business and Civic Engagement Julia Rowntree

’A readable, clear and above all useful insight into the world of arts fundraising and sponsorship in the UK.’ – Andrew Missingham, Creative Producer

• managing the transition from rehearsal room to theatre • analyzing your work after a run has ended. 2008: 234 x 156: 256pp Hb: 978-0-415-40438-9: $110.00 Pb: 978-0-415-40439-6: $25.95 For more information, visit: www.routledge.com/9780415404396

2006: 198 x 129: 288pp Hb: 978-0-415-37933-5: $95.00 Pb: 978-0-415-37934-2: $33.95 For more information, visit: www.routledge.com/9780415379342

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

C ra f t – Writin g

Craft – Writing Craft – Devising

Making a Performance

Playwriting

Emma Govan, Helen Nicholson and Katie Normington, all at Royal Holloway, University of London, UK

A Practical Guide Noël Greig Playwriting offers a practical guide to the creation of text for live performance. It contains a wealth of exercises for amateur and professional playwrights.

The Frantic Assembly Book of Devising Theatre

• a step-by-step guide to the creation of an individual play • a handy resource for a teacher or workshop leader • a stimulus for the group-devised play. The result of Noël Greig’s thirty years’ experience as a playwright, actor, director and teacher, Playwriting is the ideal handbook for anyone who engages with playwriting and is ultimately concerned with creating a story and bringing it to life on the stage.

For more information, visit: www.routledge.com/9780415310444

Scott Graham and Steven Hoggett

Usable in a range of contexts, the book works as:

2004: 216 x 138: 224pp Hb: 978-0-415-31043-7: $100.00 Pb: 978-0-415-31044-4: $28.95 eBook: 978-0-203-33497-3

Devising Histories and Contemporary Practices

Acclaimed by audiences and critics for their highly innovative and adventurous theatre, Frantic Assembly have created playful, intelligent and dynamic productions for over fourteen years. Written by artistic directors Scott Graham and Steven Hoggett, The Frantic Assembly Book of Devising Theatre is the first book to reflect on the history and practice of this remarkable company, and includes:

• practical exercises • essays on film, music and physical theatre • inspiration for devising, writing and choreographing performance • suggestions for scene development

’Making a Performance ... herald[s] a renewed, more urgent critical interest in the arena of contemporary devising practices ... and makes a strong, substantial and much needed contribution to the field of devised performance theory and I hope it will inspire others.’ – Joanna Bucknell, University of Winchester, UK

Making a Performance traces innovations in devised performance from early theatrical experiments in the twentieth-century to the radical performances of the twenty-first century. 2007: 216 x 138: 224pp Hb: 978-0-415-28652-7: $90.00 Pb: 978-0-415-28653-4: $26.95 eBook: 978-0-203-94695-4 For more information, visit: www.routledge.com/9780415286534

• an anthology of Frantic Assembly productions

To Be a Playwright

• an eight page colour section, and illustrations throughout.

Young People, New Theatre

Janet Neipris

Accompanied by a companion website featuring clips of rehearsals and performances, this intimate and personal account offers an accessible, educational and indispensable introduction to the evolution and success of Frantic Assembly.

A Practical Guide to an Intercultural Process

Chair of the New York University’s Tisch School of the Arts, Dramatic Writing Program and mentor to such theatre figures as Neil LaBute, Kenneth Lonergan, Doug Wright, and George Wolfe, Janet Neipris distils a career’s worth of wisdom, advice, and encouragement in these collected lectures and essays for every playwriting student and practicing playwright. 2005: 229 x 152: 264pp Hb: 978-0-87830-187-4: $84.00 Pb: 978-0-87830-188-1: $22.95 For more information, visit: www.routledge.com/9780878301881

Noël Greig

Find a wealth of extra resources including video clips at www.routledge.com/textbooks/9780415467605 Selected Contents: Introduction. A Very Brief History of Frantic Assembly. The Book. What Devising Means to Us. Anthology of Work Part 1: Documentation Frantic Essays. Scenes and Their Creation. Playing With Scenes Part 2: Practical Exercises Getting Started. Suggestions for Constructive Warm-ups. Games - A Selection of Crowdpleasers. Choreography. Movement For Non- Dancers/ Choreography That Doesn’t Feel Like Dance. New Physical Vocabulary/Restrictions And Freedom. Advanced Exercises Pushing the Potential. Devising with Words - Devising through Images. Textual Analysis. Getting Scenes on Their Feet. Physical Characters And Relationships. Some Things to Think About. Bibliography of Inspiration April 2009: 234 x 156: 248pp Hb: 978-0-415-46536-6: $105.00 Pb: 978-0-415-46760-5: $29.95 For more information, visit: www.routledge.com/9780415467605

Young People, New Theatre is a ‘how-to’ book; exploring and explaining the process of collaborating creatively with groups of young people across cultural divides.

Organized into exercises, case studies and specific topics, this book plots a route for those wishing to put this kind of theatre into practise. Born out of the hugely successful ‘Contacting the World’ festival, it is the first practical handbook in this field. Topics include: • debating the shared world • What is collaboration? • different ways of working • adapting to specific age groups and abilities • post-project evaluations.

Devising Theatre A Practical and Theoretical Handbook

2008: 234 x 156: 232pp Hb: 978-0-415-45250-2: $110.00 Pb: 978-0-415-45251-9: $29.95 For more information, visit: www.routledge.com/9780415452519

Alison Oddey 1996: 216 x 138: 272pp Pb: 978-0-415-04900-9: $41.95 For more information, visit: www.routledge.com/9780415049009

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

C r af t – D e s i gn

Craft – Design

NEW

Corsets and Crinolines Norah Waugh

2nd Edition

Theatre and Performance Design A Reader in Scenography

What is Scenography? Pamela Howard OBE, University of the Arts, London, UK ’Pamela Howard’s groundbreaking What is Scenography? was the first book to set out the bold new approaches to designing and directing for theatre which had dazzled audiences in Europe during the previous decades. It did us all a service by enriching the scope of how we understand the aesthetics of the stage... The lavish new materials (drawings, colour photos, new production analysis) included in this second edition make it even more essential for anyone interested in new developments in theatre.’ - David Bradby

Jane Collins, Wimbledon School of Art, UK and Andrew Nisbet, University of Surrey, UK

’Gives an excellent sense of scenography and a window on a life in the theatre - which is fascinating. ...A superb book.’ - Professor Arnold Aronson, Columbia University, USA ’Pamela Howard is the precise definition of what a scenographer of today should be: a multiple artist... Her vast experience with space, her rare and acute power of reflection, her workshops worldwide, her masterful control of drawing and painting and her ability to interconnect scenography with other artistic expressions qualify her to discuss with great authority what ’space for staging’ should be in the coming decades of this millennium.’ - Jose Carlos Serroni Pamela Howard’s What is Scenography? has become a classic text in contemporary theatre design and performance practice. In this second edition, the author expands on her holistic analysis of scenography as comprising space, text, research, art, performers, directors and spectators, to examine the changing nature of scenography in the twenty-first century. The book includes: • case studies and anecdotes from Howard’s own celebrated career

Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices.

Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine some of the principle forces that have informed the ways in which the visual practice of performance design has been produced and understood. This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography - the term increasingly used to describe a more integrated reading of performance – this unique anthology recognises the role played by all the elements of production in the creation of meaning. Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice MerleauPonty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia, Herbert Blau. Selected Contents: Introduction Foreword Pamela Howard Part 1. Looking: The Experience of Seeing Part 2. Space and Place Part 3. The Designer: The Scenographic Part 4. Bodies in Space Part 5. Making Meaning March 2010: 246 x 174: 384pp Hb: 978-0-415-43209-2: $125.00 Pb: 978-0-415-43210-8: $39.95 For more information, visit: www.routledge.com/9780415432108

The Dramatic Imagination Reflections and Speculations on the Art of the Theatre

• illustrations of her own recent work, in full colour throughout

Robert Edmond Jones

• an updated ’world view’ of scenography, with definitions from the world’s most famous and influential scenographers.

2004: 216 x 140: 176pp Pb: 978-0-87830-184-3: $24.95 eBook: 978-0-203-31597-2

A direct and personal response to the question of how to define scenography by one of the world’s leading practitioners, What is Scenography? continues to shape the work of visual theatremakers throughout the world. August 2009: 246 x 174: 264pp Hb: 978-0-415-47313-2: $125.00 Pb: 978-0-415-47320-0: $39.95 eBook: 978-0-203-87523-0 For more information, visit: www.routledge.com/9780415473200

For more information, visit: www.routledge.com/9780878301843 AVAILABLE from routledge in north america only

The Mask Handbook

1954: 276 x 219 : 176pp Pb: 978-0-87830-526-1: $55.00 For more information, visit: www.routledge.com/9780878305261 AVAILABLE from routledge in north america only

The Cut of Men’s Clothes 1600-1900 Norah Waugh 1987: 254 x 178: 192pp Hb: 978-0-87830-025-9: $90.00 For more information, visit: www.routledge.com/9780878300259 AVAILABLE from routledge in north america only

The Cut of Women’s Clothes 1600-1930 Norah Waugh 1987: 254 x 178: 394pp Hb: 978-0-87830-026-6: $100.00 For more information, visit: www.routledge.com/9780878300266 AVAILABLE from routledge in north america only

Scenery Draughting and Construction for Theatres, Museums, Exhibitions and Trade Shows John Blurton 2001: 254 x 178: 176pp Pb: 978-0-87830-149-2: $28.95 For more information, visit: www.routledge.com/9780878301492 AVAILABLE from routledge in north america only

Special Effects Make-Up Janus Vinther 2003: 229 x 152: 256pp Pb: 978-0-87830-178-2: $29.95 For more information, visit: www.routledge.com/9780878301782 AVAILABLE from routledge in north america only

6th Edition

Stage Lighting Handbook Francis Reid

A Practical Guide

2002: 229 x 152: 224pp Pb: 978-0-87830-147-8: $24.95

Toby Wilsher

For more information, visit: www.routledge.com/9780878301478 AVAILABLE from routledge in north america only

2006: 216 x 138: 200pp Hb: 978-0-415-41436-4: $99.00 Pb: 978-0-415-41437-1: $29.95 eBook: 978-0-203-96779-9 For more information, visit: www.routledge.com/9780415414371 AVAILABLE from routledge in north america only

Theatre Sound John A. Leonard 2001: 229 x 152: 208pp Pb: 978-0-87830-116-4: $22.95 For more information, visit: www.routledge.com/9780878301164 AVAILABLE from routledge in north america only

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

C ra f t – Vo i ce

Craft – Voice The Singing and Acting Handbook Games and Exercises for the Performer Thomas De Mallet Burgess and Nicholas Skilbeck 1999: 246 x 174: 224pp Hb: 978-0-415-16657-7: $110.00 Pb: 978-0-415-16658-4: $36.95 For more information, visit: www.routledge.com/9780415166584

The Singer’s Companion Sharon L. Stohrer 2006: 229 x 152: 136pp Pb: 978-0-415-97698-5: $29.95 For more information, visit: www.routledge.com/9780415976985

Singing With Your Own Voice Orlanda Cook 2004: 229 x 152: 288pp Pb: 978-0-87830-182-9: $20.95

Routledge Performance Practitioners Series editor: Franc Chamberlain, University College, Ireland Routledge Performance Practitioners is a series of introductory guides to the key theatre-makers of the last century. Each volume explains the background to and the work of one of the major influences on twentieth and twenty-first-century performance. These compact and clearly written books will unravel the contributions of modern theatre’s most charismatic innovators.

Michael Chekhov Franc Chamberlain 2003: 198 x 129: 168pp Hb: 978-0-415-25877-7: $110.00 Pb: 978-0-415-25878-4: $28.95 eBook: 978-0-203-38047-5 For more information, visit: www.routledge.com/9780415258784

Eugenio Barba Jane Turner 2004: 198 x 129: 192pp Hb: 978-0-415-27327-5: $110.00 Pb: 978-0-415-27328-2: $28.95 eBook: 978-0-203-32012-9 For more information, visit: www.routledge.com/9780415273282

New

Tadeusz Kantor Noel Witts, University of the Arts, London, UK

NEW

Yevgeny Vakhtangov Andrei Malaev-Babel, Florida State University, USA Yevgeny Vakhtangov was a pioneering theatre artist who married Stanislavski’s demands for inner truth and sincerity with a quest for an imaginative form for every role and production. This is the first book to combine:

Tadeusz Kantor was a key figure in European avant-garde theatre. He was a theoretician, director, innovator and painter famed for his very visual theatre style. Kantor was also known for his challenging theatrical innovations, such as extending stages and the combination of mannequins with living actors. The book combines: • a detailed study of the historical context of Kantor’s work

• an overview of Vakhtangov’s life, work and influences

• a exploration of Kantor’s own writings on his theatrical craft

• an exploration of his key ideas, including the concept of Fantastic Realism

• a stylistic analysis of the key works, including The Dead Class and Let the Artists Die, and their critical reception

Singing and the Actor

• accounts of his key productions, methods and training practices

• a examination of the practical exercises devised by Kantor.

Gillyanne Kayes

• exercises developed by Vakhtangov and still taught at the Vakhtangov Institute in Moscow.

For more information, visit: www.routledge.com/9780878301829

2nd Edition

2004: 229 x 152: 208pp Pb: 978-0-87830-198-0: $24.95 For more information, visit: www.routledge.com/9780878301980

June 2010 Hb: 978-0-415-46586-1: $110.00 Pb: 978-0-415-46587-8: $28.95 For more information, visit: www.routledge.com/9780415465878

2nd Edition

November 2009: 198 x 129: 160pp Hb: 978-0-415-43486-7: $110.00 Pb: 978-0-415-43487-4: $29.95 eBook: 978-0-203-86536-1 For more information, visit: www.routledge.com/9780415434874

New

Care of the Professional Voice

Bertolt Brecht

A Guide to Voice Management for Singers, Actors and Professional Voice Users

Marina Abramovic

Meg Mumford, University of New South Wales, Australia

Mary Richards, Brunel University, UK

D. Garfield Davies and Anthony F. Jahn 2004: 216 x 140: 176pp Pb: 978-0-87830-190-4: $24.95 For more information, visit: www.routledge.com/9780878301904

2008: 198 x 129: 208pp Hb: 978-0-415-37508-5: $110.00 Pb: 978-0-415-37509-2: $28.95 For more information, visit: www.routledge.com/9780415375092

Marina Abramovic is the creator of pioneering performance art which transcends the form’s provocative origins. Her visceral and extreme performances have tested the limits of both body and mind, communicating with audiences worldwide on a personal and political level. The book combines: • a biography, setting out the contexts of Abramovic’s work • an examination of the artist through her writings, interviews and influences • a detailed analysis of her work, including studies of the Rhythm series, Nightsea Crossing and The House with the Ocean View • practical explorations of the performances and their origins. September 2009: 198 x 129: 168pp Hb: 978-0-415-43207-8: $110.00 Pb: 978-0-415-43208-5: $29.95 For more information, visit: www.routledge.com/9780415432085

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

Routl e dg e p e r f or man c e p r acti ti on e rs

Pina Bausch

Jerzy Grotowski

Anna Halprin

Royd Climenhaga, The New School University, USA

James Slowiak, Univeristy of Akron, Ohio, USA and Jairo Cuesta

Libby Worth and Helen Poynor

2008: 198 x 129: 160pp Hb: 978-0-415-37521-4: $110.00 Pb: 978-0-415-37522-1: $30.95 eBook: 978-0-203-09895-0 For more information, visit: www.routledge.com/9780415375221

2007: 198 x 129: 208pp Hb: 978-0-415-25879-1: $90.00 Pb: 978-0-415-25880-7: $28.95 eBook: 978-0-203-96274-9 For more information, visit: www.routledge.com/9780415258807

2004: 198 x 129: 208pp Hb: 978-0-415-27329-9: $110.00 Pb: 978-0-415-27330-5: $28.95 eBook: 978-0-203-30792-2 For more information, visit: www.routledge.com/9780415273305

Robert Lepage Aleksandar Sasa Dundjerovic, University of Manchester, UK

Jacques Copeau

Augusto Boal

Mark Evans

Frances Babbage

2006: 198 x 129: 192pp Hb: 978-0-415-35434-9: $110.00 Pb: 978-0-415-35435-6: $28.95 eBook: 978-0-203-00100-4

2004: 198 x 129: 168pp Hb: 978-0-415-27325-1: $110.00 Pb: 978-0-415-27326-8: $28.95 eBook: 978-0-203-30900-1

For more information, visit: www.routledge.com/9780415354356

For more information, visit: www.routledge.com/9780415273268

Etienne Decroux

Rudolf Laban

Thomas Leabhart, Pomona College, California, USA

Karen K. Bradley, University of Maryland, USA

2007: 198 x 129: 168pp Hb: 978-0-415-35436-3: $99.95 Pb: 978-0-415-35437-0: $28.95 eBook: 978-0-203-00102-8

2008: 198 x 129: 160pp Hb: 978-0-415-37524-5: $110.00 Pb: 978-0-415-37525-2: $28.95

For more information, visit: www.routledge.com/9780415338875

For more information, visit: www.routledge.com/9780415375252

Vsevolod Meyerhold

For more information, visit: www.routledge.com/9780415354370

Hijikata Tatsumi and Ohno Kazuo Sondra Fraleigh and Tamah Nakamura 2006: 198 x 129: 192pp Hb: 978-0-415-35438-7: $110.00 Pb: 978-0-415-35439-4: $28.95 eBook: 978-0-203-00103-5

2008: 198 x 129: 192pp Hb: 978-0-415-37519-1: $110.00 Pb: 978-0-415-37520-7: $23.95 For more information, visit: www.routledge.com/9780415375207

Joan Littlewood Nadine Holdsworth 2006: 198 x 129: 168pp Hb: 978-0-415-33886-8: $110.00 Pb: 978-0-415-33887-5: $29.95 eBook: 978-0-203-44848-9

Jonathan Pitches

Jacques Lecoq Simon Murray 2003: 198 x 129: 200pp Hb: 978-0-415-25881-4: $110.00 Pb: 978-0-415-25882-1: $28.95 eBook: 978-0-203-38048-2 For more information, visit: www.routledge.com/9780415258821

For more information, visit: www.routledge.com/9780415354394

2003: 198 x 129: 176pp Hb: 978-0-415-25883-8: $110.00 Pb: 978-0-415-25884-5: $28.95 eBook: 978-0-203-63417-2 For more information, visit: www.routledge.com/9780415258845

Ariane Mnouchkine Judith G. Miller, New York University, USA 2007: 198 x 129: 176pp Hb: 978-0-415-33884-4: $100.00 Pb: 978-0-415-33885-1: $28.95 eBook: 978-0-203-44847-2 For more information, visit: www.routledge.com/9780415338851

CONTACT US â&#x20AC;&#x201C; for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Routledge performance practitioners

Konstantin Stanislavsky Bella Merlin 2003: 198 x 129: 184pp Hb: 978-0-415-25885-2: $110.00 Pb: 978-0-415-25886-9: $28.95 eBook: 978-0-203-38049-9 For more information, visit: www.routledge.com/9780415258869

Mary Wigman Mary Anne Santos Newhall, University of New Mexico, USA

Da n c e

Dance

On choreography: ’Choreography is a negotiation with the patterns your body is thinking’

The Routledge Dance Studies Reader Edited by Alexandra Carter, University of Middlesex, UK and Janet O’Shea, University of California, Los Angeles, USA

Robert Wilson

For more information, visit: www.routledge.com/9780415338813

Jonathan Burrows

2nd Edition

For more information, visit: www.routledge.com/9780415375276

2007: 198 x 129: 192pp Hb: 978-0-415-33880-6: $104.00 Pb: 978-0-415-33881-3: $28.95 eBook: 978-0-203-44845-8

A Choreographer’s Handbook

New

2008: 198 x 129: 200pp Hb: 978-0-415-37526-9: $110.00 Pb: 978-0-415-37527-6: $30.95

Maria Shevtsova

NEW

`The Reader remains a welcome addition to the growing number of dance publications and can serve as a general introduction to critical writings on dance for undergraduates in dance and related degrees.’ - Dance Theatre Journal

The second edition of The Routledge Dance Studies Reader offers fresh critical perspectives on classic and modern dance forms, including ballroom, tango, Hip-hop, site-specific performance, and disability in dance. Alexandra Carter and Janet O’Shea deliver a substantially revised and updated collection of key texts, featuring an enlightening new introduction, which tracks differing approaches to dance studies. Important articles from the first edition are accompanied by twenty new works by leading critical voices. The articles are presented in five thematic sections, each with a new editorial introduction and further reading. The Routledge Dance Studies Reader gives readers access to over thirty essential texts on dance and provides expert guidance on their critical context. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective. Selected Contents: Part 1: Making Dance Part 2: Performing Dance Part 3: Ways of Looking Part 4: Locating Dance in History and Society Part 5: Debating the Discipline January 2010: 234 x 156: 400pp Hb: 978-0-415-48598-2: $105.00 Pb: 978-0-415-48599-9: $39.95 eBook: 978-0-203-86098-4 For more information, visit: www.routledge.com/9780415485999

On rules: ’Try breaking the rules on a need to break the rules basis’ A Choreographer’s Handbook invites the reader to investigate how and why to make a dance performance. In an inspiring and unusually empowering sequence of stories, ideas and paradoxes, internationally renowned dancer, choreographer and teacher Jonathan Burrows explains how it’s possible to navigate a course through this complex process. It is a stunning reflection on a personal practice and professional journey, and draws upon five years’ of workshop discussions, led by Burrows. Burrows’ open and honest prose gives the reader access to a range of exercises, meditations, principles and ideas on choreography that allow artists and dance-makers to find their own aesthetic process. It is a book for anyone interested in making performance, at whatever level and in whichever style. May 2010: 198 x 129: 160pp Hb: 978-0-415-55529-6: $88.00 Pb: 978-0-415-55530-2: $23.95 For more information, visit: www.routledge.com/9780415555302

NEW

William Forsythe Steven Spier William Forsythe is one of the most, if not the most, important choreographers of the last twenty-five years. As director of the Frankfurt Ballet (1984-2004) he has been lauded for reinvigorating the language of classical ballet (he is often referred to as Balanchine’s heir) in a fearless and comprehensiveness examination of its most fundamental assumptions and precepts. He has created a new audience for contemporary ballet through his engagement with contemporary intellectual and cultural currents. His voracious intellectual curiosity and insistence that ballet is a body of knowledge that can be used to address current concerns has made him controversial. His critical acceptance in Great Britain and the USA has been much slower to arrive than on the continent, but finally the company’s recent tours to London and the US have confirmed his reputation there. With his far-ranging references and insistence that ballet is a contemporary medium, Forsythe has created a crossover audience, giving this edited collection of essays interdisciplinary appeal -- extending beyond the ballet and dance communities. September 2010: 246 x 174: 160pp Hb: 978-0-415-97822-4: $85.00 Pb: 978-0-415-97823-1: $30.00 For more information, visit: www.routledge.com/9780415978231

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

Da n c e

Contemporary Choreography

2nd Edition

Further Steps 2

The Male Dancer

A Critical Reader

Fourteen Choreographers on What’s the R.A.G.E. in Modern Dance

Bodies, Spectacle, Sexualities

Edited by Constance Kreemer

Edited by Jo Butterworth, Fontys Dansacademie, the Netherlands and Liesbeth Wildschut, Utrecht University, the Netherlands

This innovative text provides a range of articles covering choreographic enquiry, investigation into the creative process, and traditional understandings of dance making. Contemporary Choreography features contributions by practitioners and researchers from Europe, America, Africa, Australasia and the Asia-Pacific region, investigating the field in

six broad domains: • conceptual and philosophic concerns • educational settings • communities • changing aesthetics • intercultural choreography • choreography’s relationships with other disciplines. By capturing the essence and progress of choreography in the twenty-first century this reader supports and encourages rigorous thinking and research for future generations of dance practitioners and scholars. May 2009: 234 x 156: 480pp Hb: 978-0-415-49086-3: $125.00 Pb: 978-0-415-49087-0: $35.95

Further Steps 2 brings together New York’s foremost choreographers – among them MacArthur ‘Genius’ award winners Meredith Monk and Bill T. Jones – to discuss the past, present and future of dance in the US. In a series of exclusive and enlightening interviews, this diverse selection of artists discuss the changing roles of race, gender, politics, and the social environment on their work.

Bringing her own experience of the New York dance scene to her study, Constance Kreemer traces the lives and works of the following choreographers: Lucinda Childs, Douglas Dunn, Molissa Fenley, Rennie Harris, Bill T. Jones, Kenneth King, Nancy Meehan, Meredith Monk, Rosalind Newman, Gus Solomons jr, Doug Varone, Dan Wagoner, Mel Wong and Jawole Zollar. 2008: 246 x 174: 256pp Hb: 978-0-415-96906-2: $110.00 Pb: 978-0-415-96907-9: $35.95 For more information, visit: www.routledge.com/9780415969079

Dance Discourses Keywords in Dance Research

For more information, visit: www.routledge.com/9780415490870

Edited by Susanne Franco, University IUAV of Venice, Italy and Marina Nordera, Nice University, France

NEW

Laban Sourcebook Edited by Dick McCaw September 2010: 234 x 156: 256pp Hb: 978-0-415-54333-0: $140.00 Pb: 978-0-415-54332-3: $45.95 For more information, visit: www.routledge.com/9780415543323

4th Edition

Labanotation The System of Analyzing and Recording Movement Ann Hutchinson Guest 2005: 254 x 178: 504pp Hb: 978-0-415-96561-3: $100.00 Pb: 978-0-415-96562-0: $39.95 For more information, visit: www.routledge.com/9780415965620

Laban for All Jean Newlove and John Dalby

Focusing on politics, gender, and identities, a group of international dance scholars provide a broad overview of new methodological approaches – with specific case studies – and how they can be applied to the study of ballet and modern dance.

With an introduction exploring the history of dance studies and the development of central themes and areas of concerns in the field, the book is then divided into three parts: • politics explores ’Ausdruckstanz’ – an expressive dance tradition first formulated in the 1920s by dancer Mary Wigman and carried forward in the work of Pina Bausch and others • gender examines eighteenth century theatrical dance – a time when elaborate sets, costumes, and plots examined racial and sexual stereotypes • identity is concerned with modern dance. 2007: 216 x 138: 296pp Hb: 978-0-415-42308-3: $125.00 Pb: 978-0-415-42309-0: $35.95 For more information, visit: www.routledge.com/9780415423090

2003: 235 x 156: 256pp Pb: 978-0-87830-180-5: $29.95 For more information, visit: www.routledge.com/9780878301805

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Ramsay Burt ’Essential reading for the developing fields of dance studies and gender studies... Burt’s 2007 revised edition represents a promising development from his original work... The Male Dancer still offers one of the most comprehensive studies of the masculinity of auteur dancers of the twentieth century... Burt’s classic and now rejuvenated The Male Dancer still represents a valuable contribution to gender and sexuality studies and does not fail to inspire the continued scholarly attention that gender and sexuality still demand.’ - Platform In this challenging and lively book, Burt examines the representation of masculinity in twentieth century dance. The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural construction of gender. 2007: 234 x 156: 248pp Hb: 978-0-415-97575-9: $95.00 Pb: 978-0-415-97576-6: $24.95 eBook: 978-0-203-96097-4 For more information, visit: www.routledge.com/9780415975766

2nd Edition

Your Move

Ann Hutchinson Guest and Tina Curran

This second edition of a well-known text book now offers an integrated package including exercise sheets and audio CD with a supporting Teacher’s Manual offered separately on the Web. The author takes a new approach to teaching notation through movement exercises, thus enlarging the scope of the book to teachers of movement and choreography as well as the traditional dance notation students. Updated and enlarged to reflect the most recent scholarship and through a series of exercises, this book guides students through: • movement, stillness, timing, shaping, accents • travelling • direction, flexion and extension • rotations, revolutions and turns • supporting • balance • relationships. All of these movements are related to notation, so the student learns how to notate and describe the movements as they are performed.

2007: 229 x 152: 640pp Pb: 978-0-415-97892-7: $45.95 For more information, visit: www.routledge.com/9780415978927

dance

Reworking the Ballet

Anarchic Dance

Counter Narratives and Alternative Bodies

Edited by Liz Aggiss and Billy Cowie

Vida L. Midgelow, University of Northampton, UK

Challenging and unsettling their predecessors, modern choreographers such as Matthew Bourne, Mark Morris and Masaki Iwana have courted controversy and notoriety by reimagining the most canonical of Classical and Romantic ballets.

In this book, Vida L. Midgelow illustrates the ways in which these contemporary reworkings destroy and recreate their source material, turning ballet from a classical performance to a vital exploration of gender, sexuality and cultural difference. Reworking the Ballet: Counter Narratives and Alternative Bodies articulates the ways that audiences and critics can experience these new versions, viewing them from both practical and theoretical perspectives, including: • eroticism and the politics of touch • performing gender • cross-casting and cross-dressing • reworkings and intertextuality • cultural exchange and hybridity. 2007: 234 x 156: 240pp Hb: 978-0-415-97602-2: $120.00 Pb: 978-0-415-97603-9: $29.95 For more information, visit: www.routledge.com/9780415976039

A Queer History of the Ballet

Rethinking Dance History DVD

Alexandra Carter

2003: 234 x 156: 208pp Hb: 978-0-415-28746-3: $120.00 Pb: 978-0-415-28747-0: $35.95

Liz Aggiss and Billy Cowie, known collectively as Divas Dance Theatre, are renowned for their highly visual, interdisciplinary brand of dance performance that incorporates elements of theatre, film, opera, poetry and vaudevillian humour. Anarchic Dance, consisting of a book and DVD-Rom, is a visual and textual record of their boundary-shattering performance work. The DVD-Rom features extracts from Aggiss and Cowie’s work, including the highly-acclaimed dance film Motion Control (premiered on BBC2 in 2002), rare video footage of their punk-comic live performances as The Wild Wigglers and reconstructions of Aggiss’s solo performance in Grotesque Dancer.

2006: 234 x 156: 232pp Hb: 978-0-415-36516-1: $125.00 Pb: 978-0-415-36517-8: $53.95 eBook: 978-0-203-01657-2 For more information, visit: www.routledge.com/9780415365178

Envisioning Dance on Film and Video

2006: 216 x 138: 224pp Hb: 978-0-415-97279-6: $120.00 Pb: 978-0-415-97280-2: $35.95 eBook: 978-0-203-96849-9 For more information, visit: www.routledge.com/9780415972802

2nd Edition

Dance Movement Therapy Theory, Research and Practice

Making Video Dance A Step-by-Step Guide to Creating Dance for the Screen Katrina McPherson 2006: 246 x 174: 296pp Hb: 978-0-415-37942-7: $110.00 Pb: 978-0-415-37950-2: $39.95 eBook: 978-0-203-96650-1 For more information, visit: www.routledge.com/9780415379502

Making an Entrance Theory and Practice for Disabled and Non-Disabled Dancers Adam Benjamin

For more information, visit: www.routledge.com/9780415251440

Emilyn Claid Covering fifty years of British dance, from Margot Fonteyn to innovative contemporary practitioners such as Wendy Houstoun and Nigel Charnock, Yes, No! Maybe... is an innovative approach to performing and watching dance. 2006: 216 x 138: 256pp Hb: 978-0-415-37156-8: $125.00 Pb: 978-0-415-37247-3: $42.95 eBook: 978-0-203-96950-2

An Introduction DVD

For more information, visit: www.routledge.com/9780415941716

2006: 234 x 156: 288pp Hb: 978-1-58391-702-2: $90.00 Pb: 978-1-58391-703-9: $37.95 eBook: 978-0-203-64161-3

Seductive Ambiguity in Dance

Dance History

2002: 279 x 216: 368pp Hb: 978-0-415-94170-9: $110.00 Pb: 978-0-415-94171-6: $55.00

2001: 246 x 174: 280pp Hb: 978-0-415-25143-3: $150.00 Pb: 978-0-415-25144-0: $35.95

Yes? No! Maybe…

2nd Edition

Edited by Judy Mitoma, Elizabeth Zimmer and Dale Ann Stieber

Edited by Helen Payne, University of Hertfordshire, UK

For more information, visit: www.routledge.com/9780415287470

For more information, visit: www.routledge.com/9780415372473

Peter Stoneley, University of Reading, UK A Queer History of the Ballet focuses on how, as makers and as audiences, queer men and women have helped to develop many of the texts, images, and legends of ballet. Furthermore, the book explores the ways in which, from the nineteenth century into the twentieth, ballet has been a means of conjuring homosexuality – of enabling some degree of expression and visibility for people who were otherwise declared illegal and obscene.

A Reader

’An excellent document of the work of Liz Aggiss & Billy Cowie.’ – Lea Anderson

Edited by Janet Adshead-Lansdale and June Layson 1994: 234 x 156: 304pp Pb: 978-0-415-09030-8: $38.95 eBook: 978-0-203-13736-9 For more information, visit: www.routledge.com/9780415090308

Judson Dance Theater Performative Traces Ramsay Burt 2006: 216 x 138: 240pp Hb: 978-0-415-97573-5: $96.00 Pb: 978-0-415-97574-2: $35.95 eBook: 978-0-203-96966-3 For more information, visit: www.routledge.com/9780415975742

Exhausting Dance Performance and the Politics of Movement Andre Lepecki 2005: 234 x 156: 160pp Hb: 978-0-415-36253-5: $120.00 Pb: 978-0-415-36254-2: $39.95 eBook: 978-0-203-01287-1 For more information, visit: www.routledge.com/9780415362542

For more information, visit: www.routledge.com/9781583917039

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

da nce

Mastering Movement The Life and Work of Rudolf Laban John Hodgson 2001: 216 x 140: 352pp Pb: 978-0-87830-080-8: $29.95 For more information, visit: www.routledge.com/9780878300808

10th Edition

Ballroom Dancing Alex Moore 2002: 216 x 140: 336pp Hb: 978-0-87830-153-9: $28.95 For more information, visit: www.routledge.com/9780878301539 Available from routledge in north america only

Pe r f or me r s an d p e r f or ma n c e

Performers and Performance

The Art and Science of Dance/ Movement Therapy offers both a broad understanding and an in-depth view of how and where dance therapy can be used to produce change. The chapters go beyond the basics that characterize much of the literature on dance/movement therapy, and each of the topics covered offers a theoretical perspective followed by case studies that emphasize the techniques used in the varied settings. Several different theoretical points of view are presented in the chapters, illuminating the different paths through which dance can be approached in therapy.

July 2009: 235 x 156: 380pp Hb: 978-0-415-99657-0: $89.95 Pb: 978-0-415-99656-3: $44.95 For more information, visit: www.routledge.com/9780415996563

A Hybrid Body of Artworks Edited by Simon Donger and Simon Shepherd both at Central School of Speech and Drama, London, UK and Orlan

NEW

Radical Performance Pedagogy Exercises for Rebel Artists and Border Crossers Guillermo Gómez-Peña and Roberto Sifuentes

Designed to take readers right into the heart of radical performance, the author uses a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity.

Life Is Dance

ORLAN

The Art and Science of Dance/ Movement Therapy Edited by Sharon Chaiklin, and Hilda Wengrower, University of Barcelona

NEW

The book features: • detailed exercises for using Pocha Nostra methods in workshops

ORLAN: A Hybrid Body of Artworks is the first academic study of ORLAN’s pioneering art. The book covers her entire career in performance and a range of other art forms. This single accessible overview of ORLAN’s practices describes and analyses her various innovative uses of the body as artistic material.

Co-edited by Simon Donger, Simon Shepherd and ORLAN herself, the collection highlights her artistic impact from the perspectives of both performance and visual culture. The book features: • vintage texts on ORLAN’s work, including manifestos, key writings and critical studies • new contributions, responses and interviews by leading international specialists on performance and visual arts. • over fifty images demonstrating ORLAN’s art, with thirty full colour pictures

• inspirational approaches for anyone creating, producing or teaching radical performance

• a new essay by ORLAN, written specially for this volume

• a step-by-step guide for large-scale group performance

• a new bibliography of writing on ORLAN.

• new, unpublished photos of the Pocha Nostra method in practice Radical Performance Pedagogy advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change. September 2010: 234 x 156: 240pp Hb: 978-0-415-54922-6: $108.00 Pb: 978-0-415-54923-3: $30.95 For more information, visit: www.routledge.com/9780415549233

Ethno-Techno Writings on Performance, Activism and Pedagogy Guillermo Gómez-Peña 2005: 234 x 156: 336pp Hb: 978-0-415-36247-4: $125.00 Pb: 978-0-415-36248-1: $40.95 eBook: 978-0-203-01276-5 For more information, visit: www.routledge.com/9780415362481

Dangerous Border Crossers Guillermo Gómez-Peña 2000: 225 x 160 : 304pp Hb: 978-0-415-18236-2: $120.00 Pb: 978-0-415-18237-9: $37.95 eBook: 978-0-203-36068-2 For more information, visit: www.routledge.com/9780415182379

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

• a full list of ORLAN’s art works

July 2010: 246 x 189: 208pp Hb: 978-0-415-56233-1: Pb: 978-0-415-56234-8: $30.95 For more information, visit: www.routledge.com/9780415562348

The Wooster Group Work Book Edited by Andrew Quick, Lancaster University, UK

’[The Wooster Group is] America’s most inspired company.’ – Ben Brantley, New York Times ’An essential gift for fans of the avant-garde.’ – Time Out New York

The Wooster Group Work Book accesses, often for the first time, the company’s rehearsal methods and source materials, as well as the creative thinking and reflections of director Elizabeth LeCompte and her main artistic collaborators. Focusing on six performance pieces, Frank Dell’s the Temptation of St. Antony (1987), Brace Up! (1990), Fish Story (1994), House/Lights (1999) and To You, the Birdie! (Phèdre) (2002), this new volume gathers together an astonishing range of archival material to produce a vivid and personal account of how the company makes its work. Highly accessible to the student, scholar, theatre-goer and practitioner, and including three contextualizing essays by Andrew Quick, this book offers a series of remarkable insights into the working practices of one of the world’s leading performance companies. 2007: 276 x 219: 288pp Hb: 978-0-415-35333-5: $140.00 Pb: 978-0-415-35334-2: $44.95 eBook: 978-0-203-20608-9 For more information, visit: www.routledge.com/9780415353342

p erf o rm ers an d pe r forman ce

Bobby Baker Redeeming Features of Daily Life Edited by Michèle Barrett, Queen Mary College, University of London, UK and Bobby Baker

’A truly beautiful book ... If only all books about contemporary performance were this good! Whether you are a life-long fan of Bobby Baker, or new to her work, this is an essential purchase.’ - Total Theatre

This fully-illustrated book brings together for the first time an account of Baker’s career as an artist – from her first sculptures at Central St Martins in the early 1970s to her most recent work, ’How to Live’ and ’Diary Drawings’ – with critical commentary by reviewers and academic practitioners. It includes: • Bobby Baker’s own ’Chronicle’ of her work as artist and performer • illuminating critical writing about Baker’s shows • transcripts of Baker’s performances and other original materials reproduced here for the first time

The Theatre of Societas Raffaello Sanzio

At Work with Grotowski on Physical Actions

Joe Kelleher, Roehampton University of Surrey, UK, Nicholas Ridout, Queen Mary University, London, UK, Claudia Castellucci, Chiara Guidi and Romeo Castellucci, all at Societas Raffaello Sanzio, Italy

Thomas Richards

’An exemplary study wrought from within Europe’s most audacious theatre company.’ – Alan Read, King’s College London, UK The Theatre of Societas Raffaello Sanzio chronicles four years in the life of an extraordinary Italian theatre company whose work is widely recognized as some of the most exciting theatre currently being made in

Europe. In the first English-language book to document their work, company founders, Claudia Castellucci, Romeo Castellucci and Chiara Guidi, discuss their approach to theatre making with Joe Kelleher and Nicholas Ridout.

1995: 216 x 138: 152pp Hb: 978-0-415-12491-1: $115.00 Pb: 978-0-415-12492-8: $35.95 eBook: 978-0-203-36023-1 For more information, visit: www.routledge.com/9780415124928

NEW

The Vakhtangov Sourcebook Edited by Andrei Malaev-Babel, Florida State University, USA Yevgeny Vakhtangov was the creator of Fantastic Realism, credited with reconciling Meyerhold’s bold experiments with Stanislavski’s naturalist technique. The Vakhtangov Sourcebook compiles new translations of his key writings on the art of theatre, making it the primary source of first hand material on master of theatre in the English speaking world.

2007: 246 x 174: 304pp Hb: 978-0-415-35430-1: $150.00 Pb: 978-0-415-35431-8: $35.95 eBook: 978-0-203-00097-7

Vakhtangov’s essays and articles are accompanied by:

• a new interview with Bobby Baker by Adrian Heathfield.

For more information, visit: www.routledge.com/9780415354318

• accounts of Vakhtangov in rehearsal

2007: 246 x 174: 288pp Hb: 978-0-415-44410-1: $140.00 Pb: 978-0-415-44411-8: $44.95 eBook: 978-0-203-93892-8

Heart of Practice

• significant new essays by Michele Barrett and Griselda Pollock

For more information, visit: www.routledge.com/9780415444118

Small Acts of Repair Performance, Ecology and Goat Island

Within the Workcenter of Jerzy Grotowski and Thomas Richards Thomas Richards, The Workcenter of Jerzy Grotowski and Thomas Richards, Pontedera, Italy

Edited by Stephen Bottoms, University of Leeds, UK and Matthew Goulish, Goat Island, Chicago, USA

’This book includes practical workshop exercises and thoughts on teaching drawn from the company’s extensive experience... a valuable classroom resource... a good introduction to Goat Island.’ - Total Theatre

Goat Island are one of the world’s leading contemporary performance ensembles. Their intimate, low-tech, intensely physical performances represent a unique hybrid of strategies and techniques drawn from live art, experimental theatre and postmodern dance. Small Acts of Repair: Performance, Ecology and Goat Island, is the first book to document and critique the company’s performances, processes, politics, aesthetics, and philosophies. It reflects on the company’s work through the critical lens of ecology – an emerging and urgent concern in performance studies and elsewhere. 2007: 234 x 156: 264pp Hb: 978-0-415-36514-7: $125.00 Pb: 978-0-415-36515-4: $37.95 eBook: 978-0-203-01656-5 For more information, visit: www.routledge.com/9780415365154

Heart of Practice is a unique and invaluable insight into the workings of one of theatre’s true pioneers, presented by his closest collaborator. This book charts the development of Grotowski’s dramatic research through a decade of conversations with his apprentice, Thomas Richards.

Tuscany’s ‘Workcenter of Jerzy Grotowski and Thomas Richards’ is the enduring legacy of a master teacher, director and theorist, and home to much of Grotowski’s most significant work. Interviewed by leading scholars, and offering his own intimate accounts, Richards gives a vivid and detailed view of the Workcenter’s evolution, providing:

• diary excerpts on popular theatre • his 1914 Lectures to the Vakhtangov Studio • production photographs and sketches • extensive bibliographies • director’s notes on key performances. An extensive introductory overview from editor Andrei Malaev-Babel explains the Vakhtangov‘s creative life, his groundbreaking theatrical concepts and influential directorial works. June 2010: 234 x 156: 208pp Hb: 978-0-415-47268-5: $100.00 Pb: 978-0-415-48257-8: $31.95 For more information, visit: www.routledge.com/9780415482578

Certain Fragments Texts and Writings on Performance Tim Etchells 1999: 246 x 174: 232pp Hb: 978-0-415-17382-7: $125.00 Pb: 978-0-415-17383-4: $43.95 eBook: 978-0-203-44963-9 For more information, visit: www.routledge.com/9780415173834

• concrete illustration of the Workcenter’s distinctive creative practices • rigorous discussion of over twenty years of worldrenowned research • previously unpublished performance photos • privileged insight into what Grotowski considered to be the culmination of his life’s work. Selected Contents: 1. The Edge-Point of Performance – Interviewer Lisa Wolford 2. You Can’t Hold it in your Hands – Interviewer Tatiana Motta Lima 3. In the Territory of Something Third – Interviewer Kris Salata 2008: 234 x 156: 216pp Hb: 978-0-415-44147-6: $99.00 Pb: 978-0-415-44148-3: $33.95 For more information, visit: www.routledge.com/9780415441483

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

p e r f or me r s an d p e r f or ma n c e

Encounters with Tadeusz Kantor Krzysztof Miklaszewski

30 day FREE trials available!

Edited by George Hyde

An invaluable collection of documents and discussions of the work of one of the most significant theatre practitioners of the last fifty years. This unique set of reminiscences, written by one of the actors who worked closely with Kantor over a long period of time, ranges from the anecdotal to the theoretical.

2005: 234 x 156: 192pp Pb: 978-0-415-37263-3: $34.95 For more information, visit: www.routledge.com/9780415372633

Movement Training for the Modern Actor Mark Evans, Coventry University, UK Series: Routledge Advances in Theatre & Performance Studies This book is the first critical analysis of the key principles and practices informing the movement training of actors in the modern era. Focusing on the cultural history of movement training over the last one hundred and fifty years, it offers a conceptual framework for the understanding of key approaches to the training of the professional actor’s body. The volume looks in detail at the influence of the leading figures in movement training — Laban, Alexander, Copeau and Lecoq — on twentieth century professional actor training, and is informed by interviews with students and staff at leading English drama schools. Mark Evans re-evaluates the significance of movement training in the professional drama school by examining the ways in which movement training shapes the student as a professional actor, as well as considering the extent to which it offers a new understanding of the body as a site for performative resistance to industrialization. Despite the publication of a number of ‘how to’ books on movement training for the professional acting student, this is the first text to look behind the curtain and write the unseen biography of the actor’s body.

Find biographical data for hundreds of people in theatre and performance At the forefront of biographical reference, the World Who’s Who provides hard-to-find details for almost 60,000 of the most prominent and influential individuals around the world, including hundreds of people in the field of theatre and performance.

Key features: • Regular updates: biographical data updated regularly, with daily updates of important political position changes and reported deaths of entrants • New entries: thousands of new entries each year – over 2,000 added in 2009 • Living and deceased: profiles of deceased personalities, in addition to the living individuals covered in the print Who’s Who • Personal contact details: with direct links to websites and email addresses • Accurate data: biographical entries are updated by the entrants themselves to ensure accuracy.

Selected Contents: Acknowledgments Introduction: Movement Training for Actors Part One: Educating Efficient Labor for the Acting Profession Part Two: The ‘Neutral’ Body, the ‘Natural’ Body and Movement Training for Actors Part Three: Movement Training for Actors and the Docile Body Part Four: Movement Training and the Unruly Body Conclusion: Overview and Projections Bibliography Index 2008: 229 x 152: 222pp Hb: 978-0-415-96367-1: $95.00 For more information, visit: www.routledge.com/9780415963671

For more information, pricing enquiries or to order a free trial, please contact your local online sales team: UK and Rest of World | Tel: +44 (0)20 701 76062 • Email: online.sales@tandf.co.uk USA, Canada and South America | Tel: 1-888-318-2367 • Email: e-reference@taylorandfrancis.com

www.online.taylorandfrancis.com

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online

sta nislavski

Stanislavski New in Paperback

An Actor’s Work A Student’s Diary Translated by Jean Benedetti Konstantin Stanislavski

’A lively new translation by Jean Benedetti... Stanislavksi was provocative, controversial - and, as An Actor’s Work confirms, a genius’ - The Times ’A volume that clearly communicates the entire system ... it should be made required reading. - The Guardian ’Getting the system straight from the horses mouth ... An Actor’s Work should be a manual not just in drama school, but but on any course where students are taught to assess texts and arguments critically’ - Times Literary Supplement ’A landmark achievement in Stanislavski studies ... essential reading for anyone interested in acting, practically or academically, at all levels from schools to the industry.’ - Times Higher Educational Supplement

Stanislavski’s ‘system’ has dominated actor-training in the West since his writings were first translated into English in the 1920s and 30s. His systematic attempt to outline a psychophysical technique for acting single-handedly revolutionized standards of acting in the theatre. Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read Englishlanguage versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author’s original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today’s actors. The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century. September 2009: 234 x 156: 708pp Hb: 978-0-415-42223-9: $35.95 Pb: 978-0-415-55120-5: $24.95 For more information, visit: www.routledge.com/9780415551205

New

An Actor’s Work on a Role Konstantin Stanislavski Translated by Jean Benedetti

An Actor’s Work on a Role is Konstantin Stanislavski’s classic exploration of the rehearsal process, applying the techniques of his seminal actor training system to the task of bringing life and truth to one’s role. Originally published over half a century ago as Creating a Role, this book became the third in a trilogy – after An Actor Prepares and Building a Character, which are now combined in a newly translated volume called An Actor’s Work. In these books, now foundational texts for actors, Stanislavsky sets out his psychological, physical and practical vision of actor training. This new translation from renowned writer and critic Jean Benedetti not only includes Stanislavski’s original teachings, but is also furnished with invaluable supplementary material in the shape of transcripts and notes from the rehearsals themselves, reconfirming The System as the cornerstone of actor training.

Selected Contents: Preface Part One: Draft Chapters 1930-1937 1. Othello 2. The Government Inspector 3. Notebooks 1936-1937 Part Two: Historic Documents 1885-1930 4. Notebooks 1885, 1911 5. Work on a Role: Salieri 1915 6. Woe from Wit 1916-1920 7. The Story of a Production 1923 October 2009: 234 x 156: 272pp Hb: 978-0-415-46129-0: $39.95 For more information, visit: www.routledge.com/9780415461290 Footnote: Photographs from the archive of The Stanislavski Centre at Rose Bruford College, UK

www.routledge.com/textbooks/stanislavski TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

s tan i s l avs k i

My Life in Art

Theatre Arts Editions of Stanislavski

Konstantin Stanislavski Translated by Jean Benedetti

’This wise and delightful book … is packed with sage, practical counsel to actors and actresses.’ – The Times Literary Supplement

’The Stanislavski system of acting is good. What is better is the Stanislavski philosophy of art that believes in the infinitude of man ... Even those who are not primarily interested in acting will find in Stanislavski’s writing an extraordinary illumination of art.’ – The New York Times Konstantin Stanislavski was a Russian director who transformed theatre in the West with his contributions to the birth of Realist theatre and his unprecedented approach to teaching acting. He lived through extraordinary times and his unique contribution to the arts still endures in the twenty-first century. He established the Moscow Art Theatre in 1898 with, among other plays, the premiere of Chekhov’s The Seagull. He also survived revolutions, lost his fortune, found wide fame in America, and lived in internal exile under Stalin’s Soviet Union. Before writing his classic manual on acting, Stanislavski began writing an autobiography that he hoped would both chronicle his rich and tumultuous life and serve as a justification of his aesthetic philosophy. But when the project grew to ’impossible’ lengths, his publisher (Little, Brown) insisted on many cuts and changes to keep it to its deadline and to a manageable length. The result was a version published in English in 1924, which Stanislavski hated and completely revised for a Soviet edition that came out in 1926. Now, for the first time, translator Jean Benedetti brings us Stanislavski’s complete unabridged autobiography as the author himself wanted it – from the re-edited 1926 version. The text, in clear and lively English, is supplemented by a wealth of photos and illustrations, many previously unpublished. 2008: 234 x 156: 488pp Hb: 978-0-415-43657-1: $39.95 For more information, visit: www.routledge.com/9780415436571

NEW

Stanislavski in Practice Exercises for Students Nick O’Brien A step-by-step guide to Stanislavski’s System that makes this cornerstone of modern theatre accessible to teachers and students alike.

An Actor Prepares Konstantin Stanislavski 1989: 216 x 138: 344pp Pb: 978-0-87830-983-2: $22.95 For more information, visit: www.routledge.com/9780878309832 AVAILABLE from routledge in north america only

2nd Edition

Stanislavski in Rehearsal Vasili Toporkov 2004: 229 x 152: 184pp Pb: 978-0-87830-193-5: $23.95 For more information, visit: www.routledge.com/9780878301935 AVAILABLE from routledge in north america only

2nd Edition

Stanislavski An Introduction, Revised and Updated

Building A Character

Jean Benedetti

Konstantin Stanislavski

2004: 216 x 140: 128pp Pb: 978-0-87830-183-6: $19.95 eBook: 978-0-203-99818-2

1989: 216 x 140: 352pp Pb: 978-0-87830-982-5: $23.95 For more information, visit: www.routledge.com/9780878309825 AVAILABLE from routledge in north america only

Creating A Role Konstantin Stanislavski 1989: 216 x 140: 320pp Pb: 978-0-87830-981-8: $23.95 For more information, visit: www.routledge.com/9780878309818 AVAILABLE from routledge in north america only

For more information, visit: www.routledge.com/9780878301836 AVAILABLE from routledge in north america only

Beyond Stanislavsky A Psycho-Physical Approach to Actor Training Bella Merlin 2001: 229 x 152: 288pp Hb: 978-0-87830-143-0: $100.00 Pb: 978-0-87830-142-3: $26.95 For more information, visit: www.routledge.com/9780878301423

New

Stanislavsky in America

New

Mel Gordon, University of California, Berkeley, USA

Science and the Stanislavsky Tradition of Acting

Jonathan Pitches, Leeds University, UK

An Actor’s Workbook Stanislavsky in America explores the extraordinary legacy that Konstantin Stanislavsky’s system of actor-training has left on acting in the US. Mel Gordon outlines the journey of Stanislavski’s theories through twentieth century American history, from the early US tours of the Moscow Art Theatre to the ongoing impact of ’The System’ on modern American acting. This fascinating study by a leading theatre critic and practitioner provides hundreds of original acting exercises, used by the pivotal US figures who developed his teachings, such as Lee Strasberg, Stella Adler and Bobby Lewis. By going back to these primary sources, Gordon cuts through the myths and misapprehensions which have built up over time.

Stanislavski in Practice can be used as an exercise book for students and a lesson planner for teachers on syllabi from Edexcel and AQA to the practice-based requirements of BTEC. Each element of the System is covered in a practical way through classroom exercises and discussion.

Part memoir and part practical guide, Stanislavsky in America is an essential resource for anyone wanting to understand Stanislavski’s work and his relationship with American theatre.

October 2010: 246 x 189: 224pp Pb: 978-0-415-56843-2: $29.99

October 2009: 216 x 138: 208pp Hb: 978-0-415-49669-8: $88.00 Pb: 978-0-415-49670-4: $27.95

For more information, visit: www.routledge.com/9780415568432

For more information, visit: www.routledge.com/9780415496704

Series: Routledge Advances in Theatre & Performance Studies Providing new insight into the well-known tradition of acting, Science and the Stanislavsky Tradition of Acting is the first book to contextualise the Stanislavsky tradition with reference to parallel developments in science. Rooted in practice, it presents an alternative perspective based on philosophy, physics, romantic science and theories of industrial management. Working from historical and archive material, as well as practical sources, Jonathan Pitches traces an evolutionary journey of actor training from the roots of the Russian tradition, Konstantin Stanislavsky, to the contemporary Muscovite director, Anatoly Vasiliev. The book explores two key developments that emerge from Stanislavski’s system – one linear, rational and empirical, while the other is fluid,organic and intuitive. The otherwise highly contrasting acting theories of Vsevolod Meyerhold (biomechanics) and Lee Strasberg (the Method) are dealt with under the banner of the rational or Newtonian paradigm; Michael Chekov’s acting technique and the little known ideas of Anatoly Vasiliev form the centrepiece of the other Romantic, organic strain of practice. Science and the Stanislavsky Tradition of Acting opens up the theatre laboratories of five major practitioners in the twentieth and twenty-first centuries and scrutinises their acting methodologies from a scientific perspective. September 2009: 234 x 156: 236pp Pb: 978-0-415-54403-0: $34.00 For more information, visit: www.routledge.com/9780415544030

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Michael che k hov

Michael Chekhov

Master Classes in the Michael Chekhov Technique

Edited by Andrei A. Kirillov and Bella Merlin

For the Actor Lenard Petit, The Michael Chekhov Acting Studio, NYC, USA ’Petit’s words go right to the heart of Chekhov’s technique ... Anyone looking for a key to understanding more about Michael Chekhov’s technique will devour it.’ – Jessica Cerullo, Michael Chekhov Association, NYC

Michael Chekhov

MICHA, The Michael Chekhov Association

The Michael Chekhov Handbook

The Path Of The Actor DVD

’An extraordinary living sampler ... accessible and compelling ... this collection should reside in the library of every forward looking, professional or academic training program for actors.’ – Lavinia Hart, Head of MFA Acting, Wayne State University, USA

’An invaluable and rich contribution to the study and research of Michael Chekhov’s approach to actor training and performance ... a fascinating resource for many drama teachers.’ – Martin Sharp, TV/theatre director, ex-lecturer in Performing Arts, University of Brighton, and co-founder of the Michael Chekhov Centre UK

2005: 234 x 156: 242pp Hb: 978-0-415-34366-4: $71.95 eBook: 978-0-203-96923-6 For more information, visit: www.routledge.com/9780415343664

The Michael Chekhov technique is today seen as one of the most influential and inspiring methods of actor training in existence. In The Michael Chekhov Handbook, Lenard Petit draws on twenty years of teaching experience to unlock and illuminate this often complex technique.

A set of three DVDs professionally produced to a high broadcast quality presents an unprecedented level of access to the practice of the Chekhov technique. This collection provides six hours of filmed workshops by world-renowned Chekhov experts demonstrating his approach to actor-training, including:

2nd Edition

• exercises in body awareness

David Zinder

Petit uses four sections to guide those studying, working with or encountering Chekhov’s approach for the first time:

• ’the four brothers’ – Ease, Form, Beauty, and sense of the whole

• the aims of the technique – outlining the real aims of the actor

• qualities of movement - molding, floating, flying and radiating • psychological gestures

• the principles – acting with energy, imagination and creative power

• imagining a different physical body of a character.

• the tools – the actor’s use of the body and sensation

2007: 48pp DVD: 978-0-415-42258-1: $180.00

• the application – bringing the technique into practice. The Michael Chekhov Handbook’s explanations and exercises will provide readers with the essential tools they need to put the rewarding principles of this technique into use. August 2009: 198 x 129: 192pp Hb: 978-0-415-49671-1: $88.00 Pb: 978-0-415-49672-8: $23.95 For more information, visit: www.routledge.com/9780415496728

2nd Edition

To the Actor On the Technique of Acting Michael Chekhov

’An admirable insight into the theatrical mind of one of Russia’s less recognized, but most brilliant, exports.’ – Jeremy Piper, The Times Higher Education Supplement

Body Voice Imagination ImageWork Training and the Chekhov Technique David Zinder’s Body Voice Imagination is written by one of the master teachers of the Michael Chekhov technique of acting training. This book is a comprehensive course of exercises devoted to the development of actors’ creative expressivity, comprising both pre-Chekhov ImageWork Training and seminal exercises of the Chekhov technique. It also details the way in which these techniques can be applied to performance through a discovery of the profound connections between the actor’s body, imagination and voice. This new edition has been fully updated, with revisions and new material:

Edited by Mala Powers 2002: 198 x 129: 288pp Hb: 978-0-415-25875-3: $125.00 Pb: 978-0-415-25876-0: $39.95 For more information, visit: www.routledge.com/9780415258760

• updated exercises, reflecting developments in David Zinder’s own ImageWork Training • an detailed description, with exercises, of ImageWork’s connections to the Chekhov technique • a new chapter, bridging the gap between training and performance. Body Voice Imagination develops both a comprehensive physical training system and an emphasis on practical character work. This authoritative programme of ‘preChekhov’ training is furnished with essential notes and advice from the author’s vast store of professional experience. April 2009: 234 x 156: 320pp Hb: 978-0-415-46197-9: $110.00 Pb: 978-0-415-46198-6: $31.95 eBook: 978-0-203-87819-4 For more information, visit: www.routledge.com/9780415461986

Can’t find what you’re looking for? Visit our up-to-date website for a complete listing of all our titles. www.routledge.com

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

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Aug usto Boal E ug e n i o Ba rba

Augusto Boal

Hamlet and the Baker’s Son

Eugenio Barba

My Life in Theatre and Politics 2nd Edition

Augusto Boal

New

Games for Actors and Non-Actors

2001: 234 x 156: 384pp Hb: 978-0-415-22988-3: $125.00 Pb: 978-0-415-22989-0: $44.95

On Directing and Dramaturgy

Augusto Boal 2002: 246 x 174: 336pp Hb: 978-0-415-26761-8: $125.00 Pb: 978-0-415-26708-3: $45.95 eBook: 978-0-203-99481-8 For more information, visit: www.routledge.com/9780415267083

The Aesthetics of the Oppressed Augusto Boal Augusto Boal’s workshops and theatre exercises are renowned throughout the world for their life-changing effects. At last this major director, practitioner, and author of many books on community theatre speaks out about the subjects most important to him – the practical work he does with diverse communities, the effects of globalization, and the creative possibilities for all of us. 2006: 234 x 156: 144pp Hb: 978-0-415-37176-6: $120.00 Pb: 978-0-415-37177-3: $37.98 eBook: 978-0-203-96983-0

For more information, visit: www.routledge.com/9780415229890

A Boal Companion Dialogues on Theatre and Cultural Politics

2005: 246 x 174: 224pp Hb: 978-0-415-32293-5: $100.00 Pb: 978-0-415-32294-2: $43.95 eBook: 978-0-203-30079-4 For more information, visit: www.routledge.com/9780415322942

Playing Boal Edited by Jan Cohen-Cruz and Mady Schutzman

Legislative Theatre

For more information, visit: www.routledge.com/9780415086080

1998: 246 x 174: 272pp Hb: 978-0-415-18240-9: $135.00 Pb: 978-0-415-18241-6: $41.95 eBook: 978-0-203-98489-5 For more information, visit: www.routledge.com/9780415182416

This carefully constructed and thorough collection of theoretical engagements with Augusto Boal’s work is the first to look ’beyond Boal’ and critically assesses the Theatre of the Opressed (TO) movement in context.

1993: 216 x 138: 256pp Hb: 978-0-415-08607-3: $135.00 Pb: 978-0-415-08608-0: $41.95 eBook: 978-0-203-41971-7

Augusto Boal

Eugenio Barba, Nordisk Teaterlaboratorium, Holstebro, Denmark International School of Theatre Anthropology

Edited by Jan Cohen-Cruz and Mady Schutzman

For more information, visit: www.routledge.com/9780415371773

Using Performance to Make Politics

Burning the House

The Rainbow of Desire The Boal Method of Theatre and Therapy

’A theatre which is able to speak to each spectator in a different and penetrating language is not a fantastic idea, nor a utopia. This is the theatre for which many of us, directors and leaders of groups, trained for a long time.....’ - from the Introduction

On Directing is Eugenio Barba’s unprecedented account of his own life and work. This is a major retrospective of Barba’s working methods, his practical techniques, and the life experiences which fed directly into his theatre-making. On Directing is an inspirational resource. It is a dramaturgy of dramaturgies, and a professional autobiography, from one of the most significant and influential directors and theorists working today. It provides unique insights into a philosophy and practice of directing for the beginning student, the experienced practitioner, and everyone in between. November 2009: 234 x 156: 303pp Hb: 978-0-415-54920-2: $110.00 Pb: 978-0-415-54921-9: $31.95 For more information, visit: www.routledge.com/9780415549219

2nd Edition

Augusto Boal

A Dictionary of Theatre Anthropology

1994: 246 x 174: 224pp Pb: 978-0-415-10349-7: $49.95

Eugenio Barba and Nicola Savarese

For more information, visit: www.routledge.com/9780415103497

The Secret Art of the Performer ’The entries in the Dictionary are fascinating flashbulbs, shedding light on myriad ways of performing – breathing in noh, eye movement in kathakali, balance in Indian bharatanatyam ... For actors grounded in 20th-Century American realism, this plethora of body-based ... information could prove (literally) eye-opening. Particularly persuasive is Schechner’s essay on ’restoration of behavior’.’ – American Theatre 2005: 297 x 210: 320pp Pb: 978-0-415-37861-1: $69.95 eBook: 978-0-203-07940-9 For more information, visit: www.routledge.com/9780415378611

The Paper Canoe A Guide to Theatre Anthropology Eugenio Barba 1994: 234 x 156: 200pp Hb: 978-0-415-10083-0: $135.00 Pb: 978-0-415-11674-9: $41.95 eBook: 978-0-203-36009-5 For more information, visit: www.routledge.com/9780415116749

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Ro u t led ge the atre classics

Routledge Theatre Classics NEW 2nd Edition

Acting: The First Six Lessons Documents from the American Laboratory Theatre Richard Boleslavsky Edited by Rhonda Blair, Southern Methodist University, USA Acting: The First Six Lessons was first published in 1933 and remains a key text for anyone studying acting today. These dramatic dialogues between teacher and idealistic student explore the field of acting according to one of the original teachers of Stanislavski’s System in America. The witty and energetic debate between the two characters brings to life the internal mind of the actor and director, exposing some vital lessons for practitioners of both disciplines. Boleslavsky draws on his vast experience as an actor and director to create a book that is at turns humorous, enlightening and challenging for the reader. This new edition of this essential text is edited by Rhonda Blair and supplemented for the very first time with Documents from the American Laboratory Theatre. These documents collect together a broad range of exciting unpublished material, drawn from the Boleslavsky’s pivotal and unprecedented teachings on acting at the American Laboratory Theatre. Included are:

On the Art of the Theatre Edward Gordon Craig Edited by Franc Chamberlain, University College Cork, Ireland ’One of the most influential books of the past century... a great introduction to the notion of ’Visual and physical theatre’... Essential reading!’ - Total Theatre First published in 1911, On the Art of the Theatre remains one of the seminal texts of theatre theory and practice.

Theatre Arts on Acting Edited by Laurence Senelick, Tufts University, USA

’Another excellent ’Classic’ - keep ’em coming Routledge!’ - Total Theatre

• Theatre: The Rediscovery of Style collects five of Saint Denis’ key lectures, given during his time in America, and perfectly encompasses his synergy of classical theatre and modern realism

• a specially written Introduction and notes from editor Franc Chamberlain • an updated bibliography Controversial and original, On the Art of the Theatre stands as one of the most influential books on theatre of the twentieth century.

For more information, visit: www.routledge.com/9780415563864

’A great director, a great artist, a great man.’ – Sir Michael Redgrave

This reissue contains a wealth of new features:

• Boleslavsky’s ‘Lectures from the American Laboratory Theatre’

September 2010: 216 x 138: 160pp Hb: 978-0-415-56385-7: $88.00 Pb: 978-0-415-56386-4: $25.85

Edited by Jane Baldwin, Boston Conservatory, USA ’Saint-Denis had a clairvoyant divination into the soul of acting.’ – Lord Olivier

Michel Saint-Denis was one of twentieth century theatre’s most influential directors and theorists. This book combines his seminal Theatre: The Rediscovery of Style with material from Training for the Theatre, newly edited to create a work which moves seamlessly from theory to practice.

• further reading.

• A new critical introduction and bibliography by the Editor

Michel Saint-Denis

Actor, director, designer and pioneering theorist, Edward Gordon Craig was one of twentieth century theatre’s great modernisers. Here, he is eloquent and entertaining in expounding his views on the theatre; a crucial and prescient contribution that retains its relevance almost a century later.

• ‘The Creative Theatre’ lectures by Richard Boleslavsky

• ‘Acting with Maria Ouspenskaya’, four short essays on the work of Ouspenskaya, Boleslavsky’s colleague and fellow actor trainer

Theatre: The Rediscovery of Style and Other Writings

Selected Contents: Prefaces. Introduction. God Save the King. The Artists of the Theatre of the Future. The Actor and the Uber-Marionette. Some Evil Tendencies of the Modern Theatre. Plays and Playwrights. The Theatre in Russia, Germany, and England. The Art of the Theatre (1st Dialogue). The Art of the Theatre (2nd Dialogue). The Ghosts in the Tragedies of Shakespeare. Shakespeare’s Plays. Realism and the Actor. Open-Air Theatres. Symbolism. The Exquisite and the Precious 2008: 234 x 156: 192pp Hb: 978-0-415-45033-1: $99.00 Pb: 978-0-415-45034-8: $28.78 For more information, visit: www.routledge.com/9780415450348

During its fifty year run, Theatre Arts Magazine was a bustling forum for the foremost names in the performing arts, including Stanislavski, Laurence Olivier, Lee Strasberg, John Gielgud and Shelley Winters. Renowned theatre historian Laurence Senelick has plundered its stunning archives to assemble a stellar collection of articles on every aspect of acting and theatrical life.

• Training for the Theatre is a key practical resource for actors, directors and teachers alike. It covers crucial areas such as understanding a play’s context, training schedules, improvisation and dealing with stage space, as well as a section on Saint-Denis’ use of masks in actor training Theatre: The Rediscovery of Style and Other Writings benefits from Jane Baldwin’s new biographical introduction and annotations, that put Saint-Denis into context for a contemporary audience. It brings a wealth of inspirational material both to the rehearsal space and the classroom. Selected Contents: Prologue: Who Was Michel Saint-Denis? Part 1: The Classical Theatre 1. The Classical French Tradition: Contradictions and Contributions Part 2: Classical Theatre and Modern Realism 2. Style and Reality 3. Style and Stylization 4. Style in Acting, Directing, and Designing 5. Training for the Theatre Part 3: Acting Guidelines. Exerpts from Training for the Theatre 6. Guiding Principles: The Progression of the Training 7. The Actor’s Techniques: Physical and Vocal Expression 8. The Imaginative Background 9. Silent Acting – Improvisation 2008: 234 x 156: 208pp Hb: 978-0-415-45047-8: $110.00 Pb: 978-0-415-45048-5: $30.95 For more information, visit: www.routledge.com/9780415450485

2008: 234 x 156: 552pp Hb: 978-0-415-77492-5: $120.00 Pb: 978-0-415-77493-2: $35.95 For more information, visit: www.routledge.com/9780415774932

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

Rou tled ge Theatre C la ssics 2nd Edition

Stanislavsky in Focus An Acting Master for the Twenty-First Century Sharon Marie Carnicke, University of Southern California, USA Stanislavsky in Focus brilliantly examines the history and actual premises of Stanislavski’s ’System’, separating myth from fact with forensic skill. The first edition of this now classic study showed conclusively how the ’System’ was gradually transformed into the Method, popularised in the 1950s by Lee Strasberg and the Actor’s Studio. It looked at the gap between the original Russian texts and what most English-speaking practitioners still imagine to be Stanislavski’s ideas. This thoroughly revised new edition also delves even deeper into: • the mythical depiction of Stanislavski as a tyrannical director and teacher • yoga, the mind-body-spirit continuum and its role in the ‘System’

Pe r f or man c e th e o ry

Performance Theory NEW

Engaging Performance Theatre as Call and Response Jan Cohen-Cruz, Syracuse University, USA Engaging Performance is the first systematic overview of socially engaged performance. Jan Cohen-Cruz has drawn together a collection of case studies that chart the history of performance’s contribution to social justice. Each chapter of this comprehensive account addresses a key aspect of engaged performance, moving from specific case studies to contemporary examples of related performances and then to practical exercises, covering: • artistic ensembles’ amplification of power movements

• how Stanislavski used subtexts to hide many of his ideas from Soviet censors.

• Theatre of the Oppressed

The text has been updated to address all of the relevant scholarship, particularly in Russia, since the first edition was published. It also features an expanded glossary on the System’s terminology and its historical exercises, as well as more on the political context of Stanislavski’s work, its links with cognitive science, and the System’s relation to contemporary developments in actor-training. It will be a vital part of every practitioner’s and historian’s library.

• the political dramatic text

Selected Contents: Preface: Stanislavsky Enters the TwentyFirst Century Part 1: Transmission From Moscow to New York. New York Adopts Stanislavsky. Part 2: Translation The Classroom Circuit. The Publication Maze. Part 3: Transformation Stanislavsky’s Lost Term. Emotion and the Human Spirit of the Role. Action and the Human Body in the Role. Conclusion: A Legacy for the Future. Appendix I : Reading Between the Lines. Appendix II: Stanislavsky and Modern Dance. The System’s Terminology: A Selected Glossary

September 2010: 234 x 156: 232pp Hb: 978-0-415-47213-5: $104.00 Pb: 978-0-415-47214-2: $28.95

2008: 234 x 156: 272pp Hb: 978-0-415-77496-3: $115.00 Pb: 978-0-415-77497-0: $28.95

On Performing Remains

For more information, visit: www.routledge.com/9780415774970

Reenactment is a collection of essays from one of Performance Studies’ leading scholars, exploring the role of the fake, the false and the faux in contemporary theatre. Rebecca Schneider questions the view that performance is ’ephemeral’ and instead argues that rather than being about what disappears, performance is defined by what remains.

• personal story-based artmaking • cultural organising • cultural traditions • training for performance and social justice. A skillful progression from history through theory to practice makes Engaging Performance the definitive text on a rapidly expanding field.

For more information, visit: www.routledge.com/9780415472142

NEW

Reenactment Rebecca Schneider, Brown University, USA

Divided into seven essays, this book examines both contemporary and historical performance with a wide scope. It questions the importance of representation and reassessing the ritual value of failure to recreate the ’original’ or to pass as the object of imitation. September 2010: 216 x 138 Hb: 978-0-415-40441-9: $131.00 Pb: 978-0-415-40442-6: $34.00 For more information, visit: www.routledge.com/9780415404426

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

NEW

Mise en Scene Patrice Pavis, University of Paris VIII, France Mise en Scene is Patrice Pavis’s enlightening and penetrating analysis of the role that stagecraft plays in the creation of drama. Pavis explores the complex relationship of mise-en-scene to different performance forms throughout history. He focuses on the traditional elements employed in stagecraft and studies the dramatic impact of actors, costume, lighting and set design on performance. This powerful new translation explores the changing possibilities for stagecraft through new media forms in the twenty-first century and critically examines contemporary stagecraft today in the context of performance art, physical theatre and postmodern theory. October 2010: 216 x 138: 336pp Hb: 978-0-415-55343-8:$115.00 Pb: 978-0-415-55344-5:$41.95 For more information, visit: www.routledge.com/9780415553445

NEW

Performance Theatre and the Poetics of Failure Sara Jane Bailes, University of Sussex, UK What does it mean to ‘fail’ in performance? Or, what do performances founded upon the collapse of their own invention illuminate that other modes of theatre usually aim to conceal? Performance Theatre and the Poetics of Failure begins by approaching Samuel Beckett’s dramatic disposition where failure is perceived as a deliberate and effective poetics. Sara Jane Bailes extends such strategies through theoretical and archival modes of investigation in an enlightening analysis. This book offer case studies of acclaimed UK and US experimental theatre companies Forced Entertainment, Elevator Repair Service and Goat Island as exemplars of performance as failure. The author uses detailed rehearsal and performance analysis to engage critical theory and contextualise avant garde practice. The result is an incisive and original critique of contemporary theatre that makes essential reading for practitioners, scholars and students of Theatre and Performance Studies. June 2010: 229 x 152: 304pp Hb: 978-0-415-49099-3: $95.00 Pb: 978-0-415-58565-1: $31.95 For more information, visit: www.routledge.com/9780415490993

P erf o rm an ce theory

The Actor, Image, and Action

The Transformative Power of Performance

Acting and Cognitive Neuroscience

A New Aesthetics

Performing Embodiment in Samuel Beckett’s Drama

Rhonda Blair, Southern Methodist University, Dallas, USA

Erika Fischer-Lichte, Free University of Berlin, Germany

Anna McMullan, Chair in Drama, Queens University, Belfast

’A valuable and provocative insight in an area of thinking that is still relatively new to the field of theatre ... Rhonda Blair’s work has the potential to lead toward new techniques in actor training.’ – Sharon Carnicke, University of Southern California, USA

The Actor, Image and Action is a ’new generation’ approach to the craft of acting; the first full-length study of actor training using the insights of cognitive neuroscience. In a brilliant reassessment of both the practice and theory of acting, Rhonda Blair examines the physiological relationship between bodily action and emotional experience. In doing so she provides the latest step in Stanislavski’s attempts to help the actor ’reach the unconscious by conscious means’. Selected Contents: Preface 1. Acting, History, and Science 2. The Twentieth Century Heritage 3. A Way of Thinking about Acting 4. Applications Afterword Appendix: Translation: Image, Action, and Chekhov’s The Seagull 2007: 216 x 138: 160pp Hb: 978-0-415-77416-1: $125.00 Pb: 978-0-415-77417-8: $37.95 For more information, visit: www.routledge.com/9780415774178

Crossing Cultural Borders Through the Actor’s Work Foreign Bodies of Knowledge Cláudia Tatinge Nascimento, Wesleyan University, USA

’Wonderfully erudite, clear and concise.’ – Maria Shevtsova, Goldmsiths College, University of London, UK ’A major reference work for debates on theatre theory, performance, and methodology. Written by one of the foremost representatives of the field of theatre studies.’ – Hans-Thies Lehmann, Johann Wolfgang Goethe-Universitat, Frankfurt, Germany

In this book, Erika Fischer-Lichte traces the emergence of performance as ’an art event’ in its own right. In setting performance art on an equal footing with the traditional art object, she heralds a new aesthetics. The peculiar mode of experience that a performance provokes – blurring distinctions between artist and audience, body and mind, art and life – is here framed as the breeding ground for a new way of understanding performing arts, and through them even wider social and cultural processes. With an introduction by Marvin Carlson, this translation of the original Ästhetik des Performativen addresses key issues in performance art, experimental theatre and cultural performances to lay the ground for a new appreciation of the artistic event. Selected Contents: 1. The Transformative Power of Performance 2. Explaining Concepts: Performativity and Performance 3. Shared Bodies, Shared Spaces: The Bodily Co-Presence of Actors and Spectators 4. The Performative Generation of Materiality 5. The Emergence of Meaning 6. The Performance as Event 7. The Re-Enchantment of the World

Series: Routledge Advances in Theatre & Performance Studies

2008: 234 x 156: 240pp Hb: 978-0-415-45855-9: $117.00 Pb: 978-0-415-45856-6: $36.95

A sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, Crossing Cultural Borders Through the Actor’s Work redirects the intercultural debate by focusing exclusively on the actor at work. Alongside the perspectives of other prominent intercultural actors, this study draws from original interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). By illuminating the hidden creative processes usually unavailable to outsiders--the actor’s apprenticeship, training, character development, and rehearsals--Nascimento both reveals how assumptions based on race or ethnicity are misguiding, trouble definitions of intra- and intercultural practices, and details how performance analyses and claims of appropriation fail to consider the permanent transformation of the actor’s identity that cultural transmission and embodiment represent.

For more information, visit: www.routledge.com/9780415458566

New

Series: Routledge Advances in Theatre & Performance Studies The representation and experience of embodiment is a central preoccupation of Samuel Beckett’s drama, one that he explored through diverse media. McMullan investigates the full range of Beckett’s dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. She examines how Beckett’s drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power. McMullan argues that the body in Beckett’s drama reveals a radical vulnerability of the flesh, questioning corporeal norms based on perfectible, autonomous or invulnerable bodies, but is also the site of a continual reworking of the self, and of the boundaries between self and other. Beckett’s re-imagining of the body presents embodiment as a collaborative performance between past and present, flesh and imagination, self and other, including the spectator / listener. Selected Contents: Acknowledgments 1. Introduction 2. Dehiscent Bodies: From ‘Le Kid’ to Eleutheria 3. Intercorporeal Performances and the Hauntings of History in Waiting for Godot and Endgame 4. ‘This visible flesh’: Krapp’s Last Tape and Happy Days 5. Mimes and Fragments: Corporeal Laboratories 6. Radiophonic Embodiments 7. The Flesh of the Screen and the ‘eye of prey’: Beckett’s Film 8. Unhomely Semblances and the Televisual Matrix 9. The Late Theatre: Performing Traces of Embodiment 10. Mutated Bodies: Stage Performances of Beckett’s Late Prose Texts. Conclusion: Re-embodying Beckett’s Drama in the Twenty-first Century January 2010: 229 x 152: 210pp Hb: 978-0-415-38598-5: $110.00 Pb: 978-0-415-58565-1: $31.95 For more information, visit: www.routledge.com/9780415385985

Selected Contents: Acknowledgments. 1. The Cultural Temperature of the Twentieth Century. 2. Race, Culture, and the Myth of the Authentic. 3. Tenuous Boundaries: Intra- and Intercultural Embodiments. 4. Peep Show: The Hidden Lives of the Intercultural Actor. 5. Fictive Realities: Character and the Eye of the Beholder. Afterword: A Theatre of Instabilities. Appendix A: Forgotten Memories in Action: An Interview with Ang Gey Pin. Appendix B: Playing the Invisible: An Interview with Roberta Carreri. Notes. Bibliography. Index. 2008: 229 x 152: 194pp Hb: 978-0-415-98887-2: $95.00 For more information, visit: www.routledge.com/9780415988872

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

Pe r f or man c e th e o ry

New

Multi-media

New

The Politics of American Actor Training

Video – Installation – Performance

Theatre and Performance in Digital Culture

Edited by Ellen Margolis, Pacific University, USA and Lissa Tyler Renaud, Actors’ Training Project, USA Series: Routledge Advances in Theatre & Performance Studies This book addresses the historical, social, colonial, and administrative contexts that determine today’s U.S. actor training, as well as matters of identity politics, access, and marginalization as they emerge in classrooms and rehearsal halls. It considers persistent, questioning voices about our nation’s acting training as it stands, thereby contributing to the national dialogue the diverse perspectives and proposals needed to keep American actor training dynamic and germane, both within the U.S. and abroad. Prominent academics and artists view actor training through a political, cultural or ethical lens, tackling fraught topics about power as it plays out in acting curricula and classrooms. The essays in this volume offer a survey of trends in thinking on actor training and investigate the way American theatre expresses our national identity through the globalization of arts education policy and in the politics of our curriculum decisions. Selected Contents: Introduction Ellen Margolis and Lissa Tyler Renaud Part One: 1. Stanislavsky and Politics: Active Analysis and the American Legacy of Soviet Oppression Sharon Marie Carnicke 2. Actor Training Meets Historical Thinking Jonathan Chambers 3. The Politics of Western Pedagogy in the Theatre of India Chandradasan 4. Degrees of Choice Leigh Woods 5. Training Artists or Consumers? Commentary on American Actor Training Lissa Tyler Renaud 6. Changing Demographics: Where is Diversity in Theatre Programs in Higher Education and National Associations? Donna B. Aronson 7. The Wild, Wild East: Report on the Politics of American Actor Training Overseas Lissa Tyler Renaud Part Two: 8. Beyond Race and Gender: Reframing Diversity in Actor Training Programs David Eulus Wiles 9. “Typed” for What? Mary Cutler 10. ‘They accused me of bein’ a homosexual’: Playing Kerry Cook in The Exonerated Derek S. Mud 11. Identity Politics and the Training of Latino Actors Micha Espinosa and Antonio Ocampo-Guzman 12. Keeping It Real Without Selling Out: Toward Confronting and Triumphing Over Racially Specific Barriers in American Acting Training Venus Opal Reese 13. Disability and Access: A Manifesto for Actor Training Victoria Ann Lewis 14. Arrested or Paralyzed? Reflections on the Erotic Life of an Acting Teacher Ellen Margolis September 2009: 229 x 152: 226pp Hb: 978-0-415-80121-8: $95.00 For more information, visit: www.routledge.com/9780415801218

Nick Kaye, University of Exeter, UK

’As much an art book as a scholarly work, Multi-media combines sophisticated, well-informed scholarship with artists’ pages that transcend mere illustration to become a catalogue for a virtual exhibition. In terms of both subject and format, it’s a worthy companion to Kaye’s Site-Specific Art.’ – Phil Auslander, Georgia Institute of Technology, USA Multi-media charts the development of multi-media video, installation and performance in a unique dialogue between theoretical analysis and specially commissioned documentations by some of the world’s foremost artists. Nick Kaye explores the interdisciplinary history and character of experimental practices shaped in exchanges between music, installation, theatre, performance art, conceptual art, sculpture and video.

2007: 246 x 174: 272pp Hb: 978-0-415-28380-9: $113.00 Pb: 978-0-415-28381-6: $34.00 eBook: 978-0-203-96489-7 For more information, visit: www.routledge.com/9780415283816

Site-Specific Art Performance, Place and Documentation Nick Kaye 2000: 246 x 174: 256pp Hb: 978-0-415-18558-5: $125.00 Pb: 978-0-415-18559-2: $41.95 eBook: 978-0-203-13829-8 For more information, visit: www.routledge.com/9780415185592

New

The Politics of New Media Theatre Life®™ Gabriella Giannachi, University of Exeter, UK Series: Routledge Advances in Theatre & Performance Studies The first book in the field to explore the links between theories of globalization and surveillance, bipower and biopolitics, performance and theatre, computer arts and politics, The Politics of New Media Theatre is an investigation into the political role played by the new media theatre. Gabriella Giannachi explores how new media arts constitute themselves as a radical political movement, and presents an analysis of both the role of virtuality in radical performance and politics in virtual and mixed reality practices. This outstanding new work offers an analysis of leading political, philosophical and artistic texts and artworks, and represents a milestone for anyone interested in new technologies, theatre and politics. October 2009: 234 x 156: 164pp Pb: 978-0-415-54409-2: $34.00 For more information, visit: www.routledge.com/9780415544092

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

From Simulation to Embeddedness Matthew Causey, Trinity College, Dublin, Ireland Theatre and Performance in Digital Culture examines the recent history of advanced technologies, including new media, virtual environments, weapons systems and medical innovation, and considers how theatre, performance and culture at large have evolved within those systems. The book examines the two Iraq wars, 9/11 and the War on Terror through the lens of performance studies, and, drawing on the writings of Giorgio Agamben, Alain Badiou and Martin Heidegger, alongside the dramas of Beckett, Genet and Shakespeare, and the theatre of the Kantor, Foreman, Socíetas Raffaello Sanzio and the Wooster Group, the book positions theatre and performance in technoculture and articulates the processes of aesthetics, metaphysics and politics. This wide-ranging study reflects on how the theatre and performance have been challenged and extended within these new cultural phenomena. October 2009: 234 x 156: 230pp Pb: 978-0-415-54410-8: $34.00 For more information, visit: www.routledge.com/9780415544108

Shortlisted for the Theatre Book Prize, 2009

Stage Presence Jane Goodall, University of Western Sydney, Australia

Focusing on examples of live performance in drama, dance, opera and light entertainment, Jane Goodall explores a characteristic as compelling and enigmatic as the performers who demonstrate it.

The mysterious quality of ‘presence’ in a performer has strong resonances with the uncanny. It is associated with primal, animal qualities in human individuals, but also has connotations of divinity and the supernatural, relating to figures of evil as well as heroism. Stage Presence traces these themes through theatrical history. This fascinating study also explores the blend of science and spirituality that accompanies the appreciation of human power. Performers display a magnetism of their audiences; they electrify them, exhibit mesmeric command, and develop chemistry in their communication. Case studies include: Josephine Baker, Sarah Bernhardt, Thomas Betterton, David Bowie, Maria Callas, Bob Dylan, David Garrick, Barry Humphries, Henry Irving, Vaslav Nijinsky and Paul Robeson. 2008: 216 x 138: 232pp Hb: 978-0-415-39594-6: $120.00 Pb: 978-0-415-39596-0: $34.00 For more information, visit: www.routledge.com/9780415395960

P erf o rm an ce theory

2nd Edition

Liveness Performance in a Mediatized Culture

Postdramatic Theatre

Performance and Cognition

Hans-Thies Lehmann

Theatre Studies and the Cognitive Turn

Philip Auslander, Georgia Institute of Technology, USA

’The book offers a meticulously developed argument... Highly recommended.’ - CHOICE ’Auslander writes fascinatingly.’ - Times Literary Supplement

Liveness: Performance in a Mediatized Culture addresses what may be the single most important question facing all kinds of performance today. What is the status of live performance in a culture dominated by mass media? Since its first appearance, Philip Auslander’s groundbreaking book has helped to reconfigure a new area of study. Looking at specific instances of live performance such as theatre, rock music, sport, and courtroom testimony, Liveness offers penetrating insights into media culture, suggesting that media technology has encroached on live events to the point where many are hardly live at all. In this new edition, the author thoroughly updates his provocative argument to take into account new digital and media technologies, and cultural, social and legal developments. In tackling some of the last great shibboleths surrounding the high cultural status of the live event, this book will continue to shape discussion and to provoke lively debate on a crucial artistic dilemma: what is live performance and what can it mean to us now? 2008: 216 x 138: 224pp Hb: 978-0-415-77352-2: $120.00 Pb: 978-0-415-77353-9: $35.95 For more information, visit: www.routledge.com/9780415773539

Contemporary Theatres in Europe A Critical Companion Edited by Joe Kelleher and Nicholas Ridout With specific examples and case studies by specialist writers, academics and a new generation of theatre researchers, this collection of specially commissioned essays is the perfect introduction to contemporary theatre practices in Europe.

’This groundbreaking study [is] an inventive response to the emergence of new technologies.’ - International Theatre Informations Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. 2006: 234 x 156: 224pp Hb: 978-0-415-26812-7: $125.00 Pb: 978-0-415-26813-4: $43.95 eBook: 978-0-203-08810-4 For more information, visit: www.routledge.com/9780415268134

2nd Edition

Performance: A Critical Introduction Marvin Carlson 2003: 234 x 156: 288pp Hb: 978-0-415-29926-8: $130.00 Pb: 978-0-415-29927-5: $39.95 For more information, visit: www.routledge.com/9780415299275

A Performance Cosmology Testimony from the Future, Evidence of the Past Edited by Judie Christie, Richard Gough and Daniel Peter Watt

2006: 234 x 156: 232pp Hb: 978-0-415-32939-2: $110.00 Pb: 978-0-415-32940-8: $34.95 eBook: 978-0-203-39129-7 For more information, visit: www.routledge.com/9780415329408

’This is a provocative, illuminating and stimulating book that will undoubtedly become as essential a text in English theatre scholarship as it already has in continental Europe.’ – Marvin Carlson, Theatre Research International

Exploring thirty years of work by The Centre for Performance Research (CPR), A Performance Cosmology explores the future challenges of performance and theatre through a diverse and fascinating series of interviews, testimonies and perspectives from leading international theatre practitioners and academics.

2006: 297 x 210: 400pp Pb: 978-0-415-37258-9: $53.95 For more information, visit: www.routledge.com/9780415372589

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

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Edited by Bruce McConachie and F. Elizabeth Hart Series: Routledge Advances in Theatre & Performance Studies This original and authoritative work will be attractive to scholars and graduate students of literature, drama, theatre, and performance as it opens up fresh perspectives on theatre studies. 2006: 234 x 156: 256pp Hb: 978-0-415-76384-4: $145.00 eBook: 978-0-203-96656-3 For more information, visit: www.routledge.com/9780415763844

Performance Theory Richard Schechner Series: Routledge Classics With a new preface by the author ‘Reading Performance Theory by Richard Schechner again, three decades after its first edition, is like meeting an old friend and finding out how much of him/her has been with you all along this way.’ – Augusto Boal 2003: 216 x 138: 432pp Pb: 978-0-415-31455-8: $22.95 eBook: 978-0-203-42663-0 For more information, visit: www.routledge.com/9780415314558

Drama/Theatre/ Performance Simon Shepherd and Mick Wallis Series: The New Critical Idiom 2004: 198 x 129: 272pp Hb: 978-0-415-23493-1: $95.00 Pb: 978-0-415-23494-8: $22.95 eBook: 978-0-203-64517-8 For more information, visit: www.routledge.com/9780415234948

Performing Science and the Virtual Sue-Ellen Case From Faust and Edison, to John Cage and Lara Croft, this inspiring book reviews classical plays to contemporary issues and examines how science has been performed throughout history. 2006: 234 x 156: 264pp Hb: 978-0-415-41438-8: $125.00 Pb: 978-0-415-41439-5: $35.95 eBook: 978-0-203-96716-4 For more information, visit: www.routledge.com/9780415414395

Online: www.routledge.com/theatre

Pe r f or man c e th e o ry

Performativity

Live

New

James Loxley

Art and Performance

City/Stage/Globe

Series: The New Critical Idiom

Edited by Adrian Heathfield

Performance and Space in Shakespeare’s London

In this accessible introduction to a sometimes complex field, James Loxley: • offers a concise and original account of critical debates around the idea of performativity • traces the history of the concept through the work of such influential theorists as J. L. Austin, John Searle, Stanley Fish, Jacques Derrida, Paul de Man and Judith Butler

2004: 254 x 178: 240pp Pb: 978-0-415-97239-0: $36.00 For more information, visit: www.routledge.com/9780415972390 NOT AVAILABLE FROM ROUTLEDGE IN THE UK

Virtual Theatres

• examines the implications of performativity for fields such as literary and cultural theory, philosophy, performance studies, and the theory of gender and sexuality.

An Introduction

• emphasises the political and ethical implications that its most important theorists have drawn from the notion of performativity

2004: 216 x 138: 184pp Hb: 978-0-415-28378-6: $120.00 Pb: 978-0-415-28379-3: $39.95 eBook: 978-0-203-50003-3

• suggests ways in which major debates around the topic have obscured its alternative interpretations and uses. 2006: 198 x 129: 176pp Hb: 978-0-415-32925-5: $95.00 Pb: 978-0-415-32926-2: $22.95 eBook: 978-0-203-39128-0 For more information, visit: www.routledge.com/9780415329262

Performance Analysis An Introductory Coursebook Edited by Colin Counsell and Laurie Wolf 2001: 234 x 156: 264pp Hb: 978-0-415-22406-2: $125.00 Pb: 978-0-415-22407-9: $37.95 eBook: 978-0-203-97700-2 For more information, visit: www.routledge.com/9780415224079

Perform or Else From Discipline to Performance Jon McKenzie 2001: 216 x 138: 320pp Hb: 978-0-415-24768-9: $125.00 Pb: 978-0-415-24769-6: $39.95 eBook: 978-0-203-42005-8 For more information, visit: www.routledge.com/9780415247696

Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre Erika Fischer-Lichte

Gabriella Giannachi

For more information, visit: www.routledge.com/9780415283793

D.J. Hopkins, San Diego State University, USA This interdisciplinary study theorizes the interaction of individual performance and social space. Examining three categories of space – the urban, the theatrical, and the cartographic – this volume considers the role of performance in the production and operation of these spaces during a period in London’s history defined roughly by the life of Shakespeare. City/Stage/Globe not only organizes a selection of plays, pageants, maps, and masques in the historical and cultural contexts in which they emerged, but also uses performance theory to locate the ways in which these seemingly ephemeral events contributed to lasting change in the spatial concepts and physical topograpy of early modern London. September 2009: 229 x 152: 250pp Pb: 978-0-415-87552-3: $39.95

39 Microlectures In Proximity of Performance Matthew Goulish 2000: 218 x 171: 224pp Hb: 978-0-415-21392-9: $125.00 Pb: 978-0-415-21393-6: $39.95 eBook: 978-0-203-13733-8 For more information, visit: www.routledge.com/9780415213936

Twentieth Century Theatre: A Sourcebook Edited by Richard Drain 1995: 234 x 156: 408pp Hb: 978-0-415-09619-5: $135.00 Pb: 978-0-415-09620-1: $42.95 eBook: 978-0-203-21467-1 For more information, visit: www.routledge.com/9780415096201

Makers of Modern Theatre An Introduction Robert Leach 2004: 216 x 138: 240pp Hb: 978-0-415-31240-0: $99.95 Pb: 978-0-415-31241-7: $29.95 eBook: 978-0-203-48786-0 For more information, visit: www.routledge.com/9780415312417

2005: 216 x 138: 240pp Hb: 978-0-415-27675-7: $115.00 Pb: 978-0-415-27676-4: $39.95 eBook: 978-0-203-96930-4 For more information, visit: www.routledge.com/9780415276764

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

For more information, visit: www.routledge.com/9780415875523

Radical Street Performance An International Anthology Edited by Jan Cohen-Cruz 1998: 234 x 156: 328pp Hb: 978-0-415-15230-3: $125.00 Pb: 978-0-415-15231-0: $41.95 For more information, visit: www.routledge.com/9780415152310

The Routledge Reader in Gender and Performance Edited by Lizbeth Goodman and Jane de Gay 1998: 234 x 156: 360pp Hb: 978-0-415-16582-2: $135.00 Pb: 978-0-415-16583-9: $46.95 eBook: 978-0-203-14392-6 For more information, visit: www.routledge.com/9780415165839

The Routledge Reader in Politics and Performance Edited by Jane de Gay and Lizbeth Goodman The Routledge Reader in Politics and Performance brings together for the first time a comprehensive collection of extracts from key writings on politics, ideology, and performance. 2000: 234 x 156: 352pp Hb: 978-0-415-17472-5: $125.00 Pb: 978-0-415-17473-2: $41.95 eBook: 978-0-203-14157-1 For more information, visit: www.routledge.com/9780415174732

P erf o rm an ce theory

Worlds of Performance Series Editor: Richard Schechner, TISCH School of the Arts, NYU, USA The prestigious Worlds of Performance series is designed to mine the riches and diversity of The Drama Review’s decades of excellence, bringing back into print important essays, interviews, artists’ notes, and photographs. New materials and introductions bring the volumes up to date. Each Worlds of Performance book is an indispensable resource for the scholar, a textbook for the student, and an exciting eye-opener for the general reader.

The Senses in Performance Edited by Sally Banes and Andre Lepecki The Senses in Performance presents a multifaceted approach to the methodological, theoretical, practical and historical challenges facing the scholar and the artist. This volume examines the subtle actions of the human senses including taste, touch, smell and vision in all sorts of performances in Western and non-Western traditions, from ritual to theatre, from dance to interactive architecture, from performance art to historical opera. 2006: 246 x 174: 224pp Hb: 978-0-415-28185-0: $110.00 Pb: 978-0-415-28186-7: $33.95 eBook: 978-0-203-96592-4 For more information, visit: www.routledge.com/9780415281867

Carnival Culture in Action – The Trinidad Experience Edited by Milla Cozart Riggio 2004: 246 x 174: 344pp Hb: 978-0-415-27128-8: $125.00 Pb: 978-0-415-27129-5: $44.95 eBook: 978-0-203-64604-5 For more information, visit: www.routledge.com/9780415271295

2nd Edition

Acting (Re)Considered A Theoretical and Practical Guide Edited by Phillip B. Zarrilli 2002: 246 x 174: 416pp Hb: 978-0-415-26299-6: $130.00 Pb: 978-0-415-26300-9: $44.95 eBook: 978-0-203-99147-3 For more information, visit: www.routledge.com/9780415263009

Re: Direction

Antonin Artaud

A Theoretical and Practical Guide

A Critical Reader

Edited by Gabrielle Cody and Rebecca Schneider

Edited by Edward Scheer

2001: 246 x 174: 400pp Hb: 978-0-415-21390-5: $125.00 Pb: 978-0-415-21391-2: $44.95

2003: 234 x 156: 224pp Hb: 978-0-415-28254-3: $135.00 Pb: 978-0-415-28255-0: $39.95

For more information, visit: www.routledge.com/9780415213912

For more information, visit: www.routledge.com/9780415282550

Brecht Sourcebook

Theatre as Sign System

Edited by Henry Bial and Carol Martin

A Semiotics of Text and Performance

1999: 234 x 156: 256pp Hb: 978-0-415-20042-4: $135.00 Pb: 978-0-415-20043-1: $44.95 eBook: 978-0-203-97955-6

Elaine Aston and George Savona 1991: 216 x 138: 224pp Pb: 978-0-415-04932-0: $35.95

For more information, visit: www.routledge.com/9780415200431

For more information, visit: www.routledge.com/9780415049320

A Sourcebook on Feminist Theatre and Performance

Theatre at the Crossroads of Culture

On and Beyond the Stage

1991: 216 x 138: 228pp Pb: 978-0-415-06038-7: $44.95 eBook: 978-0-203-35933-4

Edited by Carol Martin 1996: 234 x 156: 336pp Hb: 978-0-415-10644-3: $135.00 Pb: 978-0-415-10645-0: $44.95 eBook: 978-0-203-42654-8 For more information, visit: www.routledge.com/9780415106450

Happenings and Other Acts Edited by Mariellen Sandford Series: Worlds of Performance

Patrice Pavis

For more information, visit: www.routledge.com/9780415060387

Hidden Territories The Theatre of Gardzienice CD-ROM produced by Arts Archives, with Alison Hodge and Wlodzimierz Staniewski 2003: 213 x 161: 160pp Hb: 978-0-415-26297-2: $135.00 Pb: 978-0-415-26298-9: $56.95

1995: 234 x 156: 424pp Hb: 978-0-415-09935-6: $135.00 Pb: 978-0-415-09936-3: $44.95

For more information, visit: www.routledge.com/9780415262989

For more information, visit: www.routledge.com/9780415099363

Signs of Performance

The Grotowski Sourcebook Edited by Richard Schechner and Lisa Wolford 1997: 234 x 156: 544pp Hb: 978-0-415-13110-0: $200.00 Pb: 978-0-415-13111-7: $44.95 For more information, visit: www.routledge.com/9780415131117

Popular Theatre

An Introduction to Twentieth-Century Theatre Colin Counsell 1996: 216 x 138: 256pp Hb: 978-0-415-10642-9: $125.00 Pb: 978-0-415-10643-6: $37.95 For more information, visit: www.routledge.com/9780415106436

The Radical in Performance

A Sourcebook

Between Brecht and Baudrillard

Edited by Joel Schechter

Baz Kershaw

2002: 246 x 174: 296pp Hb: 978-0-415-25829-6: $135.00 Pb: 978-0-415-25830-2: $44.95 For more information, visit: www.routledge.com/9780415258302

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

1999: 216 x 138: 272pp Hb: 978-0-415-18667-4: $125.00 Pb: 978-0-415-18668-1: $41.95 For more information, visit: www.routledge.com/9780415186681

Online: www.routledge.com/theatre

Pe r f or man c e th e o ry

Performance

NEW

Critical Concepts in Literary and Cultural Studies

Understanding Disability Studies and Performance Studies

Ecology and Environment in European Drama

Edited by Bruce Henderson, Ithaca College, USA and Noam Ostrander, De Paul University, USA

Series: Routledge Advances in Theatre & Performance Studies

This collection brings together scholarship and creative writing that brings together two of the most innovative fields to emerge from critical and cultural studies in the past few decades: Disability studies and performance studies. It draws on writings about such media as live performance studies. It draws on writings about such media as live performance art, photography, silent film, dance, personal narrative and theatre, using such diverse perspectives and methods as queer theory, gender, feminist, and masculinity studies, dance studies, as well as providing first publication of creative writings by award-winning poets and playwrights.

Looking at European drama through an ecological lens, this book chronicles nature and the environment as primary topics in major plays from ancient to recent times. Cless focuses on the few, yet well-known plays in which nature is at stake in the action or the environment is a dramatic force. Though theater predominantly explores human and cultural themes, these plays fully display the power of the other-than-human world and its endangerment during the history of Europe. The book is one of the first of its kind in a growing field of ecocriticism and emerging eco-studies of theater.

Edited by Philip Auslander Introduction by Philip Auslander Series: Critical Concepts in Literary and Cultural Studies 2003: 234 x 156: 1704pp Hb: 978-0-415-25511-0: $1375.00 For more information, visit: www.routledge.com/9780415255110

The Explicit Body in Performance Rebecca Schneider 1997: 234 x 156: 256pp Hb: 978-0-415-09025-4: $135.00 Pb: 978-0-415-09026-1: $38.95 eBook: 978-0-203-42107-9 For more information, visit: www.routledge.com/9780415090261

The Bodies That Were Not Ours And Other Writings Coco Fusco 2001: 246 x 174: 284pp Hb: 978-0-415-25173-0: $125.00 Pb: 978-0-415-25174-7: $37.95 For more information, visit: www.routledge.com/9780415251747

A Sourcebook on Naturalist Theatre

This book was based on a special issue of Text and Performance Quarterly. March 2010: 246 x 174: 304pp Hb: 978-0-415-56553-0: $125.00 For more information, visit: www.routledge.com/9780415565530

Disability and Contemporary Performance Bodies on the Edge Petra Kuppers 2003: 246 x 174: 192pp Hb: 978-0-415-30238-8: $125.00 Pb: 978-0-415-30239-5: $46.95 For more information, visit: www.routledge.com/9780415302395

Unmarked

Edited by Christopher Innes

The Politics of Performance

2000: 234 x 156: 272pp Hb: 978-0-415-15228-0: $125.00 Pb: 978-0-415-15229-7: $41.95 eBook: 978-0-203-13741-3

Peggy Phelan

For more information, visit: www.routledge.com/9780415152297

1993: 234 x 156: 224pp Pb: 978-0-415-06822-2: $41.95 eBook: 978-0-203-35943-3 For more information, visit: www.routledge.com/9780415068222

Mourning Sex Performing Public Memories

Downing Cless, Tufts University, USA

April 2010: 229 x 152: 284pp Hb: 978-0-415-80439-4: $95.00 For more information, visit: www.routledge.com/9780415804394

NEW

The Provocation of the Senses in Contemporary Theatre Stephen Di Benedetto, University of Miami, USA Series: Routledge Advances in Theatre & Performance Studies Di Benedetto considers theatrical practice through the lens of contemporary neuroscientific discoveries in this provoking study, which lays the foundation for considering the physiological basis of the power of theatre practice to affect human behavior. He presents a basic summary of the ways that the senses function in relation to cognitive science and physiology, offering an overview of dominant trends of discussion on the realm of the senses in performance. Also presented are examples of how those ideas are illustrated in recent theatrical presentations, and how the different senses form the structure of a theatrical event. Di Benedetto concludes by suggesting the possible implications these neuroscientific ideas have upon our understanding of theatrical composition, audience response, and the generation of meaning. April 2010: 229 x 152: 277pp Hb: 978-0-415-87267-6: $110.00 For more information, visit: www.routledge.com/9780415872676

Peggy Phelan 1997: 234 x 156: 208pp Hb: 978-0-415-14758-3: $135.00 Pb: 978-0-415-14759-0: $39.95 For more information, visit: www.routledge.com/9780415147590

Systems of Rehearsal Stanislavsky, Brecht, Grotowski, and Brook Shomit Mitter 1992: 216 x 138: 192pp Pb: 978-0-415-06784-3: $35.95 eBook: 978-0-203-13169-5 For more information, visit: www.routledge.com/9780415067843

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Can’t find what you’re looking for? Visit our up-to-date website for a complete listing of all our titles. www.routledge.com/theatre

P erf o rm an ce theory

NEW

Feminist Visions and Queer Futures in Postcolonial Drama

Dramatherapy and Social Theatre

NEW

Necessary Dialogues

Clinical Work and Research into Practice

Community, Kinship and Citizenship

Edited by Sue Jennings

Kanika Batra, Texas Tech University, USA

Series: Routledge Advances in Theatre & Performance Studies In this timely study, Batra examines contemporary drama from India, Jamaica, and Nigeria in conjunction with feminist and incipient queer movements in these countries. Postcolonial drama, Batra contends, furthers the struggle for gender justice in both these movements by contesting the idea of the heterosexual, middle class, wage-earning male as the model citizen and by suggesting alternative conceptions of citizenship premised on working class sexual identities. Further, Batra considers the possibility of Indian, Jamaican, and Nigerian drama generating a discourse on a rightsbearing conception of citizenship that derives from representations of non-biological, non-generational forms of kinship. Her study is one of the first to examine the ways in which postcolonial dramatists are creating the possibility of a dialogue between cultural activism, women’s movements, and an emerging discourse on queer sexualities. August 2010: 229 x 152: 224pp Hb: 978-0-415-87591-2: $95.00 For more information, visit: www.routledge.com/9780415875912

4th Edition

Experimental Theatre From Stanislavsky to Peter Brook James Roose-Evans

Dramatherapy and Social Theatre: Necessary Dialogues considers the nature of drama, theatre and dramatherapy, examining how dramatherapy has evolved over the past decade and how the relationship between dramatherapy and social theatre has developed as a result.

In this book Sue Jennings brings together international dramatherapists and theatre practitioners to challenge, clarify, describe and debate some of the theoretical and practical issues in dramatherapy and social theatre. Contributors cover topics including: • dramatherapy in communities • ground rules and definitions • cross-cultural perspectives • dramatherapy with adoptive and foster families • research with professional actors. Dramatherapy and Social Theatre is illustrated throughout with case vignettes providing examples of how theatre and therapeutic processes can be brought together. It will be valuable reading for both professionals and students involved in dramatherapy and theatre studies. June 2009: 234 x 156: 264pp Hb: 978-0-415-42206-2: $110.00 Pb: 978-0-415-42207-9: $39.95 For more information, visit: www.routledge.com/9780415422079

Drama as Therapy Volume 2 Edited by Phil Jones, Leeds Metropolitan University, UK

How is dramatherapy practised? What does research reveal about how dramatherapy offers therapeutic change? This book examines the many ways clients and therapists explore the therapeutic possibilities of drama. Whilst the first volume combined theory, practice and research in the field, this second volume concentrates on clinical material from a range of contexts, with thorough description and analysis of therapeutic work. Bringing together international contributors, chapters explore work with various client groups in an array of contexts, including: • work with clients with learning disabilities, dementia, HIV and cancer • work with children, adults, older adults, families and women’s groups • contexts including the justice system, education, family therapy and neurorehabilitation. Drama as Therapy Volume 2: Clinical Work and Research into Practice is not only a welcome companion to the first volume, but also is an important stand alone work which will be of great interest to all those studying, practicing or with an interest in dramatherapy. March 2010: 234 x 156: 320pp Hb: 978-0-415-47607-2: $100.00 Pb: 978-0-415-47608-9: $41.95 For more information, visit: www.routledge.com/9780415476089

1989: 216 x 138: 260pp Pb: 978-0-415-00963-8: $39.95 For more information, visit: www.routledge.com/9780415009638

2nd Edition

Learning Through Theatre New Perspectives on Theatre in Education Edited by Tony Jackson 1993: 216 x 138: 312pp Hb: 978-0-415-08609-7: $135.00 Pb: 978-0-415-08610-3: $44.95 eBook: 978-0-203-41972-4 For more information, visit: www.routledge.com/9780415086103

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

th e atr e h i s to ry

Theatre History Anton Chekhov at the Moscow Art Theatre Illustrations of the Original Productions Edited and translated by Vera Gottlieb ’A sumptuous collection of production photographs.’ – The Guardian ’This is an important contribution to theatre studies, with obvious appeal for the scholar and amateur alike ... the overall impact of this collection is stunning.’ – The Times Higher Education Supplement ’A fascinating new book ... [and] an astonishing publication.’ – Media 2004: 360 x 257: 104pp Hb: 978-0-415-34440-1: $125.00 For more information, visit: www.routledge.com/9780415344401

History of European Drama and Theatre

Performing Race and Torture on the Early Modern Stage

NEW

Ayanna Thompson, Arizona State University, USA

Performing Multiple Modernities

Performing Race and Torture on the Early Modern Stage provides the first sustained reading of Restoration plays through a performance theory lens. This approach shows that an analysis of the conjoined performances of torture and race not only reveals the early modern interest in the nature of racial identity, but also how race was initially coded in a paradoxical fashion as both essentially fixed and socially constructed. An examination of scenes of torture provides the most effective way to unearth these seemingly contradictory representations of race because depictions of torture often interrogate the incongruous desire to substitute the visible and manipulable materiality of the body for the more illusive performative nature of identity. In turn, Performing Race and Torture on the Early Modern Stage challenges the long-standing assumption that early modern conceptions of race were radically different in their fluidity from post-Enlightenment ones by demonstrating how many of the debates we continue to have about the nature of racial identity were engendered by these seventeenth-century performances.

Edited by Erika Fischer-Lichte, Barbara Gronau and Christel Weiler, all at Freie Universitaet Berlin, Germany

January 2009: 229 x 152: 186pp Pb: 978-0-415-87568-4: $39.95 For more information, visit: www.routledge.com/9780415875684

Erika Fischer-Lichte 2001: 246 x 174: 416pp Hb: 978-0-415-18059-7: $135.00 Pb: 978-0-415-18060-3: $42.95 eBook: 978-0-203-45088-8 For more information, visit: www.routledge.com/9780415180603

NEW

The Theatre of Richard Maxwell and the New York City Players Sarah Gorman, Roehampton University, UK

1956 and All That The Making of Modern British Drama Dan Rebellato 1999: 216 x 138: 280pp Hb: 978-0-415-18938-5: $125.00 Pb: 978-0-415-18939-2: $39.95 eBook: 978-0-203-00999-4 For more information, visit: www.routledge.com/9780415189392

Dodin and the Maly Drama Theatre Process to Performance Maria Shevstova 2004: 234 x 156: 256pp Hb: 978-0-415-33461-7: $135.00 Pb: 978-0-415-33462-4: $44.95 eBook: 978-0-203-48695-5 For more information, visit: www.routledge.com/9780415334624

Series: Routledge Advances in Theatre & Performance Studies In this timely study about Richard Maxwell and the New York City Players, Gorman, in consultation with Maxwell, surveys the plays written and performances directed since 1996. Touching on the work Maxwell produced with colleagues in Cook County Theater Department (Chicago 1991-1997); the acting, production and rehearsal processes of NYC Player’s work (including observations from the rehearsal room); 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. August 2010: 229 x 152: 256pp Hb: 978-0-415-99092-9: $95.00 For more information, visit: www.routledge.com/9780415990929

American Avant-Garde Theatre A History Arnold Aronson Series: Theatre Production Studies 2000: 216 x 138: 256pp Hb: 978-0-415-02580-5: $125.00 Pb: 978-0-415-24139-7: $35.95 For more information, visit: www.routledge.com/9780415241397

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Global Ibsen

Series: Routledge Advances in Theatre & Performance Studies Ibsen’s plays rank among those most frequently performed world-wide, rivalled only by Brecht, Chekhov, Shakespeare, and the Greek tragedies. But while there exist countless studies on Ibsen the dramatist and the significance of his plays within different cultures written mainly by literary scholars, none of them examine the ways in which Ibsen’s plays were performed, or the impact of such performances on the theater, social life, and politics of these cultures. The essays in this volume discuss performances from five continents--Europe, Africa, Asia, the Americas, and Australia--and cover a variety of Ibsen’s plays, including A Doll’s House, Hedda Gabler, Peer Glynt, and Ghosts. Specifically, contributors look at the way performances of Ibsen’s plays address problems typical to modern or modernising societies all over the world, including the inferior social status of women; the decay of bourgeois family life and values; religious fundamentalism; industrial pollution and corporate cover-up; and/or the loss of and search for identity. August 2010: 229 x 152: 288pp Hb: 978-0-415-87713-8: $110.00 For more information, visit: www.routledge.com/9780415877138

NEW

The Theatre of the Bauhaus The Modern and Postmodern Stage of Oskar Schlemmer Melissa Trimingham Series: Routledge Advances in Theatre & Performance Studies This book gives the history of the Bauhaus’s ’theatre of space,’ focusing on the experimental stage work at Dessau between 1925 and 1929. This is used to explain the earlier stage work at Weimar and Schlemmer’s extensive oeuvre connected with the Bauhaus, particularly The Triadic Ballet. The idea of ’theatre of space’ is used to highlight twentieth-century practitioners who privilege the visual, aural, and plastic qualities of the stage above character, narrative and, themes (for example Schlemmer himself, Robert Wilson, Tadeusz Kantor, Robert Lepage, Pina Bausch). This impressive volume will be of use to students and academics involved in the areas of twentieth-century performance, the history of performance art, the history of avant-garde theatre, modern German theatre, and Weimar-era performance. June 2010: 234 x 156: 288pp Hb: 978-0-415-40398-6: $120.00 For more information, visit: www.routledge.com/9780415403986

Wo rld t he atre

World Theatre NEW

Jana Sanskriti Forum Theatre and Democracy in India Sanjoy Ganguly

Jana Sanskriti Centre for the Theatre of the Oppressed, based in West Bengal, is probably the largest and longest lasting Forum Theatre operation in the world. It was considered by Augusto Boal to be the chief exponent of his methodology outside of its native Brazil.

This book is a unique first-hand account - by the group’s artistic director Sanjoy Ganguly - of Jana Sanskriti’s growth and development since its founding in 1985, which has resulted in a national Forum Theatre network throughout India. Ganguly describes the plays, people and places that have formed this unique operation and discusses its contribution to the wider themes espoused by Forum Theatre. Ganguly charts and reflects on the practice of theatre as politics, developing an intriguing and persuasive case for Forum Theatre and its role in provoking responsible action. His combination of anecdotal insight and lucid discussion of Boal’s practice offers a vision of farreaching transformation in politics and civil society. May 2010: 216 x 138: 176pp Hb: 978-0-415-57751-9: $100.00 Pb: 978-0-415-57752-6: $31.95 eBook: 978-0-203-85272-9 For more information, visit: www.routledge.com/9780415577526

NEW

Indian Popular Theatres Sudipto Chatterjee Indian Popular Theatres foregrounds an aspect of contemporary performance that has for some time warranted but not received serious study. It explores the living traditions of Indian Theatre in terms of its audience and the specific circumstances that surround them, focusing on four key forms:

New in Paperback

Performance in Bali

African Theatres and Performances

Leon Rubin, Middlesex University, UK and I. Nyoman Sedana, Indonesian Arts Institute, Indonesia

Osita Okagbue, Goldsmith College, University of London, UK

Unique in its examination of the techniques used in the training of performers, the book suggests how some of these techniques might be applied to Western training in drama and dance.

’African Theatres and Performances is perhaps the first book by an African scholar to assert its prerogative to apply the term African to a specific tribal or regional performance tradition without feeling the need to fulfil the postimperial requirement of felicitating with regional traditions elsewhere on the continent. The book is a bold and brilliant intervention in cultural and performance studies on Africa, and I hope that it will help to refocus African theatre pedagogy and inspire other focused reading of Africa’s vast performance forms and traditions.’ Platform

’The descriptions of the particular events attended for the writing of this book are admirable in their clarity, including fascinating details...Readers are thus treated to a description of the amazing jifa leaps of the Bori performers, and the author takes them into the environment of the Jaliya Balunde... where the energy of the event virtually leaps off the page. Okagbue convincingly demonstrates how vibrant, popular, meaningful and contemporary these performance forms remain for the communities concerned... This book is thus a delightful, accessible and most useful updating of an area of performance study that has been underresearched in recent years.’ - Theatre Research International African Theatres & Performances looks at four specific performance forms in Africa and uses this to question the tendency to employ western frames of reference to analyze and appreciate theatrical performance. The book examines: • masquerade theatre in Eastern Nigeria • the trance and possession ritual theatre of the Hausa of Northern Nigeria • the musical and oral tradition of the Mandinka of Senegal • comedy and satire of the Bamana in Mali.

• Safdar Hashmi’s JANAM street theatre.

Osita Okagbue describes each performance in detail and discusses how each is made, who it is made by and for, and considers the relationship between maker and viewer and the social functions of performance and theatre in African societies. The discussions are based on first-hand observation and interviews with performers and spectators.

Each of these styles of performance is discussed in detail, building a core understanding around which a wider picture of India’s performative self-expression can be assembled.

African Theatres and Performances gives a fascinating account of these practices, carefully tracing the ways in which performances and theatres are unique and expressive of their cultural context.

July 2010 Hb: 978-0-415-35605-3: $110.00 eBook: 978-0-203-00248-3

July 2010: 216 x 138: 224pp Hb: 978-0-415-30453-5: $110.00 Pb: 978-0-415-30454-2: $23.95 eBook: 978-0-203-94533-9

• Bengali Jatra epics • the Pandavani and storytellers of Central India • the progressive New Marathi Theatre of Pune

For more information, visit: www.routledge.com/9780415356060

For more information, visit: www.routledge.com/9780415304542

Selected Contents: 1. Past and Present 2. Wayang Shadow Theatre 3. Sanghyang Trance Performance 4. Gambuh Classical Performance 5. Topeng Masked Theatre 6. The Future. Travel Advisory 2007: 216 x 138: 176pp Hb: 978-0-415-33131-9: $120.00 Pb: 978-0-415-33132-6: $28.95 eBook: 978-0-203-39240-9 For more information, visit: www.routledge.com/9780415331326

Gardzienice: Polish Theatre in Transition Paul Allain 1998: 246 x 174: 196pp Hb: 978-90-5702-105-3: $125.00 Pb: 978-90-5702-106-0: $41.95 eBook: 978-0-203-98950-0 For more information, visit: www.routledge.com/9789057021060

Kathakali Dance-Drama Where Gods and Demons Come to Play Phillip Zarrilli 1999: 246 x 174: 288pp Hb: 978-0-415-13109-4: $125.00 Pb: 978-0-415-19282-8: $39.95 eBook: 978-0-203-19766-0 For more information, visit: www.routledge.com/9780415192828

Memory, Allegory, and Testimony in South American Theater Upstaging Dictatorship Ana Elena Puga, Northwestern University, USA Series: Routledge Advances in Theatre & Performance Studies Memory, Allegory, and Testimony in South American Theater traces the shaping of a resistant identity in memory, its direct expression in testimony, and its indirect elaboration in two different kinds of allegory. Each chapter focuses on one contemporary playwright (or one collaborative team, in the case of Brazil) from each of four Southern Cone countries and compares the playwrights’ aesthetic strategies for subverting ideologies of dictatorship: Carlos Manuel Varela (memory in Uruguay), Juan Radrigán (testimony in Chile), Augusto Boal and his co-author Gianfrancesco Guarnieri (historical allegory in Brazil), Griselda Gambaro (abstract allegory in Argentina). 2008: 229 x 152: 208pp Hb: 978-0-415-96119-6: $100.00 For more information, visit: www.routledge.com/9780415961196

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

wor l d th e at re

Routledge Modern and Contemporary Dramatists Series Editors: Maggie B. Gale, University of Manchester, UK and Mary Luckhurst, University of York, UK Routledge Modern and Contemporary Dramatists is a series of innovative and exciting introductions to the work of internationally pioneering playwrights and offers primary materials on contemporary dramatists who are under-represented in secondary criticism. Each volume provides detailed cultural, historical and political material, examines selected plays in production and theorizes the playwright’s artistic agenda and working methods, as well as their contribution to the development of playwriting and theatre.

August Strindberg Eszter Szalczer In this new volume, the author provides a critical introduction to August Strindberg’s vital contributions to theatrical modernism by placing his work in a wider cultural and interdisciplinary context. His great achievements in all the various areas he ventured into were mirrored in his eagerness to break down barriers between genres, views, and fields of experience. Strindberg’s re-definition of drama and theatre as a fluid, constantly evolving form came to exert a profound influence on twentieth-century playwriting and theatrical production from the German Expressionists to the Theatre of the Absurd. Beyond Strindberg’s influence on the modernist movement this volume explores his drama as a living voice that challenges audiences, critics, and even the most innovative directors. August Strindberg provides an essential and accessible insight into the playwright’s work on theatre culture beyond his own time and illustrates the relevance and significance of his work for our understanding of theatre today. October 2009: 198 x 129: 208pp Hb: 978-0-415-41422-7: $110.00 Pb: 978-0-415-41423-4: $29.95 For more information, visit: www.routledge.com/9780415414234

J.B. Priestley Maggie B. Gale, University of Manchester, UK The first book to provide a detailed and up to date analysis of Priestley’s enormous contribution to twentieth century British theatre. This study unpicks the contradictions of a playwright and theatre theorist popular with audiences but too often dismissed by critics.

NEW

Federico Garcia Lorca

Mark Ravenhill

Maria M. Delgado, Queen Mary, University of London, UK

John F. Deeney, Manchester Metropolitan University, UK

Mark Ravenhill is the first book to provide a detailed analysis of the work of arguably the most important dramatist to have emerged from the British theatre over the past twenty years.

Shopping and F***ing (1996), with its unrelenting representation of dysfunctional youth, dark humour and graphic sex and violence, was seen by many to uniquely capture the social and political fallout of a decade, and Ravenhill fast attained a status as the ‘rude boy’ of British theatre. However, the numerous labels that came to be attached to both the dramatist and his plays now stand as insufficient, masking a complex and frequently misunderstood practice. Using original interview material with the dramatist and his collaborators, together with reviews and criticism, the book argues how Ravenhill has sought not only to redefine the terms of engagement between the playwright and the contemporary theatre, but that his evolving dramaturgy opens up new and important questions about the relationship between playwriting and politics, culture and society in the new millennium. October 2010: 198 x 129: 192pp Hb: 978-0-415-37510-8: $99.00 Pb: 978-0-415-37511-5: $29.95 For more information, visit: www.routledge.com/9780415375115

’An outstanding and completely contemporary account of Lorca.’ – Robert Eaglestone, Royal Holloway, University of London,UK

’Federico Garcia Lorca is a book worthy of serious attention... Fortunately Federico Garcia Lorca with his masterful plays and poetry survives the industry that grows around him. Maria M. Delgado has given us a fine rendering of how and why.’ - Performing Arts Journal Immortalized in death by The Clash, Pablo Neruda, Salvador Dali, Dmitri Shostakovich and Lindsay Kemp, Federico Garcia Lorca’s spectre haunts both contemporary Spain and the cultural landscape beyond. This study offers a fresh examination of one of the Spanish language’s most resonant voices; exploring how the very factors which led to his emergence as a cultural icon also shaped his dramatic output. The works themselves are also awarded the space that they deserve, combining performance histories with incisive textual analysis to restate Lorca’s presence as a playwright of extraordinary vision, in works such as: • Blood Wedding • The Public • The House of Bernarda Alba • Yerma.

NEW

2008: 198 x 129: 264pp Hb: 978-0-415-36242-9: $110.00 Pb: 978-0-415-36243-6: $29.95 eBook: 978-0-203-01271-0

Anton Chekhov

For more information, visit: www.routledge.com/9780415362436

Rose Whyman Anton Chekhov offers a critical introduction to the plays and productions of this major canonical playwright. A century after his death the genius of Chekhov’s writing, the innovatory nature of his approach to theatrical representation, and the profundity of his philosophy are beginning to be re-examined.

Susan Glaspell and Sophie Treadwell

Emphasising his continued relevance, humour and mastery of the tragicomic, the author provides an insightful assessment of Chekhov’s life and work. The text analyses many Chekhov favourites including The Seagull, Uncle Vanya and The Cherry Orchard in addition to Chekhov’s vaudevilles and one-act plays, making reference to Chekhov’s stories and using both traditional criticism and more recent theoretical and cultural standpoints including cultural materialism, philosophy, and gender studies.

Anton Chekhov provides the reader with a comprehensive and comparative study of the relationship between Chekhov’s life, career, ideological thought and view of art and analyzes, with reference to historical and recent productions, his continued appeal. October 2010: 198 x 129: 184pp Hb: 978-0-415-41143-1: $110.00 Pb: 978-0-415-41144-8: $29.95 For more information, visit: www.routledge.com/9780415411448

2008: 198 x 129: 224pp Hb: 978-0-415-40242-2: $110.00 Pb: 978-0-415-40243-9: $29.95 For more information, visit: www.routledge.com/9780415402439

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Barbara Ozieblo, University of Malaga, Spain and Jerry Dickey, University of Arizona, USA This is the first book to deal with Glaspell and Treadwell’s plays from a theatrical perspective, and presents a comprehensive overview, from lesser known plays to seminal productions of Trifles and Machinal.

2008: 198 x 129: 240pp Hb: 978-0-415-40485-3: $110.00 Pb: 978-0-415-40484-6: $29.95 For more information, visit: www.routledge.com/9780415404846

wo rld t he atre

Casebooks on Modern Dramatists Series Editor: Kimball King, University of North Carolina at Chapel Hill, USA

Suzan-Lori Parks

Contemporary African American Women Playwrights A Casebook Edited by Philip C. Kolin, University of Southern Mississippi, USA Series: Casebooks on Modern Dramatists

A Casebook Edited by Kevin J. Wetmore Jr, Loyola Marymount University, USA and Alycia Smith-Howard, New York University, USA Series: Casebooks on Modern Dramatists

The first major study of this unique voice in contemporary drama. Suzan-Lori Parks confirmed herself as one of the most exciting and successful playwrights of her generation when winning the 2002 Pulitzer Prize, making her the only African American woman to win the award.

2007: 234 x 156: 176pp Hb: 978-0-415-97381-6: $95.00 For more information, visit: www.routledge.com/9780415973816

Martin McDonagh A Casebook Edited by Richard Rankin Russell, Baylor University, USA Series: Casebooks on Modern Dramatists

This book represents the first collection of original critical material on Martin McDonagh, one of the most celebrated young playwrights of the last decade. Credited with reinvigorating contemporary Irish drama, his dark, despairing comedies have been performed extensively both on Broadway and in the West End, culminating in an Olivier Award for the The Pillowman and an Academy Award for his short film Six Shooter. In Martin McDonagh, Richard Rankin Russell brings together a variety of theoretical perspectives – from globalization to the gothic – to survey McDonagh’s plays in unprecedented critical depth. Specially commissioned essays cover topics such as identity politics, the shadow of violence and the role of Catholicism in the work of this most precocious of contemporary dramatists.

’The impressive array of scholars gathered in this collection, all experts in the field, read the plays with nuance and situate them deftly within their cultural and historical contexts. Scholars of contemporary theater and drama and of African American literature will find value in this engaging collection.’ – Choice

Dramatists and their Manuscripts in the Age of Shakespeare, Jonson, Middleton and Heywood Authorship, Authority and the Playhouse Grace Ioppolo, University of Reading, UK This title presents new evidence about the ways in which English Renaissance dramatists composed their plays and the degree to which they participated in the dissemination of their texts to theatrical audiences. 2008: 234 x 156: 266pp Pb: 978-0-415-47031-5: $39.95 eBook: 978-0-203-44942-4 For more information, visit: www.routledge.com/9780415470315

’For students and scholars of American theatre and drama generally and African American theatre and drama most particularly, this is an extremely valuable critical source.’ – Harry Elam, Stanford University, USA In the last fifty years, American and World theatre has been challenged and enriched by the rise to prominence of numerous female African American dramatists. Contemporary African American Women Playwrights is the first critical volume to explore the contexts and influences of these writers, and their exploration of black history and identity through a wealth of diverse, courageous and visionary dramas. 2007: 234 x 156: 224pp Hb: 978-0-415-97826-2: $120.00 eBook: 978-0-203-93354-1 For more information, visit: www.routledge.com/9780415978262

Joe Orton A Casebook Series: Casebooks on Modern Dramatists December 2001: 216 x 140: 192pp Pb: 978-0-8153-3628-0: $24.95 For more information, visit: www.routledge.com/9780815336280

Pinter at 70 A Casebook Edited by Lois Gordon Series: Casebooks on Modern Dramatists 2001: 229 x 152: 408pp Pb: 978-0-415-93630-9: $34.95 For more information, visit: www.routledge.com/9780415936309

2007: 234 x 156: 208pp Hb: 978-0-415-97765-4: $120.00 For more information, visit: www.routledge.com/9780415977654

TO ORDER – see order form at the back of this catalog. Alternatively, you can order by: Call Toll Free: 1-800-634-7064

Fax: 1-800-248-4724

Online: www.routledge.com/theatre

s hak e s p e a re

Shakespeare

Routledge Studies in Shakespeare

NEW IN PAPERBACK

The Routledge Companion to Directors’ Shakespeare

New

Edited by John Russell Brown

Edited by Poonam Trivedi, University of Delhi, India and Minami Ryuta, Aichi University of Education, Japan

The Routledge Companion to Director’s Shakespeare is a major collaborative book about plays in performance. Thirty authoritative accounts describe in illuminating detail how some of theatre’s most talented directors have brought Shakespeare’s texts to the stage.

A must-have work of reference for students of both Shakespeare and theatre, this book presents some of the most acclaimed productions of the last hundred years in a variety of cultural and political contexts. Each entry describes a director’s own theatrical vision, and methods of rehearsal and production. Selected Contents: Ingmar Bergman. Rikard Loman Peter Brook. Maria Shevtsova Glen Byam Shaw. Nick Walton Deguchi Norio. Mika Eglington Declan Donellan. Paul Prescott Peter Gill. John Burgess Harley Granville Barker. Christopher McCullough Tyrone Guthrie. Robert Shaughnessy Peter Hall. Peter Holland Terry Hands. Peter Breen Henry Irving. Russell Jackson Fritz Kortner. Klaus Volkner Michael Langham. Kevin Ewert Robert Lepage. Karen Fricker Joan Littlewood. Lesley Wade Ninagawa Yukio. Shoichiro Kawai Trevor Nunn. Martin White Joseph Papp. Pat Lennox Iden Payne. Frank Hildy Roget Planchon. Gerry McCarthy William Poel. Peter Thomson Max Reinhardt. Peter Marx Barry Rutter. Christian M. Billing Mark Rylance. Bridget Escolme Peter Stein. Michael Patterson Giorgio Strehler. Donald McManus Julie Taymor. Douglas Lanier Deborah Warner. Carol Rutter Orson Welles. Matthew Smith Peter Zadek. Michael Raab Franco Zeffirelli. Tom Matheson May 2010: 246 x 174: 608pp Hb: 978-0-415-40044-2: $153.00 Pb: 978-0-415-57767-0: $49.95 For more information, visit: www.routledge.com/9780415577670

2nd Edition

Shakespeare: The Basics Sean McEvoy

The second edition of this best-selling guide demystifies Shakespeare’s plays and brings critical ideas within a beginner’s grasp. The text provides a thorough general introduction to the plays, based on the exciting new approaches shaping the field of Shakespeare studies.

This book reviews the ’playing’ of Shakespeare in which there is a re-staging and a re-writing -- through adaptation, appropriation, or acculturation -- of the Western Shakespeare into worlds of Asian theatre languages, considering stagings in Japan, China, India, Korea, Taiwan, Singapore, Indonesia and the Philippines. December 2009: 229 x 152: 376pp Hb: 978-0-415-99240-4: $110.00 For more information, visit: www.routledge.com/9780415992404

NEW

Shakespeare and Trauma Contemporary Performances on Stage and Screen Catherine Silverstone, University of London, UK Series: Routledge Studies in Shakespeare This study explores the relationship between performances of Shakespeare’s plays and the ways in which they engage with traumatic events and histories. It investigates the ethical and political implications of attempts to represent trauma in performance, and interrogates a range of narratives about Shakespeare, gender, sexuality, ethnicity, colonization and violence. September 2010: 229 x 152: 144pp Hb: 978-0-415-95645-1: $110.00 For more information, visit: www.routledge.com/9780415956451

NEW

Crossing Gender in Shakespeare Feminist Psychoanalysis and the Difference Within Series: Routledge Studies in Shakespeare Stone effects a return to gender in Shakespeare studies through a feminist psychoanalytic look at those of the Bard’s tragedies and comedies that include elements of gender crossing or cross-dressing. Through close, linguistic readings of plays including Othello, Hamlet, Richard II, Antony and Cleopatra, Twelfth Night, and Cymbeline, Stone offers a sophisticated critique of gender and difference as depicted in Renaissance and Shakespearean texts.

For more information, visit: www.routledge.com/9780415873604

For more information, visit: www.routledge.com/9780415362467

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

’Kidnie’s study presents original, sophisticated, and profoundly intelligent answers to important questions.’ - Lukas Erne, University of Geneva ’This is a fine and productive book, one that will surely draw significant attention and commentary well beyond the precincts of Shakespeare studies.’ - W.B. Worthen, Columbia University

Series: Routledge Studies in Shakespeare

March 2010: 229 x 152: 218pp Hb: 978-0-415-87360-4: $95.00 2006: 198 x 129: 304pp Hb: 978-0-415-36245-0: $95.00 Pb: 978-0-415-36246-7: $19.95 eBook: 978-0-203-01275-8

Margaret Jane Kidnie, University of Western Ontario, Canada

Re-playing Shakespeare in Asia

James W. Stone, National University of Singapore

Series: The Basics

Shakespeare and the Problem of Adaptation

Shakespeare’s plays continue to be circulated on a massive scale in a variety of guises – as editions, performances, and adaptations – and it is by means of such mediation that we come to know his drama. Shakespeare and the Problem of Adaptation addresses fundamental questions about this process of mediation, making use of the fraught category of adaptation to explore how we currently understand the Shakespearean work. To adapt implies there exists something to alter, but what constitutes the category of the ‘play’, and how does it relate to adaptation? How do ‘play’ and ‘adaptation’ relate to drama’s twin media, text and performance? What impact might answers to these questions have on current editorial, performance, and adaptation studies? 2008: 216 x 138: 232pp Hb: 978-0-415-30867-0: $130.00 Pb: 978-0-415-30868-7: $39.95 eBook: 978-0-203-16771-7 For more information, visit: www.routledge.com/9780415308687

Inside the Royal Shakespeare Company Creativity and the Institution Colin Chambers 2004: 216 x 138: 280pp Hb: 978-0-415-21202-1: $53.95 eBook: 978-0-203-48868-3 For more information, visit: www.routledge.com/9780415212021

NEW

Shakespeare, Jonson, and the Claims of the Performative James Loxley, University of Edinburgh, UK and Mark Robson, University of Nottingham, UK Series: Routledge Studies in Renaissance Literature and Culture This book will constitute an original intervention into longstanding but insistently relevant debates around the significance of notions of ‘performativity’ to the critical analysis of early modern drama--particularly that of Jonson and Shakespeare. May 2010: 229 x 152: 176pp Hb: 978-0-415-99327-2: $95.00 For more information, visit: www.routledge.com/9780415993272

shakespeare

NEW

Shakespeare, Theatre, and Time Matthew Wagner, Victoria University of Wellington Series: Routledge Advances in Theatre & Performance Studies This book investigates time in Shakespearean theatre. Wagner posits that theatrical, and especially Shakespearean, time is characterized predominantly by various forms of temporal conflict. From this perspective, he traces the ways in which time transcends thematic and metaphorical functions, and forms an essential part of Shakespearean stage praxis. July 2010: 229 x 152: 192pp Hb: 978-0-415-80587-2: $95.00 For more information, visit: www.routledge.com/9780415805872

NEW

William Shakespeare Robert Shaughnessy, University of Kent, UK

William Shakespeare is one of the most widely studied and culturally significant writers of all time; his language interwoven through popular reference and imaginings of the Western canon. In this concise, structured guide, Robert Shaughnessy: • introduces Shakespeare’s life and works in context, providing crucial historical background

• introduces each of Shakespeare’s plays in turn, considering issues of historical context, contemporary criticism and performance history • provides a detailed discussion of 20th century Shakespearean criticism, exploring the theories, debates and discoveries that have shaped our understanding of Shakespeare today • looks at contemporary performance of Shakespeare on stage and screen • cross-references between sections of the guide to suggest links between texts, contexts and criticism • provides an annotated further reading section and detailed chronologies. Demystifying and contextualising Shakespeare for the twenty-first century, this book offers both an introduction to the subject for beginning students and an invaluable resource for more experienced Shakespeareans. July 2010: 246 x 174 Hb: 978-0-415-27539-2: $95.00 Pb: 978-0-415-27540-8: $26.95 For more information, visit: www.routledge.com/9780415275408

1956 and All That . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 39 Microlectures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

A Acting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Acting (Re)Considered . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Acting and Reacting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Acting in Musical Theatre . . . . . . . . . . . . . . . . . . . . . . . . . 6 Acting: The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Actor Prepares, An . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Actor Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Actor, Image, and Action, The . . . . . . . . . . . . . . . . . . . . 26 Actor’s Survival Handbook, The . . . . . . . . . . . . . . . . . . . . 8 Actor’s Work on a Role, An . . . . . . . . . . . . . . . . . . . . . . 20 Actor’s Work, An . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Adshead-Lansdale, Janet . . . . . . . . . . . . . . . . . . . . . . . . . 16 Aesthetics of the Oppressed, The . . . . . . . . . . . . . . . . . . 23 African Theatres and Performances . . . . . . . . . . . . . . . . . 34 Aggiss, Liz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Allain, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 34 Alternative Shakespeare Auditions for Women . . . . . . . . . 7 American Avant-Garde Theatre . . . . . . . . . . . . . . . . . . . . 33 American Dialects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Anarchic Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 And Then, You Act . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Anna Halprin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Anton Chekhov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Anton Chekhov at the Moscow Art Theatre . . . . . . . . . . 33 Antonin Artaud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Applied Theatre Reader, The . . . . . . . . . . . . . . . . . . . . . . . 4 Archives, Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Ariane Mnouchkine . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Aronson, Arnold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Art and Science of Dance/Movement Therapy, The . . . . . 17 Art of the Actor, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Aston, Elaine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 At Work with Grotowski on Physical Actions . . . . . . . . . 18 Audition Speeches for Men . . . . . . . . . . . . . . . . . . . . . . . 7 Audition Speeches for Women . . . . . . . . . . . . . . . . . . . . . 7 Audition Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Auditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 August Strindberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Augusto Boal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Auslander, Philip . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28, 31 Award Monologues for Men . . . . . . . . . . . . . . . . . . . . . . 7 Award Monologues for Women . . . . . . . . . . . . . . . . . . . . 7

B Babbage, Frances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Bailes, Sara Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Baker, Bobby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Baldwin, Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Ballroom Dancing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Banes, Sally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Barba, Eugenio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Barrett, Michèle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Barton, Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Basics Series, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3, 37 Batra, Kanika . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Benedetti, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 20, 21 Benjamin, Adam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Bertolt Brecht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Beyond Stanislavsky . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Bial, Henry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3, 30 Blair, Rhonda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 26 Bluhm, Annika . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Blurton, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Boal Companion, A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Boal, Augusto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Bobby Baker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Bodies That Were Not Ours, The . . . . . . . . . . . . . . . . . . . 31 Body Voice Imagination . . . . . . . . . . . . . . . . . . . . . . . . . 22 Bogart, Anne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Boleslavsky, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Bottoms, Stephen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Bradby, David . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Bradley, Karen K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Brecht Sourcebook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Building A Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Burrows, Jonathan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Burt, Ramsay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15, 16 Butterworth, Jo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

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C Campo, Giuliano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Care of the Professional Voice . . . . . . . . . . . . . . . . . . . . . 12 Carlson, Marvin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Carnicke, Sharon Marie . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Carnival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Carter, Alexandra . . . . . . . . . . . . . . . . . . . . . . . . . . . 14, 16 Case, Sue-Ellen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Casebooks on Modern Dramatists Series . . . . . . . . . . . . . 36 Castellucci, Claudia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Castellucci, Romeo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Causey, Matthew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Certain Fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Chaiklin, Sharon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Chamberlain, Franc . . . . . . . . . . . . . . . . . . . . . . . . . . 12, 24 Chambers, Colin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Changing the Performance . . . . . . . . . . . . . . . . . . . . . . . . 9 Chatterjee, Sudipto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Chekhov, Michael . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Choreographer’s Handbook, A . . . . . . . . . . . . . . . . . . . . 14 Christie, Judie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 City/Stage/Globe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Claid, Emilyn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Classical Monologue, The . . . . . . . . . . . . . . . . . . . . . . . . . 8 Cless, Downing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Climenhaga, Royd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Cody, Gabrielle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 30 Cohen, Lola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Cohen-Cruz, Jan . . . . . . . . . . . . . . . . . . . . . . . . . 23, 25, 29 Collins, Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Commedia Dell’Arte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Commedia Dell’Arte: An Actor’s Handbook . . . . . . . . . . . 8 Community Performance Reader, The . . . . . . . . . . . . . . . . 4 Community Performance: An Introduction . . . . . . . . . . . . 4 Contemporary African American Women Playwrights . . . 36 Contemporary Choreography . . . . . . . . . . . . . . . . . . . . . 15 Contemporary European Theatre Directors . . . . . . . . . . . . 9 Contemporary Monologue, The . . . . . . . . . . . . . . . . . . . . 8 Contemporary Monologue, The . . . . . . . . . . . . . . . . . . . . 8 Contemporary Theatres in Europe . . . . . . . . . . . . . . . . . . 28 Cook, Orlanda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Corsets and Crinolines . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Counsell, Colin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 30 Cowie, Billy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Cozart Riggio, Milla . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Craig, Edward Gordon . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Creating A Role . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Crick, Oliver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Critical Concepts in Literary and Cultural Studies Series . . 31 Crossing Cultural Borders Through the Actor’s Work . . . 26 Crossing Gender in Shakespeare . . . . . . . . . . . . . . . . . . . 37 Cuesta, Jairo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Curran, Tina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Cut of Men’s Clothes, The . . . . . . . . . . . . . . . . . . . . . . . 11 Cut of Women’s Clothes, The . . . . . . . . . . . . . . . . . . . . . 11

D Dal Vera, Rocco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Dalby, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Dance Discourses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Dance History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Dance Movement Therapy . . . . . . . . . . . . . . . . . . . . . . . 16 Dangerous Border Crossers . . . . . . . . . . . . . . . . . . . . . . . 17 Davies, D. Garfield . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 de Gay, Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 De Mallet Burgess, Thomas . . . . . . . . . . . . . . . . . . . . . . . 12 Deeney, John F. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1, 35 Deer, Joe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Delgado, Maria M. . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 35 Devising Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Di Benedetto, Stephen . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Dialects for the Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Dickey, Jerry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Dictionary of Theatre Anthropology, A . . . . . . . . . . . . . . 23 Director Prepares, A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Director’s Craft, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Disability and Contemporary Performance . . . . . . . . . . . 31 Dodin and the Maly Drama Theatre . . . . . . . . . . . . . . . . 33 Donger, Simon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Drain, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Drama as Therapy Volume 2 . . . . . . . . . . . . . . . . . . . . . . 32 Drama/Theatre/Performance . . . . . . . . . . . . . . . . . . . . . . 28 Dramatherapy and Social Theatre . . . . . . . . . . . . . . . . . . 32

Online: www.routledge.com/theatre

INDEX

Dramatic Imagination, The . . . . . . . . . . . . . . . . . . . . . . . 11 Dramatists and their Manuscripts in the Age of Shakespeare, Jonson, Middleton and Heywood . . . . . 36 Dundjerovic, Aleksandar Sasa . . . . . . . . . . . . . . . . . . . . . 13 Dunmore, Simon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 8

E Earley, Michael . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Ecology and Environment in European Drama . . . . . . . . 31 Encounters with Tadeusz Kantor . . . . . . . . . . . . . . . . . . . 19 Engaging Performance . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Envisioning Dance on Film and Video . . . . . . . . . . . . . . . 16 Essential Acting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Etchells, Tim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Ethno-Techno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Etienne Decroux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Eugenio Barba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Evans, Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 19 Evans, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Exhausting Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Experimental Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Explicit Body in Performance, The . . . . . . . . . . . . . . . . . . 31

F Federico Garcia Lorca . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Feminist Visions and Queer Futures in Postcolonial Drama . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Fifty Key Theatre Directors . . . . . . . . . . . . . . . . . . . . . . . . 4 Fischer-Lichte, Erika . . . . . . . . . . . . . . . . . . . . . . . 26, 29, 33 Fisher, Jeremy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Foreign Dialects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Fortier, Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Fraleigh, Sondra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Franco, Susanne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Frantic Assembly Book of Devising Theatre, The . . . . . . . 10 Further Steps 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Fusco, Coco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

G Gale, Maggie B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1, 35 Games for Actors and Non-Actors . . . . . . . . . . . . . . . . . 23 Ganguly, Sanjoy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Gardzienice: Polish Theatre in Transition . . . . . . . . . . . . . 34 Giannachi, Gabriella . . . . . . . . . . . . . . . . . . . . . . . . . 27, 29 Global Ibsen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Gómez-Peña, Guillermo . . . . . . . . . . . . . . . . . . . . . . . . . 17 Goodall, Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Goodman, Lizbeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Gordon, Lois . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Gordon, Mel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Gorman, Sarah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Gough, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Goulish, Matthew . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 29 Govan, Emma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Graham, Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Greene, Don . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Greig, Noel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Gronau, Barbara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Grotowski Sourcebook, The . . . . . . . . . . . . . . . . . . . . . . 30 Guidi, Chiara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

H Hamlet and the Baker’s Son . . . . . . . . . . . . . . . . . . . . . . 23 Happenings and Other Acts . . . . . . . . . . . . . . . . . . . . . . 30 Hart, F. Elizabeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Harvie, Jen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Heart of Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Heathfield, Adrian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Henderson, Bruce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Herman, Lewis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Hidden Territories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Hijikata Tatsumi and Ohno Kazuo . . . . . . . . . . . . . . . . . . 13 History of European Drama and Theatre . . . . . . . . . . . . . 33 Hodge, Alison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2, 30 Hodgson, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Hoggett, Steven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Holdsworth, Nadine . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Hopkins, D.J. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 How to do Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Howard, Pamela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Hutchinson Guest, Ann . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Huxley, Mike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Hyde, George . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

I Impro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Impro for Storytellers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Indian Popular Theatres . . . . . . . . . . . . . . . . . . . . . . . . . 34 Innes, Christopher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Inside the Royal Shakespeare Company . . . . . . . . . . . . . 37 Ioppolo, Grace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

J J.B. Priestley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Jackson, Tony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Jacques Copeau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Jacques Lecoq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Jahn, Anthony F. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Jana Sanskriti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Jennings, Sue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Jerzy Grotowski . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Joan Littlewood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Joe Orton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Johnstone, Keith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Jones, Phil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Jones, Robert Edmond . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Judson Dance Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

K Kathakali Dance-Drama . . . . . . . . . . . . . . . . . . . . . . . . . 34 Kaye, Nick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Kayes, Gillyanne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 12 Keefe, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Keil, Philippa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Kelleher, Joe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 28 Kershaw, Baz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Kidnie, Margaret Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 King, Kimball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Kirillov, Andrei A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Kogan, Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Kogan, Sam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Kolin, Philip C. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Konstantin Stanislavsky . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Kreemer, Constance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Kuppers, Petra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 31

L Laban for All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Laban Sourcebook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Labanotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Layson, June . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Leabhart, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Leach, Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3, 29 Learning Through Theatre . . . . . . . . . . . . . . . . . . . . . . . . 32 Lecoq, Jacques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Lee Strasberg Notes, The . . . . . . . . . . . . . . . . . . . . . . . . . 5 Legislative Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Lehmann, Hans-Thies . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Leonard, John A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Lepecki, Andre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 30 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Liveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Loui, Annie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Loxley, James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 37

M Machlin, Evangeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Makers of Modern Theatre . . . . . . . . . . . . . . . . . . . . . . . 29 Making a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Making an Entrance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Making Video Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Malaev-Babel, Andrei . . . . . . . . . . . . . . . . . . . . . . . . 12, 18 Male Dancer, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Margolis, Ellen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Marina Abramovic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Mark Ravenhill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Marlow, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Martin McDonagh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Martin, Carol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Mary Wigman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Mask Handbook, The . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

CONTACT US – for further information, email theatre@routledge.com eBooks: www.ebookstore.tandf.co.uk eUpdates: www.tandf.co.uk/eupdates

Master Classes in the Michael Chekhov Technique . . . . . 22 Mastering Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 McCaw, Dick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 McConachie, Bruce A. . . . . . . . . . . . . . . . . . . . . . . . . 2, 28 McEvoy, Sean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 McKenzie, Jon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 McMullan, Anna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 McPherson, Katrina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Memory, Allegory, and Testimony in South American Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Merlin, Bella . . . . . . . . . . . . . . . . . . . . . . . . . . 3, 14, 21, 22 MICHA, The Michael Chekhov Association . . . . . . . . . . . 22 Michael Chekhov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Michael Chekhov Handbook, The . . . . . . . . . . . . . . . . . . 22 Midgelow, Vida L. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Miklaszewski, Krzysztof . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Miller, Judith G. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Mise en Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Mitchell, Katie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Mitoma, Judy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Mitter, Shomit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 31 Modern Monologue, The . . . . . . . . . . . . . . . . . . . . . . . . . 8 Molik, Zygmunt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Monologues for Actors of Color . . . . . . . . . . . . . . . . . . . . 8 Moore, Alex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 More Alternative Shakespeare Auditions for Men . . . . . . . 7 More Alternative Shakespeare Auditions for Women . . . . 8 Moseley, Nick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Mourning Sex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Movement Training for the Modern Actor . . . . . . . . . . . 19 Multi-media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Mumford, Meg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Murray, Simon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3, 13 My Life in Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

N Nakamura, Tamah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Neipris, Janet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 New Critical Idiom Series, The . . . . . . . . . . . . . . . . . 28, 29 Newlove, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Nicholson, Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Nisbet, Andrew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Noble, Adrian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Nordera, Marina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Normington, Katie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

O O’Brien, Nick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 O’Shea, Janet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Oddey, Alison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Okagbue, Osita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 On Directing and Dramaturgy . . . . . . . . . . . . . . . . . . . . . 23 On the Art of the Theatre . . . . . . . . . . . . . . . . . . . . . . . . 24 ORLAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Ostrander, Noam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Ozanne, Christine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 8 Ozieblo, Barbara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

P Panet, Brigid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Paper Canoe, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Path Of The Actor, The . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Pavis, Patrice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 30 Payne, Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Perform or Else . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Performance Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Performance and Cognition . . . . . . . . . . . . . . . . . . . . . . 28 Performance Cosmology, A . . . . . . . . . . . . . . . . . . . . . . . 28 Performance in Bali . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Performance Studies Reader, The . . . . . . . . . . . . . . . . . . . 3 Performance Studies: An Introduction . . . . . . . . . . . . . . . . 3 Performance Studies: The Key Concepts . . . . . . . . . . . . . . 4 Performance Theatre and the Poetics of Failure . . . . . . . 25 Performance Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Performance: A Critical Introduction . . . . . . . . . . . . . . . . 28 Performativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Performing Embodiment in Samuel Beckett’s Drama . . . . 26 Performing Race and Torture on the Early Modern Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Performing Science and the Virtual . . . . . . . . . . . . . . . . . 28 Petit, Lenard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

INDEX

Phelan, Peggy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Physical Actor, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Physical Theatres: A Critical Introduction . . . . . . . . . . . . . . 3 Physical Theatres: A Critical Reader . . . . . . . . . . . . . . . . . . 3 Pina Bausch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Pinter at 70 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Pitches, Jonathan . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 21 Playing Boal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Playwriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Politics of American Actor Training, The . . . . . . . . . . . . . 27 Politics of New Media Theatre, The . . . . . . . . . . . . . . . . . 27 Popular Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Postdramatic Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Powers, Mala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Poynor, Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Prentki, Tim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Preston, Sheila . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Provocation of the Senses in Contemporary Theatre, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Psychophysical Acting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Puga, Ana Elena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Q Queer History of the Ballet, A . . . . . . . . . . . . . . . . . . . . . 16 Quick, Andrew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

R Radical in Performance, The . . . . . . . . . . . . . . . . . . . . . . 30 Radical Performance Pedagogy . . . . . . . . . . . . . . . . . . . . 17 Radical Street Performance . . . . . . . . . . . . . . . . . . . . . . . 29 Rainbow of Desire, The . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Rankin Russell, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Re: Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Rebellato, Dan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 33 Reenactment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Reid, Francis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Re-playing Shakespeare in Asia . . . . . . . . . . . . . . . . . . . . 37 Rethinking Dance History . . . . . . . . . . . . . . . . . . . . . . . . 16 Reworking the Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Richard Schechner, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Richards, Mary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Richards, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Ridout, Nicholas . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 28 Robert Lepage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Robert Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Robertson, Gwen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Robson, Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Roose-Evans, James . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Routledge Advances in Theatre & Performance Studies Series . . . 19, 21, 26-28,31-34,38 Routledge Classics Series . . . . . . . . . . . . . . . . . . . . . . . . . 28 Routledge Companion to Directors’ Shakespeare, The . . 37 Routledge Companion to Theatre and Performance, The . 4 Routledge Companions Series . . . . . . . . . . . . . . . . . . . . . . 4 Routledge Dance Studies Reader, The . . . . . . . . . . . . . . . 14 Routledge Drama Anthology and Sourcebook: From Modernism to Contemporary Performance . . . . . . . . . 1 Routledge Key Guides Series . . . . . . . . . . . . . . . . . . . . . . . 4 Routledge Modern and Contemporary Dramatists Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Routledge Performance Practitioners Series . . . . . 12, 13, 14 Routledge Reader in Gender and Performance, The . . . . 29 Routledge Reader in Politics and Performance, The . . . . . 29 Routledge Studies in Renaissance Literature and Culture Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Routledge Studies in Shakespeare Series . . . . . . . . . . . . . 37 Rowntree, Julia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Rubin, Leon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Rudlin, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Rudolf Laban . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Russell Brown, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Ryuta, Minami . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

S Saint-Denis, Michel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Sandford, Mariellen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Sankey, Jay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Santos Newhall, Mary Anne . . . . . . . . . . . . . . . . . . . . . . 14 Savarese, Nicola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Savona, George . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Scenery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Schechner, Richard . . . . . . . . . . . . . . . . . . . . . . . . 3, 28, 30

Schechter, Joel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Scheer, Edward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Schneider, Rebecca . . . . . . . . . . . . . . . . . . . . . . . 25, 30, 31 Schutzman, Mady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Science and the Stanislavsky Tradition of Acting . . . . . . . 21 Science Of Acting, The . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Sedana, I. Nyoman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Senelick, Laurence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Senses in Performance, The . . . . . . . . . . . . . . . . . . . . . . 30 Shakespeare and the Problem of Adaptationv . . . . . . . . . . Shakespeare and Trauma . . . . . . . . . . . . . . . . . . . . . . . . 37 Shakespeare, Jonson, and the Claims of the Performative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Shakespeare, Theatre, and Time . . . . . . . . . . . . . . . . . . . 38 Shakespeare: The Basics . . . . . . . . . . . . . . . . . . . . . . . . . 37 Shalett Herman, Marguerite . . . . . . . . . . . . . . . . . . . . . . . 8 Shaughnessy, Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Shepherd, Simon . . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 28 Shevstova, Maria . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 17, 33 Sifuentes, Roberto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Signs of Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Silverstone, Catherine . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Singer’s Companion, The . . . . . . . . . . . . . . . . . . . . . . . . 12 Singing and Acting Handbook, The . . . . . . . . . . . . . . . . 12 Singing and the Actor . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Singing With Your Own Voice . . . . . . . . . . . . . . . . . . . . . 12 Site-Specific Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Skilbeck, Nicholas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Slowiak, James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Small Acts of Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Smith-Howard, Alycia . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Sourcebook on Feminist Theatre and Performance, A . . . 30 Sourcebook on Naturalist Theatre, A . . . . . . . . . . . . . . . 31 Special Effects Make-Up . . . . . . . . . . . . . . . . . . . . . . . . . 11 Spier, Steven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Stage Lighting Handbook . . . . . . . . . . . . . . . . . . . . . . . . 11 Stage Presence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Staniewski, Wlodzimierz . . . . . . . . . . . . . . . . . . . . . . . . . 30 Stanislavski . . . . . . . . . . . . . . . . . . 21Stanislavski in Practice 21 Stanislavski in Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . 21 Stanislavski, Constantin . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Stanislavski, Konstantin . . . . . . . . . . . . . . . . . . . . . . . 20, 21 Stanislavsky in America . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Stanislavsky in Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Stieber, Dale Ann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Stohrer, Sharon L. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Stone, James W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Stoneley, Peter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Style For Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Successful Singing Auditions . . . . . . . . . . . . . . . . . . . . . . . 7 Susan Glaspell and Sophie Treadwell . . . . . . . . . . . . . . . 35 Suzan-Lori Parks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Systems of Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Szalczer, Eszter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Trimingham, Melissa . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Trivedi, Poonam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Tucker, Patrick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 8 Turner, Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Twentieth Century Theatre: A Sourcebook . . . . . . . . . . . 29 Twentieth-Century Performance Reader, The . . . . . . . . . . . 4

U Understanding Disability Studies and Performance Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Unmarked . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Uno, Roberta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

V Vakhtangov Sourcebook, The . . . . . . . . . . . . . . . . . . . . . Vinther, Janus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Virtual Theatres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vsevolod Meyerhold . . . . . . . . . . . . . . . . . . . . . . . . . . . .

W Wagner, Matthew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Wallis, Mick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Watt, Daniel Peter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Waugh, Norah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Weiler, Christel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Wengrower, Hilda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Wetmore Jr, Kevin J. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 What is Scenography? . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Whyman, Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Wildschut, Liesbeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 William Forsythe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 William Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Williams, Gary Jay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Wilsher, Toby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Witts, Noel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 12 Wolf, Laurie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Wolford, Lisa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Wooster Group Work Book, The . . . . . . . . . . . . . . . . . . . 17 Worlds of Performance Series . . . . . . . . . . . . . . . . . . . . . 30 Worth, Libby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Y Yes? No! Maybe… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yevgeny Vakhtangov . . . . . . . . . . . . . . . . . . . . . . . . . . . . Young People, New Theatre . . . . . . . . . . . . . . . . . . . . . . Your Move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Z Zarrilli, Phillip B. . . . . . . . . . . . . . . . . . . . . . . . . 2, 6, 30, 34 Zen and the Art of the Monologue . . . . . . . . . . . . . . . . . . 8 Zimmer, Elizabeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Zinder, David . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Zygmunt Molik’s Voice and Body Work . . . . . . . . . . . . . . . 9

Tadeusz Kantor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Tatinge Nascimento, Cláudia . . . . . . . . . . . . . . . . . . . . . . 26 Theatre and Performance Design . . . . . . . . . . . . . . . . . . 11 Theatre and Performance in Digital Culture . . . . . . . . . . 27 Theatre Arts Audition Book for Men, The . . . . . . . . . . . . . 7 Theatre Arts Audition Book for Women, The . . . . . . . . . . 7 Theatre Arts on Acting . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Theatre as Sign System . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Theatre at the Crossroads of Culture . . . . . . . . . . . . . . . 30 Theatre Histories: An Introduction . . . . . . . . . . . . . . . . . . 2 Theatre of Movement and Gesture . . . . . . . . . . . . . . . . . . 7 Theatre of Richard Maxwell and the New York City Players, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Theatre of Societas Raffaello Sanzio, The . . . . . . . . . . . . 18 Theatre of the Bauhaus, The . . . . . . . . . . . . . . . . . . . . . . 33 Theatre Production Studies Series . . . . . . . . . . . . . . . . . . 33 Theatre Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Theatre Studies: The Basics . . . . . . . . . . . . . . . . . . . . . . . . 3 Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Theatre: The Rediscovery of Style and Other Writings . . . 24 Theory/Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Thompson, Ayanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 To Be a Playwright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 To the Actor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Toporkov, Vasili . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Transformative Power of Performance, The . . . . . . . . . . . 26

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Theatre Dance and Performance Training

Women & Performance: A Journal of Feminist Theory

Performance Research is a specialist journal that promotes a dynamic interchange between scholarship and practice in an expanding field of performance. Interdisciplinary in vision and international in scope, its emphasis is on research in contemporary performance arts within changing cultures. The Editors encourage work that challenges boundaries between disciplines and media. Each issue contains articles, documents, interviews, reviews as well as illustrations and original artworks.

Theatre Dance and Performance Training (TDPT) is a brand new, twice-yearly, peer-reviewed journal which acts as a research forum for practitioners, academics, creative artists and pedagogues interested in training in all its complexity. The journal is dedicated to revealing the vital and diverse processes of training and their relationship to performance making both past and present, a diversity reflected in the journalâ&#x20AC;&#x2122;s international scope and interdisciplinary form and focus. TDPT acts as an outlet for documenting and analysing primary materials relating to regimes of performer training as well as encouraging discursive contributions in a range of critical and creative formats. TDPT provides a valuable meeting-point for practitioner-researchers wanting to know more about training before, beneath, beyond and within performance.

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Contemporary Theatre Review Contemporary Theatre Review analyses what is most passionate and vital in theatre today. It encompasses a wide variety of theatres, from new playwrights and devisors to theatres of movement, image and other forms of physical expression, from new acting methods to music theatre and multi-media production work. Recognising the plurality of contemporary performance practices, it encourages contributions on physical theatre, opera, dance, design and the increasingly blurred boundaries between the physical and the visual arts.

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Dance Chronicle To serious students and lovers of dance, Dance Chronicle is indispensable for keeping up with this rapidly changing field. It covers a wide variety of topics, including dance and music, theater, film, literature, painting, and aesthetics. Offering the best from both established dance historians and the new generation of dance scholars, Dance Chronicle is an ideal source for those who love dance, both past and present.

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Performance Research: A Journal of the Performing Arts

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Women & Performance: a journal of feminist theory seeks scholarly essays on performance, dance, film, new media, and the performance of everyday life from interdisciplinary feminist perspectives. We encourage dialogues between varied fields of performance scholarship (i.e., performance studies; theatre, dance, and music history and criticism; ethnography; cinema and cultural studies; as well as queer and post-colonial theory), and explore critiques of race, ethnicity, class, sexuality, technology, and nation.

www.tandf.co.uk/journals/rwap

Ibsen Studies Ibsen Studies is the only international journal devoted to Henrik Ibsen, and is therefore a central publication both for Ibsen researchers the world over and for those with a more general interest in the author and his lifeâ&#x20AC;&#x2122;s work. Ibsen Studies is a forum for debate and critique for all those who work within the extensive field of research into the work of Henrik Ibsen. The journal is crossdisciplinary in nature, with contributions from literary researchers, historians and those involved in theatre. The journal also includes reviews of current Ibsen-related literature, and a separate section for Ibsen-related events.

www.tandf.co.uk/journals/sibs

RiDE: The Journal of Applied Theatre and Performance RiDE: The Journal of Applied Theatre and Performance is a refereed journal aimed at those who are interested in applying performance practices to cultural engagement, educational innovation and social change. It provides an international forum for research into drama and theatre conducted in community, educational, developmental and therapeutic contexts. The journal offers a dissemination of completed research and research in progress, and through its Points and Practices section it encourages debate between researchers both on its published articles and on other matters. Contributions are drawn from a range of people involved in drama and theatre from around the world. It aims to bring the fruits of the best researchers to an international readership and to further debates in the rich and diverse field of educational drama and applied theatre.

www.tandf.co.uk/journals/ride

Shakespeare Shakespeare is a major peer-reviewed journal, publishing articles drawn from the best of current international scholarship on the most recent developments in Shakespearean criticism. Its principal aim is to bridge the gap between the disciplines of Shakespeare in Performance Studies and Shakespeare in English Literature and Language. The journal builds on the existing aim of the British Shakespeare Association, to exploit the synergies between academics and performers of Shakespeare.

www.tandf.co.uk/journals/rshk

Text and Performance Quarterly Text and Performance Quarterly publishes scholarship that explores and advances the study of performance as a vital component of human communication, as a technology of representation and expression, and as a hermeneutics. Manuscripts addressing performance and the performative from a wide range of perspectives and methodologies are welcome. Accordingly, all sites and genres of performance from the stage to popular culture to the practices of everyday life, interpretively and critically engaged, are appropriate for consideration.

www.tandf.co.uk/journals/tpq

Research in Dance Education Innovation in Arts Practice Research in Dance Education aims to inform, stimulate and promote the development of research in dance education and is relevant to both learners and teachers. The desire to improve the quality and provision of dance education through lively and critical debate, and the dissemination of research findings is uppermost.

www.tandf.co.uk/journals/crid

www.informaworld.com/arts

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