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Routledge

Theatre and Performance Studies New Titles and Key Backlist 2011

www.routledge.com/performance


www.routledge.com/performance

Cover Image: Mark Ravenhill’s ‘Shoppen and Ficken’ (Shopping and Fucking), directed by Thomas Ostermeier (1998). Photograph © Gerlind Klemens

Welcome to Routledge

Theatre and Performance Studies New Titles and Key Backlist 2011

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contents Acting and Actor Training........................ 2

Contemporary Performance................... 19

Stanislavski.......................................... 6

Theatre History...................................... 21

Directing.................................................. 8

World Theatre and Theatre Anthropology............................ 22

Routledge Modern and Contemporary Dramatists ..................... 10

Shakespeare.......................................... 23

Devising................................................. 11

Dance.................................................... 24

Applied Theatre..................................... 12

Backlist titles.......................................... 26

Augusto Boal.................................... 12

Index..................................................... 28

Routledge Performance Practitioners...... 15

Order Form....................Back of Catalogue

Performance Theory............................... 17

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Welcome to the 2011 Routledge Theatre and Performance Studies catalogue… This year we’re bringing you a range of texts which shed light on some of the key European theatre-makers of the twentieth century – including Vakhtangov, Laban, Genet and Brecht. But we’re also publishing two exceptionally fine studies by leading American scholars of the twenty-first century – Social Works by Shannon Jackson and Performing Remains by Rebecca Schneider. Alongside all of that, you’ll find the brilliant and bold Exercises for Rebel Artists by Guillermo Goméz-Peña and Roberto Sifuentes; a second edition of the superb textbook Voice: Onstage and Off by Robert Barton and Rocco Dal Vera; and Colin Chambers’ compellingly readable Black and Asian Theatre in Britain. And more besides. There are books here – and DVDs – for all your research and teaching needs. Don’t hesitate to get in touch, however, if you see any major gaps or omissions.

Talia Rodgers Publisher, Theatre and Performance Studies

Browse and order online: www.routledge.com/performance


Act ing a n d Actor Trainin g

2

Acting and Actor Training

New 2nd Edition

Acting: The First Six Lessons Documents from the American Laboratory Theatre

New in 2011

Richard Boleslavsky

Acting Reframes

Edited by Rhonda Blair, Southern Methodist University, USA

Using NLP to Make Better Decisions In and Out of the Theatre

Robert Barton, University of Oregon, USA

Acting Reframes presents theatre and film practitioners with a methodology for using Neuro Linguistic Programming (NLP) as a tool to aid their practice.

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 Stanislavsky’s System in America. This new edition of an essential text is edited by Rhonda Blair and supplemented for the very first time with documents from the American Laboratory Theatre. These collect together a broad range of exciting unpublished material, drawn from Boleslavsky’s pivotal and unprecedented teachings on acting at the American Laboratory Theatre. Included are:

Author Robert Barton uses the NLP approach to illustrate a range of innovative methods to help the actor and directors, including: • reducing performance anxiety • enabling clearer communication

• ’The Creative Theatre Lectures’ by Richard Boleslavsky

• intensifying character analysis • stimulating imaginative rehearsal choices. The author also shows how NLP can be used alongside other basic training systems to improve approaches to rehearsal and performance. The book displays the use of NLP to the reader in a playful, creative and easily accessible style, that is structured to enable solo study, as well as group work. The text offers a range of engaging exercises and extensive analysis of language patterns used in performance. Acting Reframes gives actors a richly rewarding approach to help them develop all aspects of their craft.

• Boleslavsky’s ’Lectures from the American Laboratory Theatre’ • ’Acting with Maria Ouspenskaya’ – four short essays on the work of Ouspenskaya, Boleslavsky’s colleague and fellow actor trainer • a new critical introduction and bibliography by the Editor. August 2010: 216 x 138: 232pp Hb: 978-0-415-56385-7: £55.00 Pb: 978-0-415-56386-4: £15.99 eBook: 978-0-203-84723-7 For more information, visit: www.routledge.com/9780415563864

April 2011: 198 x 129: 176pp Hb: 978-0-415-59231-4: £60.00 Pb: 978-0-415-59232-1: £16.99 eBook: 978-0-203-82910-3 For more information, visit: www.routledge.com/9780415592321

New in 2011 2nd Edition

Voice: Onstage and Off Robert Barton, University of Oregon, USA and Rocco dal Vera, University of Cincinnati, USA Voice: Onstage and Off is a comprehensive guide to the process of building, mastering and fine-tuning the voice for performance. Every aspect of vocal work is covered, from the initial speech impulse and the creation of sound, right through to refining the final product in different types of performance. This highly adaptable course of study empowers performers of all levels to combine and evolve their onstage and offstage voices. This second edition is extensively illustrated and accompanied by an all-new website available at: www.routledge.com/textbooks/voice, full of audio and text resources, including: • a sample ten week voice class, with full weekly schedule and forms for class work on dialect, scansion and self-analysis • downloadable forms to help reproduce the book’s exercises in the classroom and for students to engage with their own vocal development outside of lessons • audio recordings of all exercises featured in the book • links to helpful websites for more in-depth study. Four mentors – the voice chef, the voice coach, the voice shrink and the voice doctor – are on hand throughout the book and the website to ensure a holistic approach to voice training. The authors also provide an authoritative survey of US and UK vocal training methods, helping readers to make informed choices about their study. Selected Contents: 1. Owning Your Voice 2. Healing Your Voice 3. Mastering Your Language 4. Expanding Your Voice 5. Refining Your Voice 6. Releasing Your Other Voices 7. Selecting Your System 8. Planning Your Voice Future February 2011: 178 x 254: 464pp Hb: 978-0-415-58557-6: £60.00 Pb: 978-0-415-58558-3: £22.99 eBook: 978-0-203-83519-7 For more information, visit: www.routledge.com/9780415585583

Complimentary Exam Copy

e-Inspection New in Paperback

Companion Website


Act i n g a n d Actor Tra i n i n g

new

Acting: The Basics

Essential Acting

Notes From An Odin Actress

Bella Merlin, University of California, USA

Stories of Water

Series: The Basics

A Practical Handbook for Actors, Teachers and Directors

Julia Varley, Odin Teatret, Denmark

’As an actress I sit, speak, run, sweat and, simultaneously, I represent someone who sits, speaks, runs and sweats. As an actress, I am both myself and the character I am playing. I exist in the concreteness of the performance and, at the same time, I need to be alive in the minds and senses of the spectators. How can I speak of this double reality?’ – Julia Varley This is a book about the experience of being an actress from a professional and female perspective. Julia Varley has been a member of Odin Teatret for over thirty years, and Notes from an Odin Actress is a personal account of her work with Eugenio Barba and this world-renowned theatre company. This is a unique window onto the in-depth exercises and day-to-day processes of an Odin member. It is a journal to enlighten anyone interested in the performances, the discoveries and the hard physical work that accompany a life in theatre. July 2010: 234 x 156: 192pp Hb: 978-0-415-58628-3: £65.00 Pb: 978-0-415-58629-0: £18.99 eBook: 978-0-203-84704-6 For more information, visit: www.routledge.com/9780415586290

How to do Shakespeare Adrian Noble

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:

Brigid Panet, RADA, UK

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

2009: 216 x 138: 296pp Hb: 978-0-415-47677-5: £60.00 Pb: 978-0-415-47678-2: £17.99 eBook: 978-0-203-88238-2

• 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. March 2010: 198 x 129: 256pp Hb: 978-0-415-46100-9: £55.00 Pb: 978-0-415-46101-6: £11.99 eBook: 978-0-203-85486-0

Adrian Noble has worked on Shakespeare with everyone from Oscar-nominated actors to groups of school children. Here he draws on several decades of top-level 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 color 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. 2009: 216 x 138: 272pp Hb: 978-0-415-54926-4: £50.00 Pb: 978-0-415-54927-1: £14.99 eBook: 978-0-203-86605-4 For more information, visit: www.routledge.com/9780415549271

Essential Acting is a must-have purchase for anyone looking for a comprehensive study guide to the necessary work of the actor.

For more information, visit: www.routledge.com/9780415476782

Psychophysical Acting An Intercultural Approach after Stanislavski

DVD

Phillip B. Zarrilli, University of Exeter, UK Winner of ATHE’s 2010 Outstanding Book Award

For more information, visit: www.routledge.com/9780415461016

2nd Edition ’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 …?’

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

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 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. Specific guides range from Greek, Elizabethan, Restoration and Georgian theatre to more contemporary stylings, including Futurism, Surrealism and Postmodernism. 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. 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: Achieving 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 2009: 178 x 254: 360pp Hb: 978-0-415-48572-2: £65.00 Pb: 978-0-415-48573-9: £19.99 eBook: 978-0-203-87387-8 For more information, visit: www.routledge.com/9780415485739

Browse and order online: www.routledge.com/performance

’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, Tel Aviv University, Israel 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 • a system of training though yoga and Asian martial arts that heightens sensory awareness, dynamic energy, and in which body and mind become one • practical application of training principles to improvisation exercises. 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: £70.00 Pb: 978-0-415-33458-7: £21.99 eBook: 978-0-203-37528-0 For more information, visit: www.routledge.com/9780415334587

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Act ing a n d Actor Trainin g

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The Physical Actor

2nd Edition

2nd Edition

Actor Training

Body Voice Imagination

Alison Hodge, Royal Holloway, University of London, UK

ImageWork Training and the Chekhov Technique

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 bibliography is brought right up-to-date and many chapters are revised.

David Zinder, Tel Aviv University, Israel

The practitioners included are:

This new edition has been fully updated, with revisions and new material, including:

• spatial awareness for groups and individuals

• updated exercises, reflecting developments in David Zinder’s own ImageWork Training

• heightened co-ordination and sustained motion.

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; Konstantin Stanislavsky; and Lee Strasberg. The historical, cultural and political context of each practitioner’s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of their training, practical exercises and key productions. This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre. January 2010: 246 x 174: 368pp Hb: 978-0-415-47167-1: £65.00 Pb: 978-0-415-47168-8: £21.99 eBook: 978-0-203-86137-0 For more information, visit: www.routledge.com/9780415471688

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.

• a 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 ’pre-Chekhov’ training is furnished with essential notes and advice from the author’s vast store of professional experience. 2009: 234 x 156: 320pp Hb: 978-0-415-46197-9: £65.00 Pb: 978-0-415-46198-6: £17.99 eBook: 978-0-203-87819-4 For more information, visit: www.routledge.com/9780415461986

Theatre of Movement and Gesture Jacques Lecoq Edited by David Bradby

The Companion Website can be found at: www.routledge.com/textbooks/actortraining.

New

Global Ibsen Performing Multiple Modernities Edited by Erika Fischer-Lichte, Barbara Gronau and Christel Weiler, all at Freie Universitaet Berlin, Germany Series: Routledge Advances in Theatre & Performance Studies This book analyses the different ways in which Ibsen’s plays were and are performed in different cultures on five continents and examines the impact of such performances on the theatre, social life, and politics of these cultures. It shows that performing Ibsen means performing multiple modernities. November 2010: 229 x 152: 248pp Hb: 978-0-415-87713-8: £80.00

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.

Exercises for Action and Awareness Annie Loui, University of California, 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 • fine motor control through mime

2009: 216 x 138: 224pp Hb: 978-0-415-46673-8: £60.00 Pb: 978-0-415-46674-5: £17.99 eBook: 978-0-203-88176-7 For more information, visit: www.routledge.com/9780415466745

New in 2011

Acting for Animators Ed Hooks Ed Hooks’ indispensable acting guidebook for animators returns. Hooks uses basic acting theory to explain everything from character movement and facial expressions to interaction and scene construction. Just as acting on film and on stage are very different disciplines, so is the use of acting theory in creating an animated character, scene or story. New to this edition: • illustrated, scene-by-scene analyses of six films, including Up, Coraline and Kung Fu Panda • an expanded chapter on video game animation • all-new illustrations • a history of acting in 500 words. June 2011: 234 x 156: 160pp Hb: 978-0-415-58023-6: £60.00 Pb: 978-0-415-58024-3: £19.99 eBook: 978-0-415-580-24-3 For more information, visit: www.routledge.com/9780415580243

2006: 234 x 156: 184pp Hb: 978-0-415-35943-6: £65.00 Pb: 978-0-415-35944-3: £19.99 eBook: 978-0-203-00746-4 For more information, visit: www.routledge.com/9780415359443

Full Table of Contents For full table of contents on all titles featured in this catalog, visit: www.routledge.com/performance

For more information, visit: www.routledge.com/9780415877138

Complimentary Exam Copy

e-Inspection New in Paperback

Companion Website


Act i n g a n d Actor Tra i n i n g

Acting in Musical Theatre

The Science Of Acting

NEW

A Comprehensive Course

Sam Kogan

The Lee Strasberg Notes

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

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

Edited by Lola Cohen

’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 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

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. 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. 2009: 216 x 138: 296pp Hb: 978-0-415-48811-2: £65.00 Pb: 978-0-415-48812-9: £17.99 eBook: 978-0-203-87404-2 For more information, visit: www.routledge.com/9780415488129

Auditions

• practical steps to a career.

A Practical Guide

Acting in Musical Theatre’s chapters divide into easy-to-reference units, each containing related group and solo exercises, making it the definitive textbook for students and practitioners alike. A Companion Website is also available at: www.routledge.com/ textbooks/9780415773195.

Richard Evans

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

Theatre Arts on Acting

’For the actor, The Lee Strasberg Notes are an indispensable companion.’ – Johnny Depp ’I always think upon Lee Strasberg with warmth, and reviewing his wisdom is a pleasure.’ – Francis Ford Coppola

’Reading The Lee Strasberg Notes re-kindled the first rush of excitement I felt about the possibilities of Acting. If you are an Actor – buy it.’ – Ralph Fiennes 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, 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

• acting styles in the musical theatre

2008: 246 x 174: 480pp Hb: 978-0-415-77318-8: £65.00 Pb: 978-0-415-77319-5: £21.99 eBook: 978-0-203-93107-3

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

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

• directing and the method • 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: 232pp Hb: 978-0-415-55185-4: £55.00 Pb: 978-0-415-55186-1: £14.99 eBook: 978-0-203-86313-8 For more information, visit: www.routledge.com/9780415551861

New in 2011

Playwriting across the Curriculum

Edited by Laurence Senelick, Tufts University, USA

• screen tests and commercial castings

’The successful leading players of today stand on an uneasy bridge between two extremes of theatrical development. Behind us lie the glories of tradition, the grand manner, the star system… Before us lie the fear of convention and imitation, the demand for novelty, the restless, impatient craving for easy success.’ – John Gielgud

• voice work

Caroline Jester and Claire Stoneman

• recalls and workshops

This book is a guide to using TEEP’s (Teacher Effectiveness Enhancement Programme) tailored lesson plans to study playwriting in the classroom. The authors provide a particular focus on applying this versatile scheme of work to the Key Stage 3 and Citizenship and PSHE curricula.

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.

• handling job offers, and rejection. 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. 2009: 198 x 129: 288pp Hb: 978-0-415-47034-6: £65.00 Pb: 978-0-415-47035-3: £15.99 eBook: 978-0-203-87832-3 For more information, visit: www.routledge.com/9780415470353

2008: 234 x 156: 552pp Hb: 978-0-415-77492-5: £65.00 Pb: 978-0-415-77493-2: £19.99 For more information, visit: www.routledge.com/9780415774932

Playwriting across the Curriculum also contains schemes of work for: • pupils with special educational needs (SEN) • pupils with English as an additional language (EAL) • adaptation to pupil referral units. Its coverage of specific plays as part of the scheme ensures that students will engage with contemporary writing in their learning. This is an essential resource for anyone wanting to teach playwriting at secondary school level. September 2011: 234 x 156: 160pp Hb: 978-0-415-59095-2: £60.00 Pb: 978-0-415-59096-9: £17.99 eBook: 978-0-203-81620-2 For more information, visit: www.routledge.com/9780415590969

Browse and order online: www.routledge.com/performance

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Act ing a n d Actor Trainin g

6

Stanislavski New in 2011

An Actor’s Work

An Actor’s Work on a Role

Stanislavski: The Basics

A Student’s Diary

Konstantin Stanislavski

Rose Whyman, University of Birmingham, UK

Konstantin Stanislavski

Series: The Basics

Stanislavski: The Basics is an engaging introduction to the life, thought and impact of Konstantin Stanislavski. Regarded as a great innovator of twentieth-century theatre, this book examines Stanislavski’s: • life and the context of his writings • major works in English translation

• ideas in practical contexts • impact on modern theatre. With further reading throughout, a glossary of terms and a comprehensive chronology, this text makes the ideas and theories of Stanislavski available to an undergraduate audience.

A contemporary translation by Jean Benedetti of An Actor Prepares and Building a Character

’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 psycho-physical technique for acting single-handedly revolutionized standards of acting in the theatre.

For more information, visit: www.routledge.com/9780415492973

Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language 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.

Stanislavsky in America

The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth-century.

Selected Contents: Chronology 1. Life and Context. 2. An Actor’s Work – Inner Experience 3. An Actor’s Work – External Expression 4. An Actor’s Work on a Role 5. Stanislavski’s Legacy Glossary Bibliography November 2011: 198 x 129: 224pp Hb: 978-0-415-49294-2: £55.00 Pb: 978-0-415-49297-3: £11.99

An Actor’s Workbook Mel Gordon, University of California, USA

CHOICE 2010 Outstanding Academic Title Stanislavsky in America explores the extraordinary legacy that Constantin Stanislavsky’s System of actor-training has left on acting in the US.

A contemporary translation by Jean Benedetti of Creating a Role

2009: 234 x 156: 708pp Pb: 978-0-415-55120-5: £16.99 eBook: 978-0-203-93615-3 For more information, visit: www.routledge.com/9780415551205

The Actor, Image, and Action Acting and Cognitive Neuroscience Rhonda Blair, Southern Methodist University, USA ’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

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, Stanislavski 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 1: Draft Chapters 1930–1937 1. Othello 2. The Government Inspector 3. Notebooks 1936–1937 Part 2: 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 2009: 234 x 156: 272pp Hb: 978-0-415-46129-0: £19.99 eBook: 978-0-203-87092-1 For more information, visit: www.routledge.com/9780415461290

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 Stanislavsky’s System, separating myth from fact with forensic skill.

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

This book looks at how these are in fact inseparable in the brain’s structure and function, and their crucial importance to an actor’s engagement with a role. The book vastly improves our understanding of the actor’s process and is a must for any actor or student of acting.

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 Stanislavsky’s ideas. This thoroughly revised edition also delves even deeper into: • the mythical depiction of Stanislavsky as a tyrannical director and teacher • yoga, the mind-body-spirit continuum and its role in the System • how Stanislavsky used subtexts to hide many of his ideas from Soviet censors.

2009: 216 x 138: 208pp Hb: 978-0-415-49669-8: £55.00 Pb: 978-0-415-49670-4: £16.99 eBook: 978-0-203-86877-5

2007: 216 x 138: 160pp Hb: 978-0-415-77416-1: £65.00 Pb: 978-0-415-77417-8: £19.99 eBook: 978-0-203-93810-2

2008: 234 x 156: 272pp Hb: 978-0-415-77496-3: £65.00 Pb: 978-0-415-77497-0: £16.99 eBook: 978-0-203-88209-2

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

For more information, visit: www.routledge.com/9780415774178

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

Mel Gordon outlines the journey of Stanislavsky’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.

Complimentary Exam Copy

The Actor, Image, and Action is 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 Stanislavsky’s attempts to help the actor ’reach the unconscious by conscious means’.

e-Inspection New in Paperback

Companion Website


Act i n g a n d Actor Tra i n i n g

The Grotowski Sourcebook

NEW

Zygmunt Molik’s Voice and Body Work

My Life in Art

DVD

The Legacy of Jerzy Grotowski

Konstantin Stanislavski Jean Benedetti’s translation of the authorized 1926 edition of Stanislavski’s renowned autobiography

’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 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. 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: £24.99 For more information, visit: www.routledge.com/9780415436571

NEW

Stanislavski in Practice Exercises for Students Nick O’Brien Stanislavski in Practice is an unparalleled step-by-step guide to Stanislavski’s System. Author Nick O’Brien makes this cornerstone of acting accessible to teachers and students alike. This is an exercise book for students and a lesson planner for teachers on syllabi from Edexcel, WJEC and AQA to the practice-based requirements of BTEC. Each element of the System is covered practically through studio exercises and jargon-free discussion. Features include: • practical extension work for students to take away from the lesson • notes for teachers on how to use material with different age groups • exam tips for students based on specific syllabi requirements • a chapter dedicated to using Stanislavski when rehearsing a text. September 2010: 246 x 189: 180pp Pb: 978-0-415-56843-2: £16.99 eBook: 978-0-203-84805-0 For more information, visit: www.routledge.com/9780415568432

Giuliano Campo and Zygmunt Molik

Edited by Richard Schechner, New York University, USA and Lisa Wolford Wylam, York University, Canada Series: Worlds of Performance

One of the original members of Jerzy Grotowski’s acting company, 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 (2006), which illustrates Molik’s working methods, Acting Therapy (1976), exploring his role in the Theatre of Participation, and Zygmunt Molik’s Body Alphabet (2009). It also includes an extensive photo gallery documenting Zygmunt Molik’s life and work. May 2010: 216 x 138: 208pp Hb: 978-0-415-56846-3: £65.00 Pb: 978-0-415-56847-0: £21.99 eBook: 978-0-203-85186-9

1997: 234 x 156: 544pp Hb: 978-0-415-13110-0: £75.00 Pb: 978-0-415-13111-7: £25.99 For more information, visit: www.routledge.com/9780415131117

New in 2011

The Vakhtangov Sourcebook Edited by Andrei Malaev-Babel, Florida State University, USA

For more information, visit: www.routledge.com/9780415568470

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

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 life’s work through a decade of conversations with his apprentice, Thomas Richards.

2008: 234 x 156: 216pp Hb: 978-0-415-44147-6: £60.00 Pb: 978-0-415-44148-3: £19.99 For more information, visit: www.routledge.com/9780415441483

Audition Speeches for Women Edited by Jean Marlow Audition Speeches for Women is an invaluable resource for acting classes, competitions, auditions, and rehearsals, and an affordable and necessary tool for serious actors everywhere. 2001: 216 x 140: 128pp Pb: 978-0-87830-146-1: £9.99 eBook: 978-0-203-93333-6 For more information, visit: www.routledge.com/9780878301461

Browse and order online: www.routledge.com/performance

The first comprehensive overview of the phases of Jerzy Grotowski’s long and multi-faceted career. Featured are a unique collection of Grotowski’s own writings and contributions from international theorists including Eugenio Barba and Peter Brooks.

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 this master of theatre in the English speaking world. Vakhtangov’s essays and articles

are accompanied by: • diary and notebook excerpts • his lectures to the Vakhtangov Studio • in-depth accounts of Vakhtangov methods in rehearsal • production photographs and sketches • extensive bibliographies • director’s notes on key performances. An extensive introductory overview from editor Andrei Malaev-Babel explains Vakhtangov’s creative life, his groundbreaking theatrical concepts and influential directorial works. Selected Contents: Part 1: Introduction Part 2: Words by Vakhtangov 1. Vakhtangov on the Art of Acting and Directing 2. Vakhtangov at The Moscow Art Theatre and The First Studio of Mat: 1911–1922 3. Vakhtangov at The Mansurov Studio (The Third Studio of the Moscow Art Theater): 1913–1922 4. Three Final Productions Part 3: Review of Materials on Vakhtangov Part 4: Glossary and Bibliography March 2011: 276 x 219: 304pp Hb: 978-0-415-47268-5: £60.00 Pb: 978-0-415-48257-8: £19.99 eBook: 978-0-203-85291-0 For more information, visit: www.routledge.com/9780415482578

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New in 2011

2nd Edition

Yevgeny Vakhtangov

To the Actor

Andrei Malaev-Babel, Florida State University, USA

On the Technique of Acting

Michael Chekhov

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: • an overview of Vakhtangov’s life, work and influences • an exploration of his key ideas, including the concept of Fantastic Realism

• accounts of his key productions, methods and training practices • exercises developed by Vakhtangov and still taught at the Vakhtangov Institute in Moscow.

DVD

MICHA, The Michael Chekhov Association ’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, Wayne State University, USA

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: • exercises in body awareness • ’the four brothers’ – Ease, Form, Beauty, and Sense of the Whole • qualities of movement – molding, floating, flying and radiating • psychological gestures • imagining a different physical body of a character. Produced by the Michael Chekhov Association, the classes feature many of the world’s leading practitioners and teachers of the Michael Chekhov Technique, including teachers Ragnar Freidank, Joanna Merlin, Lenard Petit, Ted Pugh and Fern Sloan with actors Dawn Arnold, Bethany Caputo, Jessica Cerullo, John Capalbo, Anne Gottleib, Hugh O’Gorman and Mel Shrawder. The classes are followed by a panel discussion with Jack Colvin, Joanna Merlin and Mala Powers. 2007 DVD: 978-0-415-42258-1: £74.25 For more information, visit: www.routledge.com/9780415422581

’To the Actor is by far the best book that I have read on the subject of acting. Actors, directors, writers and critics will be grateful for it.’ – Gregory Peck Michael Chekhov’s classic work To the Actor has been revised and expanded by Mala Powers to explain, clearly and concisely, the essential techniques for every actor from developing a character to strengthen awareness. Chekhov’s simple and practical method – successfully used by professional actors all over the world – trains the actor’s imagination and body to fulfill its potential.

For more information, visit: www.routledge.com/9780415258760

For more information, visit: www.routledge.com/9780415465878

’Its greatest virtue is not so much that you can’t put it down but that you have to put it down – in order to try it out.’ – Research in Drama Education

2002: 198 x 129: 288pp Hb: 978-0-415-25875-3: £70.00 Pb: 978-0-415-25876-0: £21.99

September 2011: 198 x 129: 192pp Hb: 978-0-415-46586-1: £60.00 Pb: 978-0-415-46587-8: £17.99 eBook: 978-0-203-85285-9

Master Classes in the Michael Chekhov Technique

Edited by Mala Powers

The Michael Chekhov Handbook For the Actor Lenard Petit, The Michael Chekhov Acting Studio, USA

Directing new in 2011

Being a Director A Life in Theatre Di Trevis Di Trevis is a world renowed director, whose work with Britain’s National Theatre, the Royal Shakespeare Company, and directing productions worldwide, has deeply informed her own knowledge of the director’s craft. In Being a Director, she draws on a wealth of first-hand experience to present an immersive, engaging and vital view into the role of a director. The book perfectly blends the personal and the pedagogical, illustrating how the parameters of Space, Time and Motion are essential in creating a successful production. Throughout the author draws deeply on her own formative life experiences to show that who you are is as integral to the director as what you do. July 2011: 216 x 138: 224pp Hb: 978-0-415-60922-7: £60.00 Pb: 978-0-415-60924-1: £16.99 eBook: 978-0-203-81636-3 For more information, visit: www.routledge.com/9780415609227

’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, USA

Contemporary European Theatre Directors

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.

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

Petit uses four sections to guide those studying, working with or encountering Chekhov’s approach for the first time: • the aims of the technique – outlining the real aims of the actor • the principles – acting with energy, imagination and creative power • the tools – the actor’s use of the body and sensation • 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. 2009: 198 x 129: 192pp Hb: 978-0-415-49671-1: £55.00 Pb: 978-0-415-49672-8: £14.99 eBook: 978-0-203-87230-7 For more information, visit: www.routledge.com/9780415496728

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

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 Chèreau, Lev Dodin, Declan Donnellan, Kristian Frèdric, Rodrigo García, 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 detailed 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: 464pp Hb: 978-0-415-46250-1: £65.00 Pb: 978-0-415-46251-8: £20.99 eBook: 978-0-203-85952-0 For more information, visit: www.routledge.com/9780415462518

Complimentary Exam Copy

e-Inspection New in Paperback

Companion Website


Act i n g a n d Actor Tra i n i n g

Award Monologues for Men The Director’s Craft

A Director Prepares

A Handbook for the Theatre

Seven Essays on Art and Theatre

Katie Mitchell, The Royal National Theatre, UK

Anne Bogart, Siti Theatre Company, New York, USA

’As an introduction to Stanislavski, and a demystification of the director’s role, this is a comprehensive read.’ – Total Theatre

’This is a revolutionary insight into the often misunderstood process of directing.’ – Manchesteronstage.com

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. It will inspire everyone, from the beginner just starting out to the experienced practitioner looking to reinvigorate their practice. 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 • managing the transition from rehearsal room to theatre • analyzing your work after a run has ended.

For more information, visit: www.routledge.com/9780415238328

New

The 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 nineteenthcentury to contemporary performance practice.

Making Art in an Unpredictable World

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.

Anne Bogart, Siti Theatre Company, New York, USA

The works span:

• naturalism and symbolism

For more information, visit: www.routledge.com/9780415404396

And Then, You Act 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. Following on from her successful book A Director Prepares, which has become a key text for teaching directing classes, And Then, You Act is an essential practitioner and student resource. January 2007: 216 x 138: 160pp Hb: 978-0-415-41141-7: £55.00 Pb: 978-0-415-41142-4: £17.99 eBook: 978-0-203-96550-4 For more information, visit:

2001: 198 x 129: 168pp Hb: 978-0-415-23831-1: £50.00 Pb: 978-0-415-23832-8: £19.99 eBook: 978-0-203-16554-6

Each chapter concludes with a summary of its critical points, making this an ideal reference work for both directors and actors at any stage of their development. 2008: 234 x 156: 256pp Hb: 978-0-415-40438-9: £65.00 Pb: 978-0-415-40439-6: £16.99 eBook: 978-0-203-88970-1

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

• the historical avant-garde • early political theatre • the performance of ideology • contemporary performance.

’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

Award Monologues for Men is a collection of fifty 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 you give your best possible performance. 2007: 198 x 129: 208pp Hb: 978-0-415-42837-8: £50.00 Pb: 978-0-415-42838-5: £12.99 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 you give the best possible 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 Gómez-Peña, amongst many other key practitioners.

2007: 198 x 129: 192pp Hb: 978-0-415-42839-2: £60.00 Pb: 978-0-415-42840-8: £12.99

Selected Contents: Part 1: Naturalism and Symbolism: Early Modernist Practice Part 2: The Historical Avant-Garde: Performance and Innovation Part 3: Early Political Theatres Part 4: Ideology and Performance/The Performance of Ideology Part 5: Contemporary Performance/The Contemporaneity of Practice

Audition Speeches for Men

August 2010: 246 x 189: 880pp Hb: 978-0-415-46606-6: £75.00 Pb: 978-0-415-46662-2: £29.99 For more information and to view the complete table of contents, visit: www.routledge.com/9780415466622

www.routledge.com/9780415411424

Browse and order online: www.routledge.com/performance

For more information, visit: www.routledge.com/9780415428408

Edited by Jean Marlow Audition Speeches for Men will give actors and coaches valuable advice and the strong material they need to prepare for the next big audition. 2001: 216 x 140: 128pp Pb: 978-0-87830-145-4: £12.99 For more information, visit: www.routledge.com/9780878301454

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Routledge Modern and Contemporary Dramatists Routledge Modern and Contemporary Dramatists is a new series of innovative and exciting critical introductions to the work of internationally pioneering playwrights. The series includes well-established 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 theorises the playwright’s artistic agenda and working methods, as well as their contribution to the development of playwriting and theatre.

New

August Strindberg Eszter Szalczer, New York State University, USA

Series Editors: Maggie B. Gale, University of Manchester, UK and Mary Luckhurst, University of York, UK New in 2011

New

Maria Irene Fornes

Anton Chekhov

Scott T. Cummings, Boston College, Massachussets, USA

Rose Whyman, University of Birmingham, UK

Maria Irene Fornes provides an enlightening introduction to a pivotal figure in both Hispanic-American and experimental theater. From her theatrical origins in 1960s Cuba to her precedent plays for the US stage, this book presents an important guide to the work of this politicallycharged playwright.

May 2011: 198 x 129: 184pp Hb: 978-0-415-45434-6: £55.00 Pb: 978-0-415-45435-3: £16.99 eBook: 978-0-203-81621-9 For more information, visit: www.routledge.com/9780415454353

New in 2011

Mark Ravenhill 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 Fucking (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.

Anton Chekhov offers a critical introduction to the plays and productions of this canonical playwright, examining the genius of Chekhov’s writing, theatrical representation and dramatic philosophy. Emphasising Chekhov’s continued relevance and his mastery of the tragicomic, Rose Whyman provides an insightful assessment of his life and work. All of Chekhov’s major dramas are analysed, in addition to his vaudevilles, one-act plays and stories. The works are studied in relation to traditional criticism and more recent theoretical and cultural standpoints, including cultural materialism, philosophy and gender studies. Analysis of key historical and recent productions, display the development of the drama, as well as the playwright’s continued appeal. Anton Chekhov provides readers with an accessible comparative study of the relationship between Chekhov’s life, work and ideological thought.

Dramatist, theatre practitioner, novelist, and painter, August Strindberg’s diverse dramatic output embodied the modernist sensibility. He was above all one of the most radical innovators of Western theatre.

This book provides an insightful assessment of Strindberg’s vital contribution to the dramatic arts, while placing his creative process and experimental approach within a wider cultural context. Eszter Szalczer explores Strindberg’s re-definition of drama as a fluid, constantly evolving form that profoundly influenced playwriting and theatrical production from the German Expressionists to the Theatre of the Absurd. Key productions of Strindberg’s plays are analysed, examining his theatre as a living voice that continues to challenge audiences, critics, and even the most innovative directors. August Strindberg provides an essential and accessible guide to the playwright’s work and illustrates the influence of his drama on our understanding of contemporary theatre. October 2010: 198 x 129: 232pp Hb: 978-0-415-41422-7: £60.00 Pb: 978-0-415-41423-4: £18.99 eBook: 978-0-203-85288-0 For more information, visit: www.routledge.com/9780415414234

August 2010: 198 x 129: 200pp Hb: 978-0-415-41143-1: £60.00 Pb: 978-0-415-41144-8: £18.99 eBook: 978-0-203-84355-0

New in 2011

For more information, visit: www.routledge.com/9780415411448

Mary Luckhurst, University of York, UK

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 twentiethcentury British theatre. This study unpicks the contradictions of a playwright and theatre theorist popular with audiences but too often dismissed by critics.

Caryl Churchill One of Europe’s greatest playwrights, Caryl Churchill has been internationally celebrated for four decades. She has exploded the narrow definitions of political theatre to write consistently hard-edged and innovative work. Always unpredictable in her stage experiments, her plays have stretched the relationships between form and content, actor and spectator to their limits. This new critical introduction to Churchill examines her political agendas, her collaborations with other practitioners, and looks at specific production histories of her plays. Churchill’s work continues to have profound resonances with her audiences and this book explores her preoccupation with representing such phenomena as capitalism, genocide, environmental issues, identity, psychiatry and mental illness, parenting, violence and terrorism. It includes new interviews with actors and directors of her work, and gathers together source material from her wide-ranging career.

2008: 198 x 129: 224pp Hb: 978-0-415-40242-2: £55.00 Pb: 978-0-415-40243-9: £16.99 eBook: 978-0-203-93262-9

September 2011: 198 x 129: 192pp Hb: 978-0-415-34577-4: £55.00 Pb: 978-0-415-34578-1: £16.99 eBook: 978-0-203-56730-2

For more information, visit: www.routledge.com/9780415402439

For more information, visit: www.routledge.com/9780415345781

April 2011: 198 x 129: 192pp Hb: 978-0-415-37510-8: £55.00 Pb: 978-0-415-37511-5: £16.99 eBook: 978-0-203-09893-6 For more information, visit: www.routledge.com/9780415375115

Complimentary Exam Copy

e-Inspection New in Paperback

Companion Website


Dev i s i n g

Susan Glaspell and Sophie Treadwell 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.

Devising

New

The Frantic Assembly Book of Devising Theatre

A Reader in Scenography

Scott Graham and Steven Hoggett

2008: 198 x 129: 240pp Hb: 978-0-415-40485-3: £60.00 Pb: 978-0-415-40484-6: £16.99 eBook: 978-0-203-92993-3

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

Theatre and Performance Design Jane Collins, Wimbledon School of Art, UK and Andrew Nisbet, Northbrook College, UK

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.

company, and includes:

Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design.

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

• practical exercises

The volume is organised thematically in five sections:

• essays on film, music and physical theatre

• looking, the experience of seeing

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

• inspiration for devising, writing and choreographing performance

• space and place

• suggestions for scene development

• bodies in space

• an anthology of Frantic Assembly productions

• making meaning.

• an eight page color section, and illustrations throughout.

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.

For more information, visit: www.routledge.com/9780415404846

Federico García Lorca

’Federico García Lorca is a book worthy of serious attention … Fortunately Federico García 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 García 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. Federico García Lorca is an invaluable new resource for those seeking to understand this complex and multifaceted figure: artist, playwright, director, poet, martyr and in the eyes of many, Spain’s ’national dramatist’. 2008: 198 x 129: 264pp Hb: 978-0-415-36242-9: £60.00 Pb: 978-0-415-36243-6: £16.99 eBook: 978-0-203-01271-0 For more information, visit: www.routledge.com/9780415362436

Accompanied by a Companion Website www.routledge.com/textbooks/9780415467605 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. 2009: 234 x 156: 248pp Hb: 978-0-415-46536-6: £65.00 Pb: 978-0-415-46760-5: £17.99 For more information, visit: www.routledge.com/9780415467605

Making a Performance Devising Histories and Contemporary Practices

• the designer: the scenographic

Contributors include: Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice MerleauPonty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia and Herbert Blau. March 2010: 246 x 174: 432pp Hb: 978-0-415-43209-2: £70.00 Pb: 978-0-415-43210-8: £24.99 For more information, visit: www.routledge.com/9780415432108

Emma Govan, Helen Nicholson and Katie Normington, all at Royal Holloway, University of London, UK ’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. Designed to be accessible to both scholars and practitioners, this study offers clear, practical examples of concepts and ideas that have shaped some of the most vibrant and experimental practices in contemporary performance. 2007: 216 x 138: 224pp Hb: 978-0-415-28652-7: £65.00 Pb: 978-0-415-28653-4: £18.99 eBook: 978-0-203-94695-4 For more information, visit: www.routledge.com/9780415286534

Browse and order online: www.routledge.com/performance

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Appli ed Theatre

2nd Edition

New in 2011

What is Scenography?

The Sound Handbook

Pamela Howard, University of the Arts, London, UK

Tim Crook, Goldsmiths College, University of 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, color photos, new production analysis) included in this second edition make it even more essential for anyone interested in new developments in theatre.’ – David Bradby 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 • illustrations of her own recent work, in full color throughout • an updated ’world view’ of scenography, with definitions from the world’s most famous and influential scenographers. 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.

The Sound Handbook is an essential practice and theory guide that sets out the best methods in producing sound for multimedia, and the academic theories that underpin the history and analysis of sound expression. The Sound Handbook teaches how qualitative sound can be produced for drama, documentary and journalism in radio, theatrical stage production, television and film, online, animation, videogames and sound art installation. At the same time the theoretical debates that constitute textual and contextual academic study of sound in these media platforms are explored. This Handbook is unique in endeavouring to identify the practical and theoretical common ground in the production and expression of sound in what have been seen previously as discrete media practice and academic disciplines. Selected Contents: 1. Sound Philosophies and Production Histories 2. Essential Methodology for Sound Recording, Mixing and Production: The Common Ground 3. Sound Practice and Theory in Radio 4. Sound Practice and Theory in Stage Theatre 5. Sound Practice and Theory in Film 6. Sound Practice and Theory Online 7. Sound Practice and Theory in Animation, CD/DVD Rom and Computer Games 8. Sound Practice and Theory in Art Exhibition and Installation Glossary Bibliography Index

New in 2011

From Forum to Legislative Theatre

A unique and vivid collection of video extracts from workshops, masterclasses and lectures, featuring the late Augusto Boal and his son Julian Boal, showing some of the applications of the work from around the world. The package, edited by Julian Boal with the assistance of Kelly Howe and Scot McElvany, contains a booklet describing a brief history of the Theatre of the Oppressed movement. It also provides an annotated bibliography, making this an invaluable introduction for students and practitioners.

For more information, visit: www.routledge.com/9780415551526

On the Art of the Theatre

For more information, visit: www.routledge.com/9780415473200

’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

Edited by Franc Chamberlain, University College Cork, Ireland

First published in 1911, On the Art of the Theatre remains one of the seminal texts of theatre theory and practice. 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.

DVD: 978-0-415-60618-9: £39.99

2nd Edition

Games for Actors and Non-Actors Augusto Boal

This reissue contains a wealth of new features:

This is the classic and best selling book by the founder of Theatre of the Oppressed, Augusto Boal, including new discussions, a new introduction and a collection of images.

• a specially written introduction and notes from editor Franc Chamberlain • an updated bibliography • further reading. Controversial and original, On the Art of the Theatre stands as one of the most influential books on theatre of the twentieth-century. 2008: 234 x 156: 192pp Hb: 978-0-415-45033-1: £60.00 Pb: 978-0-415-45034-8: £16.99 eBook: 978-0-203-88974-9

2002: 246 x 174: 336pp Hb: 978-0-415-26761-8: £70.00 Pb: 978-0-415-26708-3: £25.99 eBook: 978-0-203-99481-8 For more information, visit: www.routledge.com/9780415267083

For more information, visit: www.routledge.com/9780415450348

www.facebook.com/routledgetandp

Complimentary Exam Copy

DVD

Julian Boal

July 2011: 234 x 156: 272pp Hb: 978-0-415-55150-2: £70.00 Pb: 978-0-415-55152-6: £24.99

Edward Gordon Craig

is on Facebook

Augusto Boal

Series: Media Practice

2009: 246 x 174: 264pp Hb: 978-0-415-47313-2: £75.00 Pb: 978-0-415-47320-0: £21.99 eBook: 978-0-203-87523-0

Routledge Theatre and Performance

Applied Theatre

e-Inspection New in Paperback

Companion Website


Appli ed Theatre

NEW

Engaging Performance Theatre as Call and Response Jan Cohen-Cruz, Syracuse University, USA

The Aesthetics of the Oppressed

Legislative Theatre

Augusto Boal

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: £65.00 Pb: 978-0-415-37177-3: £19.99 eBook: 978-0-203-96983-0 For more information, visit: www.routledge.com/9780415371773

Hamlet and the Baker’s Son My Life in Theatre and Politics Augusto Boal

Hamlet and the Baker’s Son is the autobiography of Augusto Boal, inventor of the internationally renowned Forum Theatre system, and Theatre of the Oppressed and author of Games for Actors and Non-Actors. From his early days in Brazil’s political theatre movement to his recent experiments with theatre as a democratic political process, Boal has devised a unique way of using the stage to empower the disempowered, and taken his methods everywhere from the favelas of Rio to the rehearsal studios of the Royal Shakespeare Company. 2001: 234 x 156: 384pp Hb: 978-0-415-22988-3: £70.00 Pb: 978-0-415-22989-0: £25.99 For more information, visit: www.routledge.com/9780415229890

The Rainbow of Desire The Boal Method of Theatre and Therapy

Using Performance to Make Politics

The latest stage in the Boal project, this is an attempt to use theatre within a political system to create a truer form of democracy. This text includes a full description of the principles of Legislative Theatre and a description of the process in Rio.

Areas highlighted include: • playwriting and the engaged artist 1998: 246 x 174: 272pp Hb: 978-0-415-18240-9: £75.00 Pb: 978-0-415-18241-6: £23.99 eBook: 978-0-203-98489-5 For more information, visit: www.routledge.com/9780415182416

A Boal Companion Dialogues on Theatre and Cultural Politics Edited by Jan Cohen-Cruz, Syracuse University, USA and Mady Schutzman, California Institute of the Arts, USA

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.

A Boal Companion looks at the cultural practices which inform TO and explore them within a larger frame of cultural politics and performance theory. The contributors put TO into dialogue with complexity theory – Merleau-Ponty, Emmanuel Levinas, race theory, feminist performance art, Deleuze and Guattari, and liberation psychology – to name just a few, and in doing so, the kinship between Boal’s project and multiple fields of social psychology, ethics, biology, comedy, trauma studies and political science is made visible. 2005: 246 x 174: 224pp Hb: 978-0-415-32293-5: £65.00 Pb: 978-0-415-32294-2: £22.99 eBook: 978-0-203-30079-4 For more information, visit: www.routledge.com/9780415322942

Augusto Boal More than a handbook of exercises – a bold and brilliant statement of theatre’s therapeutic capacity to liberate people and change lives. Boal shows us how to ’see’ for the first time the oppressions we have internalized. 1994: 246 x 174: 224pp Pb: 978-0-415-10349-7: £27.99 For more information, visit: www.routledge.com/9780415103497

Engaging Performance: Theatre as Call and Response presents a combined analysis and workbook to examine ’socially engaged performance’. It offers a range of key practical approaches, exercises, and principles for using performance to engage in a variety of social and artistic projects. Author Jan Cohen-Cruz draws on a career of groundbreaking research and work within the fields of political, applied, and community theatre to explore the impact of how differing genres of theatre respond to social ’calls.’

• Theatre of the Oppressed • performance as testimonial • the place of engaged art in cultural organizing • revitalizing cities and neighbourhoods through engaged performance • training of the engaged artist. Cohen-Cruz also draws on the work of major theoreticians, including Bertolt Brecht, Augusto Boal and Doreen Massey, as well as analyzing in-depth case studies of the work of US practitioners today to illustrate engaged performance in action. July 2010: 234 x 156: 240pp Hb: 978-0-415-47213-5: £65.00 Pb: 978-0-415-47214-2: £17.99 eBook: 978-0-203-84769-5 For more information, visit: www.routledge.com/9780415472142

Young People, New Theatre A Practical Guide to an Intercultural Process Noël Greig

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:

Playing Boal

• debating the shared world

Edited by Jan Cohen-Cruz, Syracuse University, USA and Mady Schutzman, California Institute of the Arts, USA

• adapting to specific age groups and abilities

1993: 216 x 138: 256pp Hb: 978-0-415-08607-3: £75.00 Pb: 978-0-415-08608-0: £22.99 eBook: 978-0-203-41971-7 For more information, visit: www.routledge.com/9780415086080

Browse and order online: www.routledge.com/performance

• what is collaboration? • post-project evaluations. 2008: 234 x 156: 232pp Hb: 978-0-415-45250-2: £65.00 Pb: 978-0-415-45251-9: £18.99 eBook: 978-0-203-89418-7 For more information, visit: www.routledge.com/9780415452519

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Jana Sanskriti

Community Performance: An Introduction

Dramatherapy and Social Theatre

Forum Theatre and Democracy in India

Petra Kuppers, University of Michigan, USA

Necessary Dialogues

Sanjoy Ganguly, Artistic Director, Forum Theatre, West Bengal, India

Edited by Sue Jennings

NEW

The first textbook available on community/applied theatre, Community Performance: An Introduction is the perfect practice-based primer for students on community acts courses and with a rare hybrid of text it answers the need of a field where so much teaching is orientated around practice.

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.

2007: 246 x 174: 224pp Hb: 978-0-415-39228-0: £65.00 Pb: 978-0-415-39229-7: £19.99 eBook: 978-0-203-96400-2 For more information, visit: www.routledge.com/9780415392297

The Community Performance Reader Edited by Petra Kuppers, University of Michigan, USA and Gwen Robertson, Museum Of Contemporary Art, USA This Reader is a complementary, conceptual sourcebook providing a more historical/ theoretical coverage, and offering a toolkit in running community art groups.

For more information, visit: www.routledge.com/9780415577526

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. 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: An Introduction 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

Understanding Disability Studies and Performance Studies Edited by Bruce Henderson, Ithaca College, USA and Noam Ostrander, De Paul University, USA This collection brings together scholarship and creative writing from 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 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.

February 2010: 246 x 174: 272pp Hb: 978-0-415-56553-0: £75.00 2007: 246 x 174: 304pp Hb: 978-0-415-39230-3: £70.00 Pb: 978-0-415-39231-0: £22.99

For more information, visit: www.routledge.com/9780415565530

For more information, visit: www.routledge.com/9780415392310

related journal

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.

NEW

This book was based on a special issue of Text and Performance Quarterly.

The Applied Theatre Reader

2009: 234 x 156: 264pp Hb: 978-0-415-42206-2: £65.00 Pb: 978-0-415-42207-9: £22.99 eBook: 978-0-203-87636-7 For more information, visit: www.routledge.com/9780415422079

April 2010: 216 x 138: 184pp Hb: 978-0-415-57751-9: £60.00 Pb: 978-0-415-57752-6: £19.99 eBook: 978-0-203-85272-9

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

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.

Theatre, Dance and Performance Training Theatre, Dance and Performance Training (TDPT) acts as a research forum for practitioners, academics, creative artists and pedagogues interested in training in all its complexity and across cultures. The journal is dedicated to revealing the vital and diverse processes of training and their relationship to performance making, including those from the past, from the present, and into the future. TDPT acts as an outlet for documenting and analyzing primary materials relating to regimes of performer training as well as encouraging discursive contributions in a range of critical and creative formats.

2008: 246 x 174: 400pp Hb: 978-0-415-42886-6: £70.00 Pb: 978-0-415-42887-3: £21.99

www.tandf.co.uk/journals/rtdp

For more information, visit: www.routledge.com/9780415428873

Find out about our complete range of Theatre and Performance journals at: www.informaworld.com/arts

Complimentary Exam Copy

e-Inspection New in Paperback

Companion Website


Appli ed Theatre

Routledge Performance Practitioners Routledge Performance Practitioners is an innovative series of introductory handbooks on key figures in twentieth and twenty-first century performance practice. Each volume focuses on a theatre-maker who has transformed the way we understand theatre and performance. The books are carefully structured to enable the reader to gain a good grasp of the fundamental elements underpinning each practitioner’s work. They provide an inspiring springboard for students on contemporary theatre and theatre history courses. These compact, well-illustrated and clearly written books unravel the contribution of modern theatre’s most charismatic innovators, through: • personal biography • explanation of key writings • description of significant productions • reproduction of practical exercises.

As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.

Series Editor: Franc Chamberlain, University College Cork, Ireland

Marina Abramovic´ Mary Richards, Brunel University, UK

Marina Abramovi´c is the creator of pioneering performance art which transcends the form’s provocative origins. This book presents an examination of the artist through her writings, interviews and influences, and a detailed analysis of her work, including studies of the Rhythm series, Nightsea Crossing and The House with the Ocean View.

2009: 198 x 129: 168pp Hb: 978-0-415-43207-8: £60.00 Pb: 978-0-415-43208-5: £17.99 eBook: 978-0-203-87065-5 For more information, visit: www.routledge.com/9780415432085

Eugenio Barba

Bertolt Brecht

Jane Turner, Manchester Metropolitan University, UK

Meg Mumford, University of New South Wales, Australia

Eugenio Barba is one of the most important theatre practitioners working today. This guidebook provides exercises for both students and teachers, and also offers an historical perspective on European and world theatre.

2004: 198 x 129: 192pp Hb: 978-0-415-27327-5: £60.00 Pb: 978-0-415-27328-2: £17.99 eBook: 978-0-203-32012-9 For more information, visit: www.routledge.com/9780415273282

Pina Bausch Royd Climenhaga, The New School University, USA This book is the first English language overview of Pina Bausch’s work and methods, combining an historical and artistic context for Bausch’s work, her own words on her work, including a newly published interview, and a detailed account of her groundbreaking work Kontakthof, both as performed by Tanztheater Wuppertal and by ladies and gentlemen over sixty-five. 2008: 198 x 129: 160pp Hb: 978-0-415-37521-4: £60.00 Pb: 978-0-415-37522-1: £17.99 eBook: 978-0-203-09895-0 For more information, visit: www.routledge.com/9780415375221

Augusto Boal Frances Babbage This volume looks at the scope of Boal’s career – from a playwright and director, to his manifesto in the 1970s for a Theatre of the Oppressed. This will be fascinating for anyone interested in theatre’s role in stimulating change.

Bertolt Brecht is amongst the world’s most profound contributors to the theory and practice of theatre. His methods of collective experimentation and his unique framing of the theatrical event as a forum for aesthetic and political change continue to have a significant impact on the work of performance practitioners, critics and teachers alike. This is the first book to combine an overview of the key periods in Brecht’s life and work, a clear explanation of his key theories, including Gestus and Verfremdung, and an in-depth analysis of Brecht’s practical exercises and rehearsal methods.

2008: 198 x 129: 208pp Hb: 978-0-415-37508-5: £60.00 Pb: 978-0-415-37509-2: £17.99 eBook: 978-0-203-88210-8 For more information, visit: www.routledge.com/9780415375092

Etienne Decroux Thomas Leabhart, Pomona College, USA Etienne Decroux is the first book to combine: • an overview of Decroux’s life and work • an analysis of Decroux’s Words on Mime, the first book to be written about this art • a series of practical exercises offering an introduction to corporeal mime technique. 2007: 198 x 129: 168pp Hb: 978-0-415-35436-3: £60.00 Pb: 978-0-415-35437-0: £17.99 eBook: 978-0-203-00102-8

2004: 198 x 129: 168pp Hb: 978-0-415-27325-1: £65.00 Pb: 978-0-415-27326-8: £17.99 eBook: 978-0-203-30900-1

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

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

Jerzy Grotowski

Michael Chekhov Franc Chamberlain, University College Cork, Ireland This volume provides, for the first time, a fully comprehensive introduction to Chekov’s life and times, his most notable productions, his classic writings and his practical exercises. 2003: 198 x 129: 168pp Hb: 978-0-415-25877-7: £60.00 Pb: 978-0-415-25878-4: £17.99 eBook: 978-0-203-38047-5 For more information, visit: www.routledge.com/9780415258784

Browse and order online: www.routledge.com/performance

James Slowiak, Univeristy of Akron, USA and Jairo Cuesta The book introduces Grotowski to a new generation of theatre students, outlining his contributions to twentieth-century performance and placing them in context and in perspective. 2007: 198 x 129: 208pp Hb: 978-0-415-25879-1: £65.00 Pb: 978-0-415-25880-7: £17.99 eBook: 978-0-203-96274-9 For more information, visit: www.routledge.com/9780415258807

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Routledge Performance Practitioners continued… Anna Halprin

Jacques Lecoq

Vsevolod Meyerhold

Libby Worth, Royal Holloway, University of London, UK and Helen Poynor, University of Plymouth, UK

Simon Murray, University of Glasgow, UK

Jonathan Pitches, Leeds University, UK

Jacques Lecoq offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth-century actor training.

This is the first book to combine a biographical introduction to Meyerhold’s life, his theoretical writings, analysis of Revisor, or The Government Inspector and the ’biomechanical’ exercises he developed for actor training.

This guidebook traces the life’s work of radical dance-maker Anna Halprin, documenting her early career as a modern dancer in the 1940s through to the development of her groundbreaking approach to dance as an accessible art form. 2004: 198 x 129: 208pp Hb: 978-0-415-27329-9: £60.00 Pb: 978-0-415-27330-5: £17.99 eBook: 978-0-203-30792-2 For more information, visit: www.routledge.com/9780415273305

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

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 exploration of Kantor’s own writings on his theatrical craft

2003: 198 x 129: 200pp Hb: 978-0-415-25881-4: £60.00 Pb: 978-0-415-25882-1: £17.99 eBook: 978-0-203-38048-2 For more information, visit: www.routledge.com/9780415258821

Robert Lepage Aleksandar Saša Dundjerovic, University of Manchester, UK Robert Lepage is one of Canada’s foremost playwrights and directors. His company, Ex Machina, has toured to international acclaim and he has lent his talents to areas as diverse as opera, concert tours, acting, and installation art. His most celebrated work blends acute personal narratives with bold global themes. This is the first book to combine: • an overview of the key phases in Lepage’s life and career • an examination of the issues and questions pertinent to his work • a discussion of The Dragons’ Trilogy as a paradigm of his working methods • a variety of practical exercises designed to give an insight into Lepage’s creative process.

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

2008: 198 x 129: 192pp Hb: 978-0-415-37519-1: £60.00 Pb: 978-0-415-37520-7: £17.99 eBook: 978-0-203-09897-4

• an examination of the practical exercises devised by Kantor.

For more information, visit: www.routledge.com/9780415375207

2009: 198 x 129: 160pp Hb: 978-0-415-43486-7: £60.00 Pb: 978-0-415-43487-4: £17.99 eBook: 978-0-203-86536-1

Joan Littlewood

For more information, visit: www.routledge.com/9780415434874

Rudolf Laban Karen K. Bradley, University of Maryland, USA Rudolf Laban was one of the leading dance theorists of the twentieth-century. His work on dance analysis and notation raised the status of dance as both an art form and a scholarly discipline. This is the first book to combine: • an overview of Laban’s life, work and influences • an exploration of his key ideas, including the revolutionary ’Laban Movement Analysis’ system • analysis of his works Die Grünen Clowns and Mastery of Movement and their relevance to dance theatre from the 1920s onwards • a detailed exercise-based breakdown of Laban’s key teachings. 2008: 198 x 129: 160pp Hb: 978-0-415-37524-5: £60.00 Pb: 978-0-415-37525-2: £17.99 eBook: 978-0-203-09896-7

Nadine Holdsworth, University of Warwick, UK The only book currently available on Joan Littlewood and her company, ’Theatre Workshop’, this book explores the background to, and the work of a major influence on twentieth and twenty-first century performance. This book uses original archival material to explore Joan Littlewood – a theatrical and cultural innovator whose contributions to theatre made a huge impact on the way theatre was generated, rehearsed and presented during the twentieth-century. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Joan Littlewood is unbeatable value for today’s student. 2006: 198 x 129: 168pp Hb: 978-0-415-33886-8: £60.00 Pb: 978-0-415-33887-5: £17.99 eBook: 978-0-203-44848-9 For more information, visit: www.routledge.com/9780415338875

2003: 198 x 129: 176pp Hb: 978-0-415-25883-8: £60.00 Pb: 978-0-415-25884-5: £17.99 eBook: 978-0-203-63417-2 For more information, visit: www.routledge.com/9780415258845

Ariane Mnouchkine Judith G. Miller, New York University, USA One of the most important directors of her generation, and one of the only women ever to have attained great director status in France, Ariane Mnouchkine’s work is in revolt against declamation and text-based theatre. A utopian humanist, attracting actors from almost forty different countries to her company, Le Theatre du Soleil, Mnouchkine nurtures a passionate following. This is the first book to combine: • an overview of Mnouchkine’s life, work and theatrical influences • an exploration of her key ideas on theatre and the creative process • analysis of key productions, including 1789 and Richard II. 2007: 198 x 129: 176pp Hb: 978-0-415-33884-4: £60.00 Pb: 978-0-415-33885-1: £17.99 eBook: 978-0-203-44847-2 For more information, visit: www.routledge.com/9780415338851

Konstantin Stanislavsky Bella Merlin, Exeter University, UK This compact, well-illustrated and clearly written book offers an essential guide to the complex and contradictory nature of this master of theatre. 2003: 198 x 129: 184pp Hb: 978-0-415-25885-2: £60.00 Pb: 978-0-415-25886-9: £17.99 eBook: 978-0-203-38049-9 For more information, visit: www.routledge.com/9780415258869

Jacques Copeau Mark Evans, Coventry University, UK Examining one of the major influences on twentiethand twenty-first century performance, this is the first book to explore Jacques Copeau in an overview of his work and an analysis of his key ideas and performances. 2006: 198 x 129: 192pp Hb: 978-0-415-35434-9: £60.00 Pb: 978-0-415-35435-6: £17.99 eBook: 978-0-203-00100-4 For more information, visit: www.routledge.com/9780415354356

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

Complimentary Exam Copy

e-Inspection New in Paperback

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Perf or ma n ce The o ry

Hijikata Tatsumi and Ohno Kazuo Sondra Fraleigh, State University of New York, USA and Tamah Nakamura, Kyushu University, Japan This compact, well-illustrated and clearly written book unravels the contribution of two of modern theatre’s most charismatic innovators. Hijikata Tatsumi and Ohno Kazuo is the first book to combine: • an account of the founding of Japanese butoh through the partnership of Hijikata and Ohno, extending to the larger story of butoh’s international assimilation • an exploration of the impact of the social and political issues of post World War II Japan on the aesthetic development of butoh • metamorphic dance experiences that students of butoh can explore • a glossary of English and Japanese terms. 2006: 198 x 129: 192pp Hb: 978-0-415-35438-7: £60.00 Pb: 978-0-415-35439-4: £17.99 eBook: 978-0-203-00103-5 For more information, visit: www.routledge.com/9780415354394

Mary Wigman Mary Anne Santos Newhall, University of New Mexico, USA A dancer, teacher and choreographer, Mary Wigman was a leading innovator in expressionist dance. Her radical explorations of movement and dance theory are credited with expanding the scope of dance as a theatrical art in her native Germany and beyond. This book combines for the first time: • a full account of Wigman’s life and work • detailed discussion of her aesthetic theories, including the use of space as an ’invisible partner’ and the transcendent nature of performance • a commentary on her key works, including Hexentanz and The Seven Dances of Life • an extensive collection of practical exercises designed to provide an understanding of Wigman’s choreographic principles and her uniquely immersive approach to dance. 2008: 198 x 129: 200pp Hb: 978-0-415-37526-9: £60.00 Pb: 978-0-415-37527-6: £17.99 eBook: 978-0-203-09898-1 For more information, visit: www.routledge.com/9780415375276

Robert Wilson Maria Shevtsova, Goldsmiths College, University of London, UK This book is a comprehensive study of the theatre work of Robert Wilson. It details his aesthetic principles and the elements of composition that distinguish his directorial approach, providing insight into how they operate through practical exercises. 2007: 198 x 129: 192pp Hb: 978-0-415-33880-6: £65.00 Pb: 978-0-415-33881-3: £17.99 eBook: 978-0-203-44845-8 For more information, visit: www.routledge.com/9780415338813

Performance Theory New in 2011

Performance Theatre and The Poetics of Failure Forced Entertainment, Goat Island, Elevator Repair Service Sara Jane Bailes, University of Sussex, UK

Social Works Performing Art, Supporting Publics Shannon Jackson

NEW

’A game-changer, a must-read for scholars, students and artists alike.’ – Tom Finkelpearl

At a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making. Social Works is a radically interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art. Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies. The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice. February 2011: 216 x 138: 296pp Hb: 978-0-415-48600-2: £65.00 Pb: 978-0-415-48601-9: £19.99 eBook: 978-0-203-85289-7 For more information, visit: www.routledge.com/9780415486019

Performing Remains Art and War in Times of Theatrical Reenactment Rebecca Schneider, Brown University, USA ‘The big, important, paradigm-changing book about re-enactment… Her work is challenging, thoughtful and innovative.’ – Jerome De Groot, Manchester University, UK Performing Remains explores the role of the fake, the false and the faux in contemporary performance. One of performance studies’ leading scholars, 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. Across seven essays, Schneider examines both contemporary and historical performance with a wide scope, drawing on a variety of elucidating sources including the ’America’ plays of Linda Mussmann and Susan Lori-Parks, performances of Marina Abramovic and Allison Smith, and the continued popular appeal of Civil War re-enactments. Performing Remains questions the importance of representation throughout history and today, whilst reassessing the ritual value of failure to recapture the past and recreate the ’original’. February 2011: 234 x 196: 296pp Hb: 978-0-415-40441-9: £75.00 Pb: 978-0-415-40442-6: £19.99 eBook: 978-0-203-85287-3 For more information, visit: www.routledge.com/9780415404426

Browse and order online: www.routledge.com/performance

What does it mean to ’fail’ in performance? How might staging failure reveal theatre’s potential to expand our understanding of social, political and everyday reality? What can we learn from performances that expose and then celebrate their ability to fail? In Performance Theatre and the Poetics of Failure, Sara Jane Bailes begins with Samuel Beckett and considers failure in performance as a hopeful strategy. She examines the work of internationally acclaimed UK and US experimental theatre companies Forced Entertainment, Goat Island and Elevator Repair Service, addressing accepted narratives about artistic and cultural value in contemporary theatre-making. Her discussion draws on examples where misfire, the accidental and the intentionally amateur challenge our perception of skill and virtuosity in such diverse modes of performance as slapstick and punk. Detailed rehearsal and performance analysis are used to engage theory and contextualise practice, extending the dialogue between theatre arts, live art and postmodern dance. The result is a critical account of performance theatre that offers essential reading for practitioners, scholars and students of performance, theatre and dance studies. August 2010: 234 x 156: 256pp Hb: 978-0-415-49099-3: £65.00 Pb: 978-0-415-58565-1: £22.99 eBook: 978-0-203-84617 For more information, visit: www.routledge.com/9780415585651

2nd Edition

Performance Studies An Introduction Richard Schechner

’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, UK

Fully revised chapters with new examples, biographies and source material provide a lively, easily accessible overview of the full range of performance for undergraduates at all levels in performance studies, theatre, performing arts and cultural studies. Performance Studies: An Introduction also includes the following features: • numerous extracts from primary sources giving alternative voices and viewpoints • biographies of key thinkers • student activities to stimulate fieldwork, classroom exercises and discussion • twenty line drawings and 202 photographs drawn from private and public collections around the world. 2006: 276 x 219: 368pp Hb: 978-0-415-37245-9: £70.00 Pb: 978-0-415-37246-6: £26.99 For more information, visit: www.routledge.com/9780415372466

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P er fo rm an ce T heory

18

2nd Edition

The Performance Studies Reader Edited by Henry Bial, University of Kansas, USA

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.

The new 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. 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: £70.00 Pb: 978-0-415-77275-4: £25.99 For more information, visit: www.routledge.com/9780415772754

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. 2008: 216 x 138: 232pp Hb: 978-0-415-39594-6: £70.00 Pb: 978-0-415-39596-0: £19.99 eBook: 978-0-203-92858-5 For more information, visit: www.routledge.com/9780415395960

Complimentary Exam Copy

Physical Theatres Physical Theatres: A Critical Introduction

Physical Theatres: A Critical Reader

Simon Murray, University of Glasgow, UK and John Keefe, London Metropolitan University, UK

Edited by John Keefe, London Metropolitan University, UK and Simon Murray, University of Glasgow, UK

This essential textbook on physical theatre synthesises the history, theory and practice of this field in a useful way for students new to the subject, providing a necessary and fascinating introduction to this broad field of theatre.

2007: 246 x 174: 248pp Hb: 978-0-415-36249-8: £65.00 Pb: 978-0-415-36250-4: £19.99 eBook: 978-0-203-01282-6 For more information, visit: www.routledge.com/9780415362504

This Reader features extracts from primary texts by key practitioners of physical theatre – a term covering various forms of non-text-based theatre, ranging from experimental and visually-orientated performance to mime and masked theatre.

2007: 246 x 174: 320pp Hb: 978-0-415-36251-1: £70.00 Pb: 978-0-415-36252-8: £22.99 eBook: 978-0-203-01285-7 For more information, visit: www.routledge.com/9780415362528

The Politics of New Media Theatre

The Transformative Power of Performance

Life ®™

A New Aesthetics

Gabriella Giannachi, University of Exeter, UK

Erika Fischer-Lichte, Free University of Berlin, Germany

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. 2009: 234 x 156: 164pp Pb: 978-0-415-54409-2: £20.00 eBook: 978-0-203-69514-2 For more information, visit: www.routledge.com/9780415544092

Ritual and Event Interdisciplinary Perspectives Edited by Mark Franko, University of California, USA The essays collected here reassess and revise traditionally understood relationships between ritual and politics, ritual and everyday life, ritual and art making as well as ritual and disaster. 2009: 234 x 156: 200pp Pb: 978-0-415-54411-5: £20.00 For more information, visit: www.routledge.com/9780415544115

’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, 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. 2008: 234 x 156: 240pp Hb: 978-0-415-45855-9: £65.00 Pb: 978-0-415-45856-6: £21.99 eBook: 978-0-203-89498-9 For more information, visit: www.routledge.com/9780415458566

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C o ntempo rary Perf o rm a n ce

Routledge Advances in Theatre & Performance Studies New

NEW

Feminist Visions and Queer Futures in Postcolonial Drama

Ecology and Environment in European Drama

Community, Kinship, and Citizenship Kanika Batra, Texas Tech University, USA 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 rights-bearing 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. December 2010: 229 x 152: 213pp Hb: 978-0-415-87591-2: £75.00 eBook: 978-0-203-83985-0 For more information, visit: www.routledge.com/9780415875912

new

Performing Embodiment in Samuel Beckett’s Drama Anna McMullan, Queens University, Belfast, UK 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. April 2010: 229 x 152: 196pp Hb: 978-0-415-38598-5: £80.00 For more information, visit: www.routledge.com/9780415385985

Downing Cless, Tufts University, USA 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.

Contemporary Performance NEW

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

April 2010: 229 x 152: 244pp Hb: 978-0-415-80439-4: £70.00 For more information, visit: www.routledge.com/9780415804394

NEW

The Provocation of the Senses in Contemporary Theatre Stephen Di Benedetto, University of Miami, USA 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. 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: 252pp Hb: 978-0-415-87267-6: £80.00 eBook: 978-0-203-85209-5 For more information, visit: www.routledge.com/9780415872676

New in 2011

The Theatre of Richard Maxwell and the New York City Players Sarah Gorman, Roehampton University, UK 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. March 2011: 229 x 152: 256pp Hb: 978-0-415-99092-9: £75.00 For more information, visit: www.routledge.com/9780415990929

Browse and order online: www.routledge.com/performance

ORLAN: A Hybrid Body of Artworks is an in-depth academic account of ORLAN’s pioneering art in its entirety. The book covers her 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.

Edited by Simon Donger and Simon Shepherd with ORLAN herself, the collection highlights her artistic impact from the perspectives of both performance and visual cultures. The book features: • vintage texts by ORLAN and on ORLAN’s work, including manifestos, key writings and critical studies • ten new contributions, responses and interviews by leading international specialists on performance and visual arts • over fifty images demonstrating ORLAN’s art, with thirty full color pictures • a new essay by ORLAN, written specially for this volume • a new bibliography of writing on ORLAN • an indexed listing of ORLAN’s artworks and key themes. June 2010: 246 x 189: 240pp Hb: 978-0-415-56233-1: £70.00 Pb: 978-0-415-56234-8: £22.99 eBook: 978-0-203-85170-8 For more information, visit: www.routledge.com/9780415562348

Bobby Baker Redeeming Features of Daily Life Edited by Michéle Barrett and Bobby Baker

The first full-length book by and about one of the most important performance artists working today, this collection brings together a ’best of’ selection of the myriad articles written about Baker’s work by various writers and academics including Marina Warner and Griselda Pollock.

2007: 246 x 174: 288pp Hb: 978-0-415-44410-1: £70.00 Pb: 978-0-415-44411-8: £25.00 eBook: 978-0-203-93892-8 For more information, visit: www.routledge.com/9780415444118

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Conte m po rary P erforman ce

20

The Wooster Group Work Book

Gómez-Peña

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

Highly accessible to the student, scholar, theatre-goer and practitioner, and including three contextualising 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.

New in 2011

Exercises for Rebel Artists

Ethno-Techno

Radical Performance Pedagogy

Writings on Performance, Activism and Pedagogy

Guillermo Gómez-Peña and Roberto Sifuentes

Guillermo Gómez-Peña

In Exercises for Rebel Artists, Guillermo Gómez-Peña and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create ’border art’.

Designed to take readers right into the heart of radical performance, the authors use 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. The book features: • detailed exercises for using Pocha Nostra methods in workshops • inspirational approaches for anyone creating, producing or teaching radical performance • a step-by-step guide for large-scale group performance • new, unpublished photos of the Pocha Nostra method in practice. Exercises for Rebel Artists 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 to use performance to both challenge and change. Selected Contents: Introduction by Guillermo Gómez-Peña Aims and Objectives Preparing a Performance Workshop Notes to the Workshop Participants The Workshop Performance Exercises, Rituals and Games To Cross Borders Part One: ’Hands On’, Physical and Perceptual Exercises Part Two: Conceptual and Poetic Exercises Part Three: Living Images and Exercises to Generate Performance Material Part Four: Designing and Fleshing Out Performance Personas Part Five: Preparing a Performance Salon The Syllabus Quick and Dirty Exercises In Permanent Process Of Reinvention: A Pedagogical Travelogue Tips for Young Live Artists Letter from Oaxaca May 2011: 234 x 156: 240pp Hb: 978-0-415-54922-6: £60.00 Pb: 978-0-415-54923-3: £16.99 eBook: 978-0-203-83042-0 For more information, visit: www.routledge.com/9780415549233

Guillermo Gómez-Peña has spent many years developing his unique style of performanceactivism; his theatricalizations of postcolonial theory. In Ethno-Techno: Writings on Performance, Activism and Pedagogy, he pushes the boundaries still further, exploring what’s left for artists to do in a post-9/11 repressive culture of what he calls ’the mainstream bizarre’.

Over forty-five photos document his artistic experiments and the text not only explores and confronts his political and philosophical parameters; it offers groundbreaking insights into his, and his company’s, methods of production, development and teaching. The result is an extraordinary and inspiring glimpse into the life and work of one of the most daring, innovative and challenging performance artists of our age. 2005: 234 x 156: 336pp Hb: 978-0-415-36247-4: £75.00 Pb: 978-0-415-36248-1: £23.99 eBook: 978-0-203-01276-5 For more information, visit: www.routledge.com/9780415362481

2007: 276 x 219: 288pp Hb: 978-0-415-35333-5: £70.00 Pb: 978-0-415-35334-2: £24.99 eBook: 978-0-203-20608-9 For more information, visit: www.routledge.com/9780415353342

Small Acts of Repair Performance, Ecology and Goat Island Edited by Stephen Bottoms, University of Leeds, UK and Matthew Goulish In documenting and critiquing the evolution of the Goat Island company’s processes, politics and aesthetics, this book makes an important contribution to the critical debates surrounding contemporary performance practices. 2007: 234 x 156: 264pp Hb: 978-0-415-36514-7: £65.00 Pb: 978-0-415-36515-4: £19.99 eBook: 978-0-203-01656-5 For more information, visit: www.routledge.com/9780415365154

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

Dangerous Border Crossers Guillermo Gómez-Peña

This anthology of Gómez-Peña’s performance chronicles, diary entries, poems, essays, and texts, sheds an extraordinary light on the life and work of this migrant provocateur.

’An exemplary study wrought from within Europe’s most audacious theatre company.’ – Alan Read, King’s College London, UK In this first English-language book to document their work, company founders, Claudia Castellucci, Romeo Castellucci and Chiara Guidi, provide an indispensible written and visual document of the company’s work.

2007: 246 x 174: 304pp Hb: 978-0-415-35430-1: £75.00 Pb: 978-0-415-35431-8: £22.99 eBook: 978-0-203-00097-7 2000: 225 x 161 : 304pp Hb: 978-0-415-18236-2: £65.00 Pb: 978-0-415-18237-9: £21.99 eBook: 978-0-203-36068-2

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

For more information, visit: www.routledge.com/9780415182379

Complimentary Exam Copy

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Companion Website


Theatre H isto ry

Theatre History

New in 2011

NEW 2nd Edition

New in 2011

Black and Asian Theatre In Britain A History

An Introduction

Daring to Play

Colin Chambers, Kingston University, London, UK

A Brecht Companion

Colin Chambers’ timely study traces the history of ’the other’ in British theatre from the early representations of the sixteenth-century and blackface through to the emergence of black actors and Black and Asian theatre in their own right.

Phillip B. Zarrilli, University of Exeter, UK, Bruce McConachie, University of Pittsburgh, USA, Gary Jay Williams and Carol Fisher Sorgenfrei, University of California, USA

Manfred Wekwerth

Translated into English for the first time, Daring To Play: A Brecht Companion is the study of Bertolt Brecht’s theatre by Manfred Wekwerth, Brecht’s co-director and former director of the Berliner Ensemble.

Wekwerth aims to challenge prevailing myths and misconceptions of Brecht’s theatre, instead providing a refreshing and accessible approach to his plays and theatrical craft. The book is rich in information, examples and anecdotal detail from first-hand acquaintance with Brecht and rehearsal with the Berliner Ensemble. Wekwerth provides a detailed practical understanding of how theatre operates with a clear perspective on the interface between politics and art. Warm and engaging, whilst also being provocative and challenging, Daring to Play displays the continued vitality of Brecht’s true approach to theatre makers today. October 2011: 216 x 138: 224pp Hb: 978-0-415-56968-2: £60.00 Pb: 978-0-415-56969-9: £19.99 eBook: 978-0-203-81471-0 For more information, visit: www.routledge.com/9780415569699

Edited by Glynne Wickham This volume forms part of the five volume set Early English Stages 1300–1660 and examines the history of the development of dramatic spectacle and stage convention in England from the beginning of the fourteenth-century to 1660. November 2010: 234 x 156: 272pp Hb: 978-0-415-20304-3: £150.00 Pb: 978-0-415-48843-3: £24.50

The different, diverse and often contradictory aspects of this history are drawn together to provide a background to the work of diasporic companies and practitioners from Africa, Asia and the Carribbean who underpinned the flourishing of black and Asian theatre at the turn of the twenty-first century. Figures and companies covered include: • Ira Aldridge • Henry Francis Downing • Paul Robeson • Errol John • Mustafa Matura • The Keskidee Centre • Temba • Tamasha • Tara Arts • Black Theatre Forum

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-color text design with added timelines to each opening section • a wealth of new color 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

• Talawa.

• fuller definitions of terms and concepts throughout in a new glossary

May 2011: 216 x 138: 248pp Hb: 978-0-415-36513-0: £55.00 Pb: 978-0-415-37598-6: £21.99 eBook: 978-0-203-01654-1

• a re-designed Companion Website (www.routledge. com/textbooks/9780415462242) offering links to new audio-visual resources, expanded bibliographies, approaches to teaching theatre and performance history, discussion questions relating to case studies and an online glossary.

For more information, visit: www.routledge.com/9780415375986

New

Requiem and an Epilogue

Theatre Histories

Commedia Dell’Arte An Actor’s Handbook John Rudlin, University of Exeter, UK 1994: 234 x 196: 296pp Pb: 978-0-415-04770-8: £22.99 eBook: 978-0-203-40819-3 For more information, visit: www.routledge.com/9780415047708

For more information, visit: www.routledge.com/9780415488433

January 2010: 246 x 189: 640pp Hb: 978-0-415-46223-5: £70.00 Pb: 978-0-415-46224-2: £26.99 eBook: 978-0-203-87917-7 For more information, visit: www.routledge.com/9780415462242

Theatre: The Rediscovery of Style and Other Writings Michel Saint-Denis Edited by Jane Baldwin, Boston Conservatory, USA ’Saint-Denis had a clairvoyant divination into the soul of acting.’ – Lord Olivier ’A great director, a great artist, a great man.’ – Sir Michael Redgrave ’Another excellent ’Classic’ – keep ’em coming Routledge!’ – Total Theatre 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. 2008: 234 x 156: 208pp Hb: 978-0-415-45047-8: £65.00 Pb: 978-0-415-45048-5: £16.99 eBook: 978-0-203-89089-9 For more information, visit: www.routledge.com/9780415450485

Browse and order online: www.routledge.com/performance

21


Wo rld T heatre and Theatre A nthro p olog y

22

World Theatre and Theatre Anthropology

New in 2011

New

Cultural and Social Change in Taiwan

The Theatre and the State in Singapore

Society, Cinema and Theatre

Orthodoxy and Resistance

Ming-Yeh Rawnsley, University of Leeds, UK

Terence Chong, Institute of Southeast Asian Studies, Singapore

Series: Media, Culture and Social Change in Asia Series

On Directing and Dramaturgy Burning the House Eugenio Barba, Nordisk Teaterlaboratorium, Denmark

On Directing and Dramaturgy 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 and Dramaturgy 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. 2009: 234 x 156: 303pp Hb: 978-0-415-54920-2: £65.00 Pb: 978-0-415-54921-9: £19.99 eBook: 978-0-203-87029-7

This book examines the processes of cultural, social and political transition in Taiwan since 1945, investigating their impact on the Taiwanese cultural industries, with a particular focus on cinema and theatre, and showing how changes in cinema and theatre illustrate the broader cultural, social and political changes taking place.

Series: Routledge Contemporary Southeast Asia Series

Selected Contents: 1. Cultural and Social Changes in Taiwan: 1930s–1990s 2. Socio-Politics of TaiwaneseLanguage Cinema: Symposium by the National Movie Foundation on ’How to Preserve the Heritage of Taiwanese Cinema’ 3. Language Policies and Taiwanese Cinema: An Interview with Chen Qiu-yan 4. From ’Taiwanese’ Cinema to ’Mandarin’ Cinema: Bai Jing-rui and Cinema in Taiwan 5. Modernization and Commercialization: Interviewing Huang Jian-ye on Gangster Movies 6. Liberalization of Cinema: Interviewing Huang Yu-shan on the New Independent Cinema Movement in Taiwan 7. Democratization of Cinema: Transition of Identities and Hou Hsiao-Hsian 8. The Past, Present and Future of the Taiwanese Modern Theatre 9. Democratization and Modernization of Traditional Theatre: Wu Xing-guo on ’Consolidation of Traditional and Modern Theatres’ 10. Democratization of Culture: Searching for the Lost Public Sphere – A Dialogue between Zhong Ming-de and Huang Jian-ye 11. Conclusion

Selected Contents: 1. Imagining the Singapore Theatre Field 2. The Arts in Singapore: Site of Ideologies, Fantasies, and Orthodoxies 3. The Singapore Theatre Field: ’A Different World Unique’ But Not Completely So 4. Claiming Authenticity: Theatre-State Tensions 5. Cultural Intermediaries: The Media and The Arts Education Programme 6. ’Because It’s In My Blood’: The Politics of Illusio 7. The Invisible State: Disciplining the Theatre Field 8. Resistance and Defiance: The Revenge of the Middle Class Artist

The Secret Art of the Performer Eugenio Barba, Nordisk Teaterlaboratorium, Holstebro, Denmark and Nicola Savarese, University Romatre, Italy Containing over 650 photographs and diagrams, this lavishly illustrated and entirely original sourcebook on Western and non-Western theatre is an inspiring tribute to the secret art of the performer. The Dictionary focuses on the craft of an actor and aims to expand our knowledge of the possibilities of the scenic body, and of the spectator’s response to the dynamics of performance. 2003: 297 x 210: 232pp Pb: 978-0-415-37861-1: £39.99 eBook: 978-0-203-07940-9 For more information, visit: www.routledge.com/9780415378611

November 2010: 234 x 156: 210pp Hb: 978-0-415-58448-7: £80.00 For more information, visit: www.routledge.com/9780415584487

February 2011: 234 x 156: 256pp Hb: 978-0-415-42187-4: £80.00 For more information, visit: www.routledge.com/9780415421874

For more information, visit: www.routledge.com/9780415549219

A Dictionary of Theatre Anthropology

This book provides a comprehensive examination of the contemporary theatre field in Singapore. Based on extensive original research it provides a wealth of information on theatre in Singapore overall, not just theatre-state relations.

Theatres of the World Theatres of the World is a series that will bring close and instructive contact with makers of performances from around the world. Each book looks at the performance traditions and current practices of a specific region, focusing on a small number of individual theatrical events. Mixing first-hand observation, interviews with performance makers and in-depth analyses, these books show how performance practices are expressive of their social, historical and cultural contexts. They consider the ways in which theatre artists worldwide can enjoy and understand one another’s work.

African Theatres and Performances

Indian Folk Theatres

Osita Okagbue, Goldsmiths College, University of London, UK

Julia Hollander

This book looks at four performances in Africa and uses these to question the tendency in much western and non-western scholarship the idea that cultures produce the kind of performances that satisfy the aesthetic and social needs of people.

Indian Folk Theatres is theatre anthropology as a lived experience, containing detailed accounts of recent folk theatre shows as well as historical and cultural context.

2007: 216 x 138: 240pp Hb: 978-0-415-30455-9: £70.00 eBook: 978-0-203-94528-5 2007: 216 x 138: 208pp Hb: 978-0-415-30453-5: £65.00 Pb: 978-0-415-30454-2: £12.99 eBook: 978-0-203-94533-9

For more information, visit: www.routledge.com/9780415304559

For more information, visit: www.routledge.com/9780415304535

Complimentary Exam Copy

e-Inspection New in Paperback

Companion Website


S hak espeare

Shakespeare New

New in 2011

The Routledge Companion to Actors’ Shakespeare Edited by John Russell Brown

The Routledge Guide to William Shakespeare

Robert Shaughnessy, University of Kent, UK

William Shakespeare is one of the most widely studied and culturally significant writers of all time, and his language and thought remain 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 twentieth-century Shakespearean criticism, exploring the theories, debates and discoveries that have shaped our understanding of Shakespeare today • looks at contemporary performances of Shakespeare on stage and screen • cross-references between sections of the guide to suggest links between texts, contexts and criticism • provides further reading by chapter and includes detailed chronologies of Shakespeare’s Life and Works and also of twentieth-century criticism. 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. Selected Contents: 1. Life and Contexts 2. Works 3. Criticism Chronology Bibliography Index December 2010: 246 x 174: 448pp Hb: 978-0-415-27539-2: £75.00 Pb: 978-0-415-27540-8: £18.99 eBook: 978-0-203-83523-4 For more information, visit: www.routledge.com/9780415275408

The Routledge Companion to Directors’ Shakespeare Edited by John Russell Brown

Thirty authoritative accounts describe in illuminating detail how some of theatre’s most talented directors have brought Shakespeare’s plays to the stage. These studies chart the extraordinary feats of interpretation behind some of the most acclaimed productions of the last 100 years.

2008: 246 x 174: 608pp Hb: 978-0-415-40044-2: £85.00 Pb: 978-0-415-57767-0: £29.99 eBook: 978-0-203-93252-0 For more information, visit: www.routledge.com/9780415577670

The Routledge Companion to Actors’ Shakespeare is a window onto how today’s actors contribute to the continuing life and relevance of Shakespeare’s plays.

The process of acting is notoriously hard to document, but this volume reaches behind famous performances to examine the actors’ craft, their development and how they engage with playtexts. Each chapter relies upon privilieged access to its subject to offer an unparalleled insight into contemporary practice. This volume explores the techniques, interpretive approaches and performance styles of the following actors: Simon Russell Beale, Sinead Cusack, Judi Dench, Kate Duchene, Colm Feore, Mariah Gale, John Harrell, Greg Hicks, Rory Kinnear, Kevin Kline, Adrian Lester, Marcelo Magni, Ian McKellen, Patrice Naiambana, Vanessa Redgrave, Piotr Semak, Anthony Sher, Jonathan Slinger, Kate Valk and Harriet Walter. This twin volume to The Routledge Companion to Directors’ Shakespeare is an essential work for both actors and students of Shakespeare. July 2011: 246 x 174: 240pp Hb: 978-0-415-48302-5: £65.00 Pb: 978-0-415-48301-8: £19.99 eBook: 978-0-203-81619-6 For more information, visit: www.routledge.com/9780415483018

Shakespeare: The Basics Sean McEvoy, Varndean College, Brighton, UK 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. Demonstrating how interpretations of Shakespeare are linked to cultural and political contexts, and providing readings of the most frequently studied plays in the light of contemporary critical thought, Shakespeare: The Basics explores:

• Shakespeare’s language • the plays as performance texts • the cultural and political contexts of the plays • early modern theatre practice • new understandings of the major genres. Fully updated to include discussion of criticism and performance in the last five years, a new chapter on Shakespeare on film, and a broader critical approach, this book is the essential resource for all students of Shakespeare. 2006: 198 x 129: 290pp Hb: 978-0-415-36245-0: £55.00 Pb: 978-0-415-36246-7: £11.99 eBook: 978-0-203-01275-8 For more information, visit: www.routledge.com/97808415362467

Browse and order online: www.routledge.com/performance

Shakespeare and the Problem of Adaptation Margaret Jane Kidnie, University of Western Ontario, Canada ’Kidnie’s study presents original, sophisticated, and profoundly intelligent answers to important questions.’ – Lukas Erne, University of Geneva, Switzerland ’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, USA 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. Margaret Jane Kidnie argues that ’play’ and ’adaptation’ are provisional categories – mutually dependent processes that evolve over time in accordance with the needs of users. This theoretical argument about the identity of works and the nature of text and performance is pursued in relation to diverse examples, including theatrical productions by the Royal Shakespeare Company, the BBC’s ShakespeaRe-Told, the Reduced Shakespeare Company, and recent print editions of the complete works. These new readings build up a persuasive picture of the cultural and intellectual processes that determine how the authentically Shakespearean is distinguished from the fraudulent and adaptive. Adaptation thus emerges as the conceptually necessary but culturally problematic category that results from partial or occasional failures to recognize a shifting work in its textual-theatrical instance. 2008: 216 x 138: 232pp Hb: 978-0-415-30867-0: £65.00 Pb: 978-0-415-30868-7: £19.99 eBook: 978-0-203-16771-7 For more information, visit: www.routledge.com/9780415308687

New

Crossing Gender in Shakespeare Feminist Psychoanalysis and the Difference Within James W. Stone, National University of Singapore 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. February 2010: 229 x 152: 204pp Hb: 978-0-415-87360-4: £70.00 eBook: 978-0-203-85278-1 For more information, visit: www.routledge.com/9780415873604

23


dance

Shak espeare

24

Dance

New in 2011

Catherine Silverstone, University of London, UK

New in 2011

It Starts From Any Point

Series: Routledge Studies in Shakespeare

2nd Edition

Steven Spier, University of Ulster, UK

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.

Fifty Contemporary Choreographers

William Forsythe’s twenty year career as director of the Frankfurt Ballet helped to reinvigorate the language of classical dance. His work today continues to see him lauded as one of the greatest choreographers of the postwar era. He is responsible for challenging fundamental assumptions about staging ballet, and for creating work that draws from such diverse fields as higher mathematics, architecture and neuroscience.

New in 2011

Shakespeare, Trauma and Contemporary Performance

March 2011: 229 x 152: 144pp Hb: 978-0-415-95645-1: £80.00 For more information, visit: www.routledge.com/9780415956451

New in 2011

Shakespeare, Theatre, and Time Matthew Wagner, Victoria University of Wellington, New Zealand 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. May 2011: 229 x 152: 192pp Hb: 978-0-415-80587-2: £70.00 For more information, visit: www.routledge.com/9780415805872

Edited by Martha Bremser, Channing School, London, UK and Lorna Sanders, Royal Ballet School, UK Series: Routledge Key Guides

A unique and authoritative guide to the lives and work of prominent living contemporary choreographers, this fully updated new edition includes many new names in the field of choreography, alongside those considered masters of the modern age. Representing a wide range of dance genres, each entry locates the individual in the context of modern dance theatre and explores their impact. Those studied include: • Jerome Bel • Richard Alston • Doug Varone • William Forsyth • Phillippe Decoufle • Jawole Willa Jo Zollar • Ohad Naharin • Itzik Gallili • Twyla Tharp

William Forsythe and the Practice of Choreography

This collection brings together essays from a diverse range of critical voices on ballet and contemporary dance studies, alongside analysis and testament from Forsythe’s collaborators and company members, as well as the director himself. Forsythe’s craft is studied in relation to a variety of production elements, with essays examining the balletic approach, performance history and development, and the use of lighting and music. William Forsythe and the Practice of Choreography offers students and practitioners of ballet and contemporary dance a fascinating insight into the creative world of this visionary director. February 2011: 234 x 156: 192pp Hb: 978-0-415-97822-4: £60.00 Pb: 978-0-415-97823-1: £18.99 eBook: 978-0-203-83223-3 For more information, visit: www.routledge.com/9780415978231

• Wim Vandekeybus.

New in 2011

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. September 2011: 229 x 152: 176pp Hb: 978-0-415-99327-2: £70.00 For more information, visit: www.routledge.com/9780415993272

With a new, updated introduction by Deborah Jowitt and further reading and references throughout, this text is an invaluable resource for all students and critics of dance, and all those interested in the fascinating world of choreography.

NEW

Selected Contents: Contributors Acknowledgements Editor’s Note Introduction by Deborah Jowitt Richard Alston Lea Anderson Karole Armitage Jerome Bel Matthew Bourne Ronald K. Brown Trisha Brown Christoper Bruce Jonathan Burrows Rosemary Butcher Lucinda Childs Michael Clark Merce Cunningham Siobhan Davies Philippe Decouflé Javier De Frutos Anne Teresa De Keersmaeker Mats Ek Garth Fagan Eliot Feld William Forsythe Itzik Galili Shobana Jeyasingh Bill T. Jones Akram Khan James Kudelka Jirí Kylián Lar Lubovitch Lin Hwai-Min Vincent Mantsoe Maguy Marin Susan Marshall Wayne McGregor Bebe Miller Meredith Monk Mark Morris Graeme Murphy Ohad Naharin Lloyd Newson Henri Oguike Steve Paxton Pilobolus Angelin Preljocaj Garry Stewart Elizabeth Streb Paul Taylor Twyla Tharp Wim Vandekeybus Doug Varone Jawole Willa Jo Zollar

March 2011: 216 x 138: 384pp Hb: 978-0-415-38081-2: £65.00 Pb: 978-0-415-38082-9: £17.99 eBook: 978-0-203-83129-2

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.

For more information, visit: www.routledge.com/9780415380829

It is a book for anyone interested in making performance, at whatever level and in whichever style.

A Choreographer’s Handbook Jonathan Burrows 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.

May 2010: 198 x 129: 240pp Hb: 978-0-415-55529-6: £55.00 Pb: 978-0-415-55530-2: £14.99 eBook: 978-0-203-85216-3 For more information, visit: www.routledge.com/9780415555302

Complimentary Exam Copy

e-Inspection New in Paperback

Companion Website


Da n ce

Contemporary Choreography

New

2nd Edition

A Critical Reader

Choreographing Empathy Kinesthesia in Performance

The Routledge Dance Studies Reader

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

Susan Leigh Foster, University of California, USA

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:

’May well prove to be one of Susan Foster’s most important works.’ – Ramsay Burt, De Montford University, UK

• 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. 2009: 234 x 156: 480pp Hb: 978-0-415-49086-3: £70.00 Pb: 978-0-415-49087-0: £21.99 For more information, visit: www.routledge.com/9780415490870

New in 2011

Laban Sourcebook Edited by Dick McCaw, Royal Holloway, University of London, UK

Rudolf Laban is to dance what Stanislavski is to acting. He has been described as the most important movement theorist of the twentieth-century, and probably the most important theorist in dance studies to date. His influence is evident in the work of many great dancers and choreographers, including Mary Wigman, Kurt Jooss, Sophie Taeuber-Arp, William Forsythe and Pina Bausch.

In the Laban Sourcebook, Dick McCaw brings together the key writings on this pioneer of Dance Theatre. The sourcebook features: • a collection of articles and essays by Laban, prefaced and edited by leading dance historians, movement analysts, educational theorists and practitioners • excerpts from Laban’s works in English • new translations of his early works, including Die Welt des Tanzers and Tanz und Gymnastik, both previously unavailable in English. This is a vital and comprehensive resource for students of dance, movement, theatre and performance, and an accessible overview of the theory and practice of Rudolf Laban.

’This is a urgently needed book – as the question of choreographing behavior enters into realms outside of the aesthetic domains of theatrical dance, Susan Foster writes a thoroughly compelling argument.’ – André Lepecki, New York University, USA

What do we feel when we watch dancing? Do we ’dance along’ inwardly? Do we sense what the dancer’s body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it? Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores. Foster examines the relationships between three central components in the experience of watching a dance – the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic. November 2010: 216 x 138: 296pp Hb: 978-0-415-59655-8: £70.00 Pb: 978-0-415-59656-5: £29.99 eBook: 978-0-203-84070-2

Edited by Alexandra Carter, University of Middlesex, UK and Janet O’Shea, University of California, USA ‘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 ’This is a significant reference book.’ – Whatsonstage.com 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. Sections cover: • making dance • performing dance • ways of looking • locating dance in history and society • debating the discipline. 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: 424pp Hb: 978-0-415-48598-2: £65.00 Pb: 978-0-415-48599-9: £24.99 eBook: 978-0-203-86098-4

For more information, visit: www.routledge.com/9780415596565

For more information, visit: www.routledge.com/9780415485999

2nd Edition

Your Move

CD

Ann Hutchinson Guest and Tina Curran This second edition of a well-known textbook now offers an integrated package including exercise sheets and audio CD with a supporting Teacher’s Manual offered separately online. 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. 2007: 229 x 152: 640pp Pb: 978-0-415-97892-7: £31.99 For more information, visit: www.routledge.com/9780415978927

August 2011: 216 x 138: 272pp Hb: 978-0-415-54333-0: £70.00 Pb: 978-0-415-54332-3: £22.99 eBook: 978-0-203-85284-2 For more information, visit: www.routledge.com/9780415543323

Browse and order online: www.routledge.com/performance

25


BAC K LIST T ITLES

26

Backlist Titles 39 Microlectures: In Proximity of Performance, Matthew Goulish 2000: 218 x 171: 224pp 978-0-415-21393-6...........................................................£22.99 1956 and All That: The Making of Modern British Drama, Dan Rebellato 1999: 216 x 138: 280pp 978-0-415-18939-2...........................................................£22.99 Acting (Re)Considered: A Theoretical and Practical Guide, Edited by Phillip B. Zarrilli 2002: 246 x 174: 416pp 978-0-415-26300-9...........................................................£25.99 Acting and Reacting: Tools for the Modern Actor, Nick Moseley 2006: 254 x 178: 256pp 978-0-87830-206-2............................... (Available in the US only) Actor’s Survival Handbook, The, Patrick Tucker and Christine Ozanne 2005: 216 x 140: 360pp 978-0-87830-175-1...........................................................£14.99 Alternative Shakespeare Auditions for Women, Edited by Simon Dunmore 1998: 216 x 140: 128pp 978-0-87830-076-1...........................................................£19.95 American Avant-Garde Theatre: A History, Arnold Aronson 2000: 216 x 138: 256pp 978-0-415-24139-7...........................................................£19.99 American Dialects: A Manual for Actors, Directors, and Writers, Lewis Herman and Marguerite Shalett Herman 1997: 229 x 152: 312pp 978-0-87830-049-5...........................................................£19.99 An Actor Prepares, Constantin Stanislavski 1989: 140 x 203: 344pp 978-0-87830-983-2...........................................................£21.99 Anarchic Dance, Edited by Liz Aggiss and Billy Cowie 2006: 234 x 156: 232pp 978-0-415-36517-8...........................................................£29.99 Anton Chekhov at the Moscow Art Theatre: Illustrations of the Original Productions, Edited by and translated by Vera Gottlieb 2004: 360 x 257: 104pp 978-0-415-34440-1...........................................................£75.00 Antonin Artaud: A Critical Reader, Edited by Edward Scheer 2003: 234 x 156: 224pp 978-0-415-28255-0...........................................................£22.99 Art of the Actor: The Essential History of Acting from Classical Times to the Present Day, The, Jean Benedetti 2007: 254 x 178: 256pp 978-0-87830-204-8...........................................................£17.99 Art and Science of Dance/Movement Therapy: Life Is Dance, The, Edited by Sharon Chaiklin and Hilda Wengrower, University of Barcelona, Spain 2009: 235 x 156: 380pp 978-0-415-99656-3...........................................................£24.99 At Work with Grotowski on Physical Actions, Thomas Richards 1995: 216 x 138: 152pp 978-0-415-12492-8...........................................................£19.99 Audition Success, Don Greene 2001: 216 x 140: 160pp 978-0-87830-121-8...........................................................£14.99 Ballroom Dancing, Alex Moore 2002: 216 x 140: 320pp 978-0-87830-153-9...........................................................£17.99 Beyond Stanislavsky: A Psycho-Physical Approach to Actor Training, Bella Merlin 2001: 229 x 152: 288pp 978-0-87830-142-3...........................................................£16.99 Bodies That Were Not Ours and Other Writings, The, Coco Fusco 2001: 246 x 174: 284pp 978-0-415-25174-7...........................................................£21.99 Brecht Sourcebook, Edited by Henry Bial and Carol Martin 1999: 234 x 156: 256pp 978-0-415-20043-1...........................................................£25.99 Building A Character, Constantin Stanislavski 1989: 216 x 140: 352pp 978-0-87830-982-5...........................................................£21.99 Care of the Professional Voice: A Guide to Voice Management for Singers, Actors and Professional Voice Users, D. Garfield Davies and Anthony F. Jahn 2004: 216 x 140: 176pp 978-0-87830-190-4...........................................................£36.00

Complimentary Exam Copy

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Drama/Theatre/Performance, Simon Shepherd and Mick Wallis 2004: 198 x 129: 272pp 978-0-415-23494-8...........................................................£12.99 Dramatists and their Manuscripts in the Age of Shakespeare, Jonson, Middleton and Heywood: Authorship, Authority and the Playhouse, Grace Ioppolo, University of Reading, UK 2008: 234 x 156: 266pp 978-0-415-47031-5...........................................................£19.99 Encounters with Tadeusz Kantor: Krzysztof Miklaszewski, Edited by George Hyde 2005: 234 x 156: 192pp 978-0-415-37263-3...........................................................£19.99 Envisioning Dance on Film and Video, Edited by Judy Mitoma, Elizabeth Zimmer and Dale Ann Stieber 2002: 279 x 216: 368pp 978-0-415-94171-6...........................................................£35.00 Exhausting Dance: Performance and the Politics of Movement, Andre Lepecki 2005: 234 x 156: 160pp 978-0-415-36254-2...........................................................£19.99 Experimental Theatre: From Stanislavsky to Peter Brook, James Roose-Evans 1989: 216 x 138: 260pp 978-0-415-00963-8...........................................................£22.99 Explicit Body in Performance, The, Rebecca Schneider 1997: 234 x 156: 256pp 978-0-415-09026-1...........................................................£22.99 Fifty Key Theatre Directors, Edited by Shomit Mitter and Maria Shevtsova 2005: 216 x 138: 304pp 978-0-415-18732-9...........................................................£15.99 Foreign Dialects: A Manual for Actors, Directors, and Writers, Lewis Herman and Marguerite Shalett Herman 1997: 229 x 152: 376pp 978-0-87830-020-4...........................................................£20.99 Further Steps 2: Fourteen Choreographers on What’s the R.A.G.E. in Modern Dance, Edited by Constance Kreemer 2008: 246 x 174: 256pp 978-0-415-96907-9...........................................................£19.99 Gardzienice: Polish Theatre in Transition, Paul Allain 1998: 246 x 174: 196pp 978-90-5702-106-0...........................................................£23.99 Happenings and Other Acts, Edited by Mariellen Sandford 1995: 234 x 156: 424pp 978-0-415-09936-3...........................................................£25.99 History of European Drama and Theatre, Erika Fischer-Lichte 2001: 246 x 174: 416pp 978-0-415-18060-3...........................................................£24.99 Impro for Storytellers, Keith Johnstone 1999: 229 x 152: 388pp 978-0-87830-105-8...........................................................£17.99 Impro: Improvisation and the Theatre, Keith Johnstone 1987: 127 x 210: 208pp 978-0-87830-117-1...........................................................£24.95 Inside the Royal Shakespeare Company: Creativity and the Institution, Colin Chambers 2004: 216 x 138: 280pp 978-0-415-21202-1...........................................................£29.99 Joe Orton: A Casebook, Francesca Coppa 2001: 216 x 140: 192pp 978-0-8153-3628-0...........................................................£13.99 Judson Dance Theater: Performative Traces, Ramsay Burt 2006: 216 x 138: 240pp 978-0-415-97574-2...........................................................£19.99 Kathakali Dance-Drama: Where Gods and Demons Come to Play, Phillip Zarrilli 1999: 246 x 174: 288pp 978-0-415-19282-8...........................................................£22.99 Laban for All, Jean Newlove and John Dalby 2003: 235 x 156: 256pp 978-0-87830-180-5...........................................................£23.95 Labanotation: The System of Analyzing and Recording Movement, Ann Hutchinson Guest 2005: 254 x 178: 504pp 978-0-415-96562-0...........................................................£24.99 Live: Art and Performance, Edited by Adrian Heathfield 2004: 254 x 178: 240pp 978-0-415-97239-0...........................................................£22.99 Liveness: Performance in a Mediatized Culture, Philip Auslander, Georgia Institute of Technology, USA 2008: 216 x 138: 224pp 978-0-415-77353-9...........................................................£19.99

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Makers of Modern Theatre: An Introduction, Robert Leach 2004: 216 x 138: 240pp 978-0-415-31241-7...........................................................£17.99 Making an Entrance: Theory and Practice for Disabled and Non-Disabled Dancers, Adam Benjamin 2001: 246 x 174: 280pp 978-0-415-25144-0...........................................................£20.99 Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen, Katrina McPherson 2006: 246 x 174: 296pp 978-0-415-37950-2...........................................................£21.99 Male Dancer: Bodies, Spectacle, Sexualities, The, Ramsay Burt 2007: 234 x 156: 248pp 978-0-415-97576-6...........................................................£20.99 Martin McDonagh: A Casebook, Edited by Richard Rankin Russell 2007: 234 x 156: 208pp 978-0-415-97765-4...........................................................£60.00 Mask Handbook: A Practical Guide, The, Toby Wilsher 2006: 216 x 138: 200pp 978-0-415-41437-1...........................................................£17.99 Modern Monologue: Men, The, Edited by Michael Earley and Philippa Keil 1994: 152 x 229: 176pp 978-0-413-67210-0...........................................................£11.99 Modern Monologue: Women, The, Edited by Michael Earley and Philippa Keil 1993: 152 x 229: 160pp 978-0-87830-046-4...........................................................£13.99 Monologues for Actors of Color: Men, Roberta Uno 1999: 178 x 127: 160pp 978-0-87830-071-6...........................................................£17.99 Monologues for Actors of Color: Women, Roberta Uno 1999: 178 x 127: 152pp 978-0-87830-069-3...........................................................£17.99 More Alternative Shakespeare Auditions for Men, Simon Dunmore 2002: 216 x 140: 128pp 978-0-87830-161-4...........................................................£12.99 More Alternative Shakespeare Auditions for Women, Simon Dunmore 2000: 216 x 140: 128pp 978-0-87830-113-3...........................................................£12.99 Mourning Sex: Performing Public Memories, Peggy Phelan 1997: 234 x 156: 208pp 978-0-415-14759-0...........................................................£23.99 Multi-media: Video – Installation – Performance, Nick Kaye 2007: 246 x 174: 272pp 978-0-415-28381-6...........................................................£22.99 Path Of The Actor: Michael Chekhov, The, Edited by Andrei A. Kirillov and Bella Merlin 2005: 234 x 156: 242pp 978-0-415-34366-4...........................................................£39.99 Performance Analysis: An Introductory Coursebook, Edited by Colin Counsell and Laurie Wolf 2001: 234 x 156: 264pp 978-0-415-22407-9...........................................................£22.99 Performance: A Critical Introduction, Marvin Carlson 2003: 234 x 156: 288pp 978-0-415-29927-5...........................................................£22.99 Performance Cosmology: Testimony from the Future, Evidence of the Past, A, Edited by Judie Christie, Richard Gough and Daniel Peter Watt 2006: 297 x 210: 400pp 978-0-415-37258-9...........................................................£34.99 Performance in Bali, Leon Rubin and Nyoman Sedana, Indonesian Arts Institute, Indonesia 2007: 216 x 138: 224pp 978-0-415-33132-6...........................................................£16.99 Performance Theory, Richard Schechner 2003: 216 x 138: 432pp 978-0-415-31455-8...........................................................£13.99 Perform or Else: From Discipline to Performance, Jon McKenzie 2001: 216 x 138: 320pp 978-0-415-24769-6...........................................................£21.99 Performativity, James Loxley 2006: 198 x 129: 176pp 978-0-415-32926-2...........................................................£12.99 Performing Science and the Virtual, Sue-Ellen Case 2006: 234 x 156: 264pp 978-0-415-41439-5...........................................................£20.99 Playwriting: A Practical Guide, Noel Greig 2004: 216 x 138: 224pp 978-0-415-31044-4...........................................................£17.99 Popular Theatre: A Sourcebook, Edited by Joel Schechter 2002: 246 x 174: 296pp 978-0-415-25830-2...........................................................£25.99

Postdramatic Theatre, Hans-Thies Lehmann 2006: 234 x 156: 224pp 978-0-415-26813-4...........................................................£21.99 Queer History of the Ballet, A, Peter Stoneley 2006: 216 x 138: 224pp 978-0-415-97280-2...........................................................£19.99 Radical Street Performance: An International Anthology, Edited by Jan Cohen-Cruz 1998: 234 x 156: 328pp 978-0-415-15231-0...........................................................£22.99 Re: Direction: A Theoretical and Practical Guide, Edited by Gabrielle Cody and Rebecca Schneider 2001: 246 x 174: 400pp 978-0-415-21391-2...........................................................£24.99 Rethinking Dance History: A Reader, Alexandra Carter 2003: 234 x 156: 208pp 978-0-415-28747-0...........................................................£19.99 Reworking the Ballet: Counter Narratives and Alternative Bodies, Vida L. Midgelow 2007: 234 x 156: 240pp 978-0-415-97603-9...........................................................£19.99 Routledge Reader in Gender and Performance, The, Edited by Lizbeth Goodman and Jane de Gay 1998: 234 x 156: 360pp 978-0-415-16583-9...........................................................£25.99 Routledge Reader in Politics and Performance, The, Edited by Jane de Gay and Lizbeth Goodman 2000: 234 x 156: 352pp 978-0-415-17473-2...........................................................£24.99 Senses in Performance, The, Edited by Sally Banes and Andre Lepecki 2006: 246 x 174: 224pp 978-0-415-28186-7...........................................................£25.99 Scenery: Draughting and Construction for Theatres, Museums, Exhibitions and Trade Shows, John Blurton 2001: 216 x 290: 176pp 978-0-87830-149-2...........................................................£17.99 Science and the Stanislavsky Tradition of Acting, Jonathan Pitches, Leeds University, UK 2009: 234 x 156: 236pp 978-0-415-54403-0...........................................................£20.00 Signs of Performance: An Introduction to TwentiethCentury Theatre, Colin Counsell 1996: 216 x 138: 256pp 978-0-415-10643-6...........................................................£21.99 Singer’s Companion, The, Sharon L. Stohrer 2006: 229 x 152: 136pp 978-0-415-97698-5...........................................................£19.99 Singing and Acting Handbook: Games and Exercises for the Performer, The, Thomas De Mallet Burgess and Nicholas Skilbeck 1999: 246 x 174: 224pp 978-0-415-16658-4...........................................................£21.99 Singing and the Actor, Gillyanne Kayes 2004: 229 x 152: 208pp 978-0-87830-198-0...........................................................£24.95 Singing With Your Own Voice, Orlanda Cook 2004: 229 x 152: 288pp 978-0-87830-182-9...........................................................£19.95 Site-Specific Art: Performance, Place and Documentation, Nick Kaye 2000: 246 x 174: 256pp 978-0-415-18559-2...........................................................£24.99 Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage, A, Edited by Carol Martin 1996: 234 x 156: 336pp 978-0-415-10645-0...........................................................£25.99 Sourcebook on Naturalist Theatre, A, Edited by Christopher Innes 2000: 234 x 156: 272pp 978-0-415-15229-7...........................................................£24.99 Special Effects Make-Up, Janus Vinther 2003: 229 x 152: 256pp 978-0-87830-178-2...........................................................£18.99 Stage Lighting Handbook, Francis Reid 2002: 229 x 152: 224pp 978-0-87830-147-8...........................................................£15.99 Stanislavski: An Introduction, Revised and Updated, Jean Benedetti 2004: 216 x 140: 128pp 978-0-87830-183-6...........................................................£15.99 Stanislavski in Rehearsal, Vasili Toporkov 2004: 229 x 152: 184pp 978-0-87830-193-5...........................................................£14.99 Successful Singing Auditions, Gillyanne Kayes and Jeremy Fisher 2002: 216 x 140: 144pp 978-0-87830-163-8...........................................................£12.99

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Suzan-Lori Parks: A Casebook, Edited by Kevin J. Wetmore Jr and Alycia Smith-Howard 2007: 234 x 156: 176pp 978-0-415-97381-6...........................................................£60.00 Theatre Arts Audition Book for Men, The, Edited by Annika Bluhm 2003: 216 x 140: 128pp 978-0-87830-172-0.............................................................£9.99 Theatre Arts Audition Book for Women, The, Edited by Annika Bluhm 2003: 216 x 140: 112pp 978-0-87830-173-7...........................................................£14.95 Theatre Studies: The Basics, Robert Leach, Cumbria Institute of the Arts, UK 2008: 198 x 129: 208pp 978-0-415-42639-8...........................................................£11.99 Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre, Erika Fischer-Lichte 2005: 216 x 138: 240pp 978-0-415-27676-4...........................................................£22.99 Theory/Theatre: An Introduction, Mark Fortier 2002: 198 x 129: 272pp 978-0-415-25437-3...........................................................£19.99 To Be a Playwright, Janet Neipris 2005: 229 x 152: 264pp 978-0-87830-188-1...........................................................£14.99 Twentieth Century Theatre: A Sourcebook, Edited by Richard Drain 1995: 234 x 156: 408pp 978-0-415-09620-1...........................................................£23.99 Unmarked: The Politics of Performance, Peggy Phelan 1993: 234 x 156: 224pp 978-0-415-06822-2...........................................................£23.99 Virtual Theatres: An Introduction, Gabriella Giannachi 2004: 216 x 138: 184pp 978-0-415-28379-3...........................................................£22.99 Yes? No! Maybe: Seductive Ambiguity in Dance, Emilyn Claid 2006: 216 x 138: 256pp 978-0-415-37247-3...........................................................£23.99 Zen and the Art of the Monologue, Jay Sankey 2000: 229 x 152: 160pp 978-0-87830-094-5...........................................................£15.99

For a full listing of Routledge Theatre and Performance Studies titles, visit: www.routledge.com/performance

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A Acting for Animators..................................................................4 Acting in Musical Theatre............................................................5 Acting Reframes.........................................................................2 Acting: The Basics.......................................................................3 Acting: The First Six Lessons........................................................2 Actor Training.............................................................................4 Actor, Image, and Action, The.....................................................6 Actor’s Work on a Role, An.........................................................6 Actor’s Work, An........................................................................6 Aesthetics of the Oppressed, The..............................................13 African Theatres and Performances...........................................22 And Then, You Act.....................................................................9 Anderson, Joel............................................................................4 Anna Halprin............................................................................16 Anton Chekhov.........................................................................10 Applied Theatre Reader, The.....................................................14 Ariane Mnouchkine..................................................................16 Audition Speeches for Men.........................................................9 Audition Speeches for Women....................................................7 Auditions....................................................................................4 August Strindberg.....................................................................10 Augusto Boal............................................................................15 Award Monologues for Men.......................................................9 Award Monologues for Women..................................................9

B Babbage, Frances......................................................................15 Baker, Bobby.............................................................................19 Baldwin, Jane............................................................................21 Barba, Eugenio.........................................................................22 Barrett, Michèle........................................................................19 Barton, Robert........................................................................2, 3 Basics (series)..........................................................................3, 6 Batra, Kanika............................................................................18 Benedetti, Jean...........................................................................6 Bertolt Brecht............................................................................15 Bial, Henry................................................................................18 Black and Asian Theatre In Britain.............................................21 Blair, Rhonda..........................................................................2, 6 Blaker, Candida.........................................................................13 Boal Companion, A...................................................................13 Boal, Augusto.....................................................................12, 13 Boal, Julian...............................................................................12 Bobby Baker.............................................................................19 Body Voice Imagination..............................................................4 Bogart, Anne..............................................................................9 Boleslavsky, Richard.....................................................................2 Bottoms, Stephen.....................................................................20 Bradby, D....................................................................................4 Bradley, Karen K........................................................................16 Braun, Rebecca.........................................................................21 Bremser, Martha.......................................................................24 Brown, John Russell..................................................................23 Burrows, Jonathan....................................................................24 Butterworth, Jo.........................................................................25

C Callow, Simon.............................................................................8 Campo, Giuliano.........................................................................7 Carnicke, Sharon Marie...............................................................6 Carter, Alexandra......................................................................25 Caryl Churchill..........................................................................11 Castellucci, Claudia...................................................................20 Castellucci, Romeo....................................................................20 Chamberlain, Franc.............................................................12, 15 Chambers, Colin.......................................................................21 Chekhov, Michael.......................................................................8 Choreographer’s Handbook, A..................................................24 Choreographing Empathy.........................................................25 Cless, Downing.........................................................................18 Climenhaga, Royd.....................................................................15 Cohen, Lola................................................................................4 Cohen-Cruz, Jan.......................................................................13

Complimentary Exam Copy

H

Collins, Jane..............................................................................11 Community Performance Reader, The.......................................14 Community Performance: An Introduction................................14 Contemporary Choreography....................................................25 Contemporary European Theatre Directors..................................8 Craig, Edward Gordon..............................................................12 Crook, Tim...............................................................................12 Crossing Gender in Shakespeare...............................................23 Cuesta, Jairo.............................................................................15 Cultural and Social Change in Taiwan........................................22 Cummings, Scott T....................................................................10 Curran, Tina.............................................................................25

Hamlet and the Baker’s Son......................................................13 Heart of Practice.........................................................................7 Henderson, Bruce.....................................................................14 Hijikata Tatsumi and Ohno Kazuo.............................................17 Hodge, Alison.............................................................................4 Hoggett, Steven........................................................................11 Holdsworth, Nadine..................................................................16 Hooks, Ed...................................................................................4 How to do Shakespeare..............................................................3 Howard, Pamela.......................................................................12 Hozier, Anthony........................................................................21

D

I

dal Vera, Rocco.......................................................................2, 5 Dangerous Border Crossers.......................................................20 Daring to Play...........................................................................21 Deeney, John F......................................................................9, 10 Deer, Joe.....................................................................................5 Delgado, Maria M.................................................................8, 10 Di Benedetto, Stephen..............................................................19 Dickey, Jerry..............................................................................11 Dictionary of Theatre Anthropology, A......................................22 Director Prepares, A....................................................................9 Director’s Craft, The....................................................................9 Donger, Simon..........................................................................19 Dramatherapy and Social Theatre..............................................14 Dundjerovic, Aleksandar Saša....................................................16

Indian Folk Theatres..................................................................22

E Ecology and Environment in European Drama...........................18 Engaging Performance..............................................................13 Essential Acting...........................................................................3 Ethno-Techno...........................................................................20 Etienne Decroux........................................................................15 Eugenio Barba..........................................................................15 Evans, Mark..............................................................................15 Evans, Richard.............................................................................4 Ewert, Kevin.............................................................................23 Exercises for Rebel Artists..........................................................20

F Federico García Lorca................................................................11 Feminist Visions and Queer Futures in Postcolonial Drama.........18 Fifty Contemporary Choreographers.........................................24 Fischer-Lichte, Erika...............................................................4, 19 Fisher Sorgenfrei, Carol.............................................................21 Foster, Susan Leigh...................................................................25 Fraleigh, Sondra........................................................................17 Franko, Mark............................................................................19 Frantic Assembly Book of Devising Theatre, The........................11 From Forum to Legislative Theatre.............................................12

G Gale, Maggie B.....................................................................9, 10 Games for Actors and Non-Actors.............................................12 Ganguly, Sanjoy........................................................................13 Giannachi, Gabriella..................................................................18 Global Ibsen................................................................................4 Gómez-Peña, Guillermo............................................................20 Goodall, Jane............................................................................18 Gordon, Mel...............................................................................6 Gorman, Sarah.........................................................................19 Goulish, Matthew.....................................................................20 Govan, Emma...........................................................................11 Graham, Scott..........................................................................11 Greig, Noël...............................................................................13 Gronau, Barbara.........................................................................4 Grotowski Sourcebook, The........................................................7 Guest, Ann Hutchinson.............................................................25 Guidi, Chiara............................................................................20

J J.B. Priestley..............................................................................10 Jackson, Adrian...................................................................12, 13 Jackson, Shannon.....................................................................17 Jacques Copeau........................................................................15 Jacques Lecoq...........................................................................16 Jain, Saskya...............................................................................19 Jana Sanskriti............................................................................13 Jennings, Sue............................................................................14 Jerzy Grotowski........................................................................15 Jester, Caroline............................................................................5 Joan Littlewood........................................................................16

K Keefe, John...............................................................................18 Kelleher, Joe.............................................................................20 Kernaghan, Luke........................................................................4 Kidnie, Margaret Jane...............................................................23 Kogan, Helen..............................................................................5 Kogan, Sam................................................................................5 Konstantin Stanislavsky.............................................................16 Kuppers, Petra..........................................................................14

L Laban Sourcebook....................................................................25 Leabhart, Thomas.....................................................................15 Lecoq, Jacques............................................................................4 Lee Strasberg Notes, The.............................................................4 Legislative Theatre....................................................................13 Loui, Annie.................................................................................4 Loxley, James............................................................................24 Luckhurst, Mary........................................................................11

M Making a Performance..............................................................11 Malaev-Babel, Andrei..................................................................7 Maria Irene Fornes....................................................................10 Marina Abramovic....................................................................15 Mark Ravenhill..........................................................................10 Marlow, Jean..........................................................................7, 9 Mary Wigman...........................................................................17 Master Classes in the Michael Chekhov Technique......................8 McCaw, Dick........................................................................4, 25 McConachie, Bruce...................................................................21 McMullan, Anna.......................................................................19 Media Practice (series)...............................................................12 Media, Culture and Social Change in Asia Series (series)............22 Merlin, Bella..........................................................................3, 16 Micha, The Michael Chekhov Association....................................8 Michael Chekhov......................................................................15 Michael Chekhov Handbook, The................................................8 Miller, Judith G.........................................................................16 Mitchell, Katie.............................................................................9 Molik, Zygmunt..........................................................................7 Mumford, Meg.........................................................................15 Murray, Simon....................................................................16, 18 My Life in Art..............................................................................6

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S

Y

Nakamura, Tamah.....................................................................17 Nicholson, Helen.......................................................................11 Nisbet, Andrew.........................................................................11 Noble, Adrian.............................................................................3 Normington, Katie....................................................................11

Saint-Denis, Michel...................................................................21 Sanders, Lorna..........................................................................24 Santos Newhall, Mary Anne......................................................17 Savarese, Nicola........................................................................22 Schechner, Richard................................................................7, 17 Schutzman, Mady.....................................................................13 Science Of Acting, The................................................................5 Senelick, Laurence......................................................................5 Shakespeare and the Problem of Adaptation.............................23 Shakespeare, Jonson, and the Claims of the Performative.........24 Shakespeare, Theatre, and Time................................................24 Shakespeare, Trauma and Contemporary Performance..............24 Shaughnessy, Robert.................................................................23 Shepherd, Simon......................................................................19 Shevtsova, Maria.......................................................................17 Sifuentes, Roberto....................................................................20 Silverstone, Catherine...............................................................24 Slowiak, James..........................................................................15 Small Acts of Repair..................................................................20 Social Works.............................................................................17 Sound Handbook, The..............................................................12 Spier, Steven.............................................................................24 Stage Presence..........................................................................18 Stanislavski, Konstantin...............................................................6 Stanislavski: The Basics................................................................6 Stanislavsky in America...............................................................6 Stanislavsky in Focus...................................................................6 Stone, James W........................................................................23 Stoneman, Claire........................................................................5 Style For Actors 2nd Edition........................................................3 Susan Glaspell and Sophie Treadwell.........................................11 Szalczer, Eszter..........................................................................10

Yevgeny Vakhtangov...................................................................7 Young People, New Theatre......................................................13 Your Move................................................................................25

O Okagbue, Osita.........................................................................22 On Directing and Dramaturgy...................................................22 On the Art of the Theatre.........................................................12 ORLAN......................................................................................19 O’Shea, Janet............................................................................25 Ostrander, Noam......................................................................14 Ozanne, Christine.......................................................................9 Ozieblo, Barbara.......................................................................11

P Panet, Brigid...............................................................................3 Performance Studies.................................................................17 Performance Studies Reader, The..............................................18 Performing Embodiment in Samuel Beckett’s Drama.................19 Petit, Lenard...............................................................................8 Physical Actor, The......................................................................4 Physical Theatres: A Critical Introduction...................................18 Physical Theatres: A Critical Reader...........................................18 Pina Bausch..............................................................................15 Pitches, Jonathan......................................................................16 Playing Boal..............................................................................13 Playwriting across the Curriculum................................................5 Politics of New Media Theatre, The...........................................18 Powers, Mala..............................................................................8 Poynor, Helen...........................................................................16 Prentki, Tim..............................................................................14 Preston, Sheila..........................................................................14 Provocation of the Senses in Contemporary Theatre, The..........19 Psychophysical Acting.................................................................3

Q Quick, Andrew..........................................................................20

R Rainbow of Desire, The.............................................................13 Rawnsley, Ming-Yeh..................................................................22 Rebellato, Dan............................................................................8 Requiem and an Epilogue.........................................................21 Richards, Mary..........................................................................15 Richards, Thomas........................................................................7 Ridout, Nicholas........................................................................20 Ritual and Event........................................................................19 Robert Lepage..........................................................................16 Robert Wilson...........................................................................17 Robertson, Gwen......................................................................14 Robson, Mark...........................................................................24 Routledge Advances in Theatre & Performance Studies (series)...4, 18, 19, 24 Routledge Companion to Actors’ Shakespeare, The..................23 Routledge Companion to Directors’ Shakespeare, The...............23 Routledge Dance Studies Reader, The.......................................25 Routledge Drama Anthology and Sourcebook, The.....................9 Routledge Guide to William Shakespeare, The..........................23 Routledge Key Guides (series)...................................................24 Routledge Modern and Contemporary Dramatists (series)...10, 11 Routledge Performance Practitioners (series).................15, 16, 17 Routledge Studies in Renaissance Literature and Culture (series).24 Routledge Studies in Shakespeare (series)............................23, 24 Routledge Theatre Classics (series).....................................2, 5, 12 Rudolf Laban............................................................................16

T Tadeusz Kantor.........................................................................16 Theatre and Performance Design..............................................11 Theatre Arts on Acting................................................................5 Theatre Histories.......................................................................21 Theatre of Movement and Gesture.............................................4 Theatre of Richard Maxwell and the New York City Players, The.19 Theatre of Societas Raffaello Sanzio, The..................................20 Theatre: The Rediscovery of Style and Other Writings................21 Theatres of the World (series)....................................................22 To the Actor................................................................................8 Transformative Power of Performance, The...............................19 Tucker, Patrick.............................................................................9 Turner, Jane..............................................................................15

U Understanding Disability Studies and Performance Studies........14

V Vakhtangov Sourcebook, The.....................................................7 Voice: Onstage and Off...............................................................2 Vsevolod Meyerhold.................................................................16

W Wagner, Matthew.....................................................................24 Weiler, Christel............................................................................4 Wekwerth, Manfred.................................................................21 What is Scenography?..............................................................12 Whyman, Rose......................................................................6, 10 Wickham, Glynne.....................................................................21 Wildschut, Liesbeth...................................................................25 William Forsythe and the Practice of Choreography...................24 Williams, Gary Jay.....................................................................21 Witts, Noel...............................................................................16 Wolford Wylam, Lisa...................................................................7 Wooster Group Work Book, The...............................................20 Worlds of Performance (series)....................................................7 Worth, Libby.............................................................................16

Browse and order online: www.routledge.com/performance

Z Zarrilli, Phillip B.....................................................................3, 21 Zinder, David...............................................................................4 Zygmunt Molik’s Voice and Body Work.......................................7

29


Theatre and Performance Journals FROM ROUTLEDGE

Introducing Theatre, Dance and Performance Training

Theatre, Dance and Performance Training (TDPT) acts as a research forum for practitioners, academics, creative artists and pedagogues interested in training in all its complexity and across cultures.The journal is dedicated to revealing the vital and diverse processes of training and their relationship to performance making, including those from the past, from the present, and into the future. This diversity is reflected in the journal’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. It provides a valuable meeting-point for practitioner-researchers wanting to know more about training before, beneath, beyond and within performance. www.tandf.co.uk/journals/rtdp

Would you like to know more? Visit the website to find out about: - forthcoming themed issues - submitting your research or project - subscribing -

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Find out about our complete range of Theatre and Performance journals at

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COMING SOON … The Routledge Digital Performance Archive Delivering unique video resources online, direct to your classroom! Routledge is proud to announce an exciting initiative in the digital delivery of audio-visual material for teaching performance.

Photography © by Maciej Stawinski

The Routledge Digital Performance Archive will feature a substantial collection of streamed video footage to support and enhance our world-class collection of texts. The archive: • Encompasses masterclasses in actor training as well as full-length productions by contemporary practitioners • Will be available on subscription and accessible via your institution’s library • Is fully contextualised and easy to use

Words alone cannot fully convey the body’s movement through space or the nuances of the voice and face. Video gives an invaluable insight into the process of performance. But what today’s restless inquirers into performance need is a stable and reliable source of video for study, research and teaching. The Routledge Digital Performance Archive provides an innovative approach to meeting the needs of today’s teachers and students. To join our mailing list and be kept up-to-date with the archive’s content, launch date and tariff, email: performance_studies@routledge.com.

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Routledge Basics Series Knowledge Begins with The Basics… These short introductions will give you the understanding on a variety of subjects in the Routledge family. The Basics are affordable guidebooks that serve as a great place to start your studies.

Stanislavski: The Basics Rose Whyman, University of Birmingham, UK Stanislavski: The Basics is an engaging introduction to the life, thought and impact of Konstantin Stanislavski. November 2011: 198 x 129: 224pp Hb: 978-0-415-49294-2: £55.00 Pb: 978-0-415-49297-3: £11.99 For more information, turn to page 6 or visit www.routledge.com/9780415492973

Shakespeare: The Basics Sean McEvoy, Varndean College, Brighton, UK ‘It is a book to read in its entirety for the broad sweep of intellectual coherence and to dip into for more specific inspiration. It is a book for teachers of both A-Level and GCSE, and perhaps for some of the more able students too. Shakespeare The Basics (2nd edition) is superb – do read it!’ – Adrian Beard, AQA Chief Examiner 2006: 198 x 129: 290pp Hb: 978-0-415-36245-0: £55.00 Pb: 978-0-415-36246-7: £11.99 eBook: 978-0-203-01275-8

Acting: The Basics

Poetry: The Basics

Bella Merlin, University of California, USA

Jeffrey Wainwright, Manchester Metropolitan University, UK

An insightful and informative book about the practice of acting and the people who have advanced its evolution.

‘Whether writing about Paradise Lost or the lyrics of Nick Cave, Jeffrey Wainwright is an inspiring and engaging critic of poetry. There are pleasures and insights to be found on every page of this immensely readable book.’ – Stephen Regan, Royal Holloway, University of London, UK

March 2010: 198 x 129: 256pp Hb: 978-0-415-46100-9: £55.00 Pb: 978-0-415-46101-6: £11.99 eBook: 978-0-203-85486-0 For more information, turn to page 3 or visit www.routledge.com/9780415461016

February 2011: 198 x 129: 288pp Hb: 978-0-415-56615-5: £55.00 Pb: 978-0-415-56616-2: £11.99 eBook: 978-0-203-09286-6

Theatre Studies: The Basics

For more information, visit www.routledge.com/9780415566162

Robert Leach, Cumbria Institute of the Arts, UK Introducing you to all the aspects of drama and theatrical performance you will be studying in your course, Theatre Studies: The Basics draws on a wide range of examples from Oedipus Tyrannus to Behzti to give you an essential introduction to the thrilling world of live theatre, in theory and in practice.

To see more titles in this series, visit: www.routledge.com/books/ series/the_basics_B.

2008: 198 x 129: 198pp Hb: 978-0-415-42638-1: £55.00 Pb: 978-0-415-42639-8: £11.99 eBook: 978-0-203-92694-9 For more information, visit www.routledge.com/9780415426398

For more information, turn to page 23 or visit www.routledge.com/9780415362467

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Theatre and Performance 2011 (UK)