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Dionysus on the Other Shore

Gao Xingjian's Theatre of the Tragic

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Letizia Fusini

Acts of Resistance in Late-Modernist Theatre

Writing and Directing in Contemporary Theatre Practice

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Richard Murphet

In Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director.
Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.

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Edited by Marc Maufort and Jessica Maufort

In the years that followed the end of apartheid, South African theatre was characterized by a remarkable productivity, which resulted in a process of constant aesthetic reinvention. After 1994, the “protest” theatre template of the apartheid years morphed into a wealth of diverse forms of stage idioms, detectable in the works of Greg Homann, Mike van Graan, Craig Higginson, Lara Foot, Omphile Molusi, Nadia Davids, Magnet Theatre, Rehane Abrahams, Amy Jephta, and Reza de Wet, to cite only a few prominent examples. Marc and Jessica Maufort’s multivocal edited volume documents some of the various ways in which the “rainbow” nation has forged these innovative stage idioms. This book’s underlying assumption is that creolization reflects the processes of identity renegotiation in contemporary South Africa and their multi-faceted theatrical representations.

Contributors: Veronica Baxter, Marcia Blumberg, Vicki Briault Manus, Petrus du Preez, Paula Fourie, Craig Higginson, Greg Homann, Jessica Maufort, Marc Maufort, Omphile Molusi, Jessica Murray, Jill Planche, Ksenia Robbe, Mathilde Rogez, Chris Thurman, Mike van Graan, and Ralph Yarrow.

Racine's Andromaque

Absences and Displacements

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Edited by Joseph Harris and Nicholas Hammond

Racine’s Andromaque : Absences and Displacements casts a new look at the dynamism, richness, and complexity of Racine’s first major tragedy (first performed in Paris in 1667), through a collection of articles specially commissioned by the editors Nicholas Hammond and Joseph Harris. Challenging received opinions about the fixity of French ‘classicism’, this volume demonstrates how Racine’s play is preoccupied with absences, displacements, instability, and uncertainty. The articles explore such issues as: movement and transactions, offstage characters and locations, hallucinations and fantasies, love and desire, and translations and adaptations of Racine’s play. This collection will be an invaluable resource for students and scholars of seventeenth-century French theatre.

Contributors: Nicholas Hammond, Joseph Harris, Michael Moriarty, Emilia Wilton-Godberfforde, Delphine Calle, Jennifer Tamas, Michael Hawcroft, Katherine Ibbett, Richard Parish.

The Transformations of Tragedy

Christian Influences from Early Modern to Modern

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Edited by Fionnuala O’Neill Tonning, Erik Tonning and Jolyon Mitchell

The Transformations of Tragedy: Christian Influences from Early Modern to Modern explores the influence of Christian theology and culture upon the development of post-classical Western tragedy. The volume is divided into three parts: early modern, modern, and contemporary. This series of essays by established and emergent scholars offers a sustained study of Christianity’s creative influence upon experimental forms of Western tragic drama.
Both early modern and modern tragedy emerged within periods of remarkable upheaval in Church history, yet Christianity’s diverse influence upon tragedy has too often been either ignored or denounced by major tragic theorists. This book contends instead that the history of tragedy cannot be sufficiently theorised without fully registering the impact of Christianity in transition towards modernity.

Miguel Venegas and the Earliest Jesuit Theater

Choruses for Tragedies in Sixteenth-Century Europe

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Margarida Miranda

In Miguel Venegas and the Earliest Jesuit Theater, Margarida Miranda takes a fresh look at the origins of Jesuit theater and provides a detailed account of the life and work of Miguel Venegas (1529–after 1588) within the Iberian tradition. The book details Venegas’s role as the founder of Jesuit theater in Portugal and the creator of a new musical genre, choruses for tragedies, which was gradually codified and emulated by successive generations of Jesuits. Venegas’s Latin tragedies in turn provided the model for regular dramatic activities in the global network of Jesuit schools, including, significantly, the first tragedies to be staged in Rome: Saul Gelboeus and Achabus, both of which had originally been performed in Coimbra in the mid-sixteenth century.

Timescapes of Waiting

Spaces of Stasis, Delay and Deferral

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Edited by Christoph Singer, Robert Wirth and Olaf Berwald

Timescapes of Waiting explores the intersections of temporality and space by examining various manifestations of spatial (im-)mobility. The individual articles approach these spaces from a variety of academic perspectives – including the realms of history, architecture, law and literary and cultural studies – in order to probe the fluid relationships between power, time and space.
The contributors offer discussion and analysis of waiting spaces like ante-chambers, prisons, hospitals, and refugee camps, and also of more elusive spaces such as communities and nation-states.

Contributors: Olaf Berwald, Elise Brault-Dreux, Richard Hardack, Kerstin Howaldt, Robin Kellermann, Amanda Lagji, Margaret Olin, Helmut Puff, Katrin Röder, Christoph Singer, Cornelia Wächter, Robert Wirth.

Conrad’s Drama

Contemporary Reviews and Observations

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Edited by John G. Peters

Conrad’s Drama: Contemporary Reviews and Observations collects both book reviews and performance reviews of Conrad’s three plays: The Secret Agent, One Day More, and Laughing Anne. These reviews and observations show how Conrad’s plays were received by his contemporaries. More than this, however, Conrad’s Drama reveals the larger conversations surrounding his plays: the state of British drama in the early 20th century, the role the drama critic has in a play’s reception, and the difficulty most fiction writers experience in trying to write for the stage. No other reference work exists for those studying Conrad’s plays, and this volume should prove to be an indispensable reference work for those working on this topic.

"Was deutsch und echt..."

Richard Wagner and the Articulation of a German Opera, 1798-1876

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Kasper Bastiaan van Kooten

By examining theoretical debates about the nature of nineteenth-century German opera and analyzing the genre’s development and its international dissemination, this book shows German opera’s entanglement with national identity formation. The thorough study of German opera debates in the first half of the nineteenth century highlights the esthetic and ideological significance of this relatively neglected repertoire, and helps to contextualize Richard Wagner’s attempts to define German opera and to gain a reputation as the German opera composer par excellence. By interpreting Wagner’s esthetic endeavors as a continuation of previous campaigns for the emancipation of German opera, this book adds an original and significant perspective to discussions about Wagner’s relation to German nationalism.

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Edited by Raphaële Garrod and Yasmin Haskell

This volume of essays contributes to our understanding of the ways in which the Jesuits employed emotions to “change hearts”—that is, convert or reform—both in Europe and in the overseas missions. The early modern Society of Jesus excited and channeled emotion through sacred oratory, Latin poetry, plays, operas, art, and architecture; it inflamed young men with holy desire to die for their faith in foreign lands; its missionaries initiated dialogue with and ‘accommodated’ to non-European cultural and emotional regimes. The early modern Jesuits conducted, in all senses of the word, much of the emotional energy of their times. As such, they provide a compelling focus for research into the links between rhetoric and emotion, performance and devotion, from the sixteenth through eighteenth centuries.