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This book examines Brecht’s theory and method of adaptation. It first reconstructs it into a single framework using four key Brechtian concepts: Fabel, gestus, estrangement effects, and historicizing. It then uses that framework to analyse four Brechtian adaptations: The Tutor, Don Juan, “Socrates Wounded,” and Kriegsfibel. It argues that adaptation occupies a previously unrealised central place in Brecht’s thought, demonstrating that he provides us with a unique way to think about adaptation—as material transformation. It concludes by describing how Brecht is useful for anti-capitalist aesthetics today because through him one can foster a new consciousness which enables better social conditions to be created. This book is practical for both theatre practitioners and artists as well as theorists.
Author:
This book examines Brecht’s theory and method of adaptation. It first reconstructs it into a single framework using four key Brechtian concepts: Fabel, gestus, estrangement effects, and historicizing. It then uses that framework to analyse four Brechtian adaptations: The Tutor, Don Juan, “Socrates Wounded,” and Kriegsfibel. It argues that adaptation occupies a previously unrealised central place in Brecht’s thought, demonstrating that he provides us with a unique way to think about adaptation—as material transformation. It concludes by describing how Brecht is useful for anti-capitalist aesthetics today because through him one can foster a new consciousness which enables better social conditions to be created. This book is practical for both theatre practitioners and artists as well as theorists.
Editors:
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Among the longest continuously performed dramatic forms in the world, nō and kyōgen have a wealth of connections to Japanese culture more broadly construed. The current book brings together under one cover the most important elements of the history and culture of the two arts, profiting from the research of both Japanese and non-Japanese scholars, and offering many new insights.
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume1 out of 2).
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume1 out of 2).
Editors:
, , , , , and
Among the longest continuously performed dramatic forms in the world, nō and kyōgen have a wealth of connections to Japanese culture more broadly construed. The current book brings together under one cover the most important elements of the history and culture of the two arts, profiting from the research of both Japanese and non-Japanese scholars, and offering many new insights.
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume1 out of 2).
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume1 out of 2).
Editors:
, , , , , and
Among the longest continuously performed dramatic forms in the world, nō and kyōgen have a wealth of connections to Japanese culture more broadly construed. The current book brings together under one cover the most important elements of the history and culture of the two arts, profiting from the research of both Japanese and non-Japanese scholars, and offering many new insights.
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume 2 out of 2).
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume 2 out of 2).
Editors:
, , , , , and
Among the longest continuously performed dramatic forms in the world, nō and kyōgen have a wealth of connections to Japanese culture more broadly construed. The current book brings together under one cover the most important elements of the history and culture of the two arts, profiting from the research of both Japanese and non-Japanese scholars, and offering many new insights.
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume 2 out of 2).
It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is volume 2 out of 2).
Author:
“I am not Shemr, this is not a dagger, nor is this Karbala,” recites the arch-antagonist as a taʿziyeh performance begins. Verisimilitude is not the endeavour; this is a devotional offering that stirs lament for the Shi’i martyrs by representing events crucial to sacred history. But what does that retelling entail? Through study of four of its main episodes, from their long inter-female dialogues to the protagonists’ encounters with jinn, dervishes, and foreigners, this book explores the taʿziyeh repertoire’s compositional features. Combining a wide range of historical scripts, largely unpublished manuscripts, with witness accounts, it tracks the tradition’s development from Safavid to Qajar Iran asking, who were its contributors? And, how have they left their mark?
Author:
“I am not Shemr, this is not a dagger, nor is this Karbala,” recites the arch-antagonist as a taʿziyeh performance begins. Verisimilitude is not the endeavour; this is a devotional offering that stirs lament for the Shi’i martyrs by representing events crucial to sacred history. But what does that retelling entail? Through study of four of its main episodes, from their long inter-female dialogues to the protagonists’ encounters with jinn, dervishes, and foreigners, this book explores the taʿziyeh repertoire’s compositional features. Combining a wide range of historical scripts, largely unpublished manuscripts, with witness accounts, it tracks the tradition’s development from Safavid to Qajar Iran asking, who were its contributors? And, how have they left their mark?
Intimations of the Local in a Globalised World
Series:
Cross/Cultures, Volume: 223
This volume examines how Indigenous theatre and performance from Oceania has responded to the intensification of globalisation from the turn of the 20th to the 21st centuries. It foregrounds a relational approach to the study of Indigenous texts, thus echoing what scholars such as Tui Nicola Clery have described as the stance of a “Multi-Perspective Culturally Sensitive Researcher.” To this end, it proposes a fluid vision of Oceania characterized by heterogeneity and cultural diversity calling to mind Epeli Hau‘ofa’s notion of “a sea of islands.”
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Intimations of the Local in a Globalised World
Series:
Cross/Cultures, Volume: 223
This volume examines how Indigenous theatre and performance from Oceania has responded to the intensification of globalisation from the turn of the 20th to the 21st centuries. It foregrounds a relational approach to the study of Indigenous texts, thus echoing what scholars such as Tui Nicola Clery have described as the stance of a “Multi-Perspective Culturally Sensitive Researcher.” To this end, it proposes a fluid vision of Oceania characterized by heterogeneity and cultural diversity calling to mind Epeli Hau‘ofa’s notion of “a sea of islands.”
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Rooted in a range of approaches to the reception of classical drama, the chapters in this book reflect, in one way or another, that Greek and Roman drama in performance is an ongoing dialogue between the culture(s) of the original and the target culture of its translation/adaptation/performance. The individual case studies highlight the various ways in which the tradition of Greek and Roman plays in performance has been extremely productive, but also the ways in which it has engaged, at times dangerously, in political and social discourse.
Series:
Metaforms, Volume: 27
Rooted in a range of approaches to the reception of classical drama, the chapters in this book reflect, in one way or another, that Greek and Roman drama in performance is an ongoing dialogue between the culture(s) of the original and the target culture of its translation/adaptation/performance. The individual case studies highlight the various ways in which the tradition of Greek and Roman plays in performance has been extremely productive, but also the ways in which it has engaged, at times dangerously, in political and social discourse.
New Perspectives
Revisiting Revenge Tragedy explores one of the most popular and influential genres of early modern theatre. Revenge tragedies resonated with audiences and authors because of their explicit and often horrific depictions of political instability, religious violence, and affective distress. In innovative and provocative ways, this book situates the political, religious, and affective dimensions of such plays within the transnational dynamics of their inception and dissemination across a conflicted Europe, raising questions for us now about authority, tyranny, and justice. Moreover, detailed case studies demonstrate how depicting revenge questioned or evinced sometimes radical sexual, cultural, and political identities and positions.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
New Perspectives
Revisiting Revenge Tragedy explores one of the most popular and influential genres of early modern theatre. Revenge tragedies resonated with audiences and authors because of their explicit and often horrific depictions of political instability, religious violence, and affective distress. In innovative and provocative ways, this book situates the political, religious, and affective dimensions of such plays within the transnational dynamics of their inception and dissemination across a conflicted Europe, raising questions for us now about authority, tyranny, and justice. Moreover, detailed case studies demonstrate how depicting revenge questioned or evinced sometimes radical sexual, cultural, and political identities and positions.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.