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Author:
When Dorothy Hewett joked about needing a face-lift and sex-change to improve her standing, she drew attention to forces that shaped the production and reception of her drama. Drawing on production of her plays over four decades, and interviews with Hewett’s collaborators, this book reveals how cultural memories in theatre solidify and dissolve.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Author:
When Dorothy Hewett joked about needing a face-lift and sex-change to improve her standing, she drew attention to forces that shaped the production and reception of her drama. Drawing on production of her plays over four decades, and interviews with Hewett’s collaborators, this book reveals how cultural memories in theatre solidify and dissolve.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Viewing theatre production as a mode of remembrance, Beaglehole grapples with Hewett as a divisive figure who was ahead of a conservative Australia. Revisiting frequently produced plays, including chapters on The Man from Mukinupin and The Chapel Perilous, as well as rarely-produced works, including Nowhere and The Tatty Hollow Story, this book articulates the ongoing relevance of Hewett’s drama to the history of theatre in Australia.
Dreamwrighting for Stage and Screen
Author:
Dreamwork for Dramatic Writing: Dreamwrighting for Stage and Screen teaches you how to use your dreams, content, form, and structure, to write surprisingly unique new drama for film and stage. It is an exciting departure from traditional linear, dramatic technique, and addresses both playwriting and screenwriting, as the profession is increasingly populated by writers who work in both stage and screen. Developed through 25 years of teaching award-winning playwrights in the University of Missouri’s Writing for Performance Program, and based upon the phenomenological research of renowned performance theorist Bert O. States, this book offers a foundational, step-by-step organic guide to non-traditional, non-linear technique that will help writers beat clichéd, tired dramatic writing and provides stimulating new exercises to transform their work.
Dreamwrighting for Stage and Screen
Author:
Dreamwork for Dramatic Writing: Dreamwrighting for Stage and Screen teaches you how to use your dreams, content, form, and structure, to write surprisingly unique new drama for film and stage. It is an exciting departure from traditional linear, dramatic technique, and addresses both playwriting and screenwriting, as the profession is increasingly populated by writers who work in both stage and screen. Developed through 25 years of teaching award-winning playwrights in the University of Missouri’s Writing for Performance Program, and based upon the phenomenological research of renowned performance theorist Bert O. States, this book offers a foundational, step-by-step organic guide to non-traditional, non-linear technique that will help writers beat clichéd, tired dramatic writing and provides stimulating new exercises to transform their work.
Pusaka as Documented Heritage
Volume Editor:
This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.
Pusaka as Documented Heritage
Volume Editor:
This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.
Author:
Abstract
As billowing masses averse to stillness and defined by perpetual variability, clouds, fog and mist share common ontological properties. This article will group them together under the rubric of the “nebulous,” and probe its conceptual and aesthetic relationship with film. Fog, smoke and mist are pervasive through the entire history of cinema and crop up in an array of genres and modes. What would film history look like if traced from the perspective of these cloud forms? The article hopes to sketch out the first contours of such a history by honing in on a durational cinematic tradition, from the “landscape film” of the 1970s through to contemporary slow cinema. It will conceive of such a history as intermedial both in the sense that it extrapolates the boundaries of the film medium and in that it treats fog, mist and clouds as elemental “media” in their own right.
New Directions in International Theatre and Performance
Series Editor:
Published in association with the International Federation for Theatre Research (IFTR), this series is a platform for innovative scholarly work that takes seriously the pledge of the international. We ask: what promise does this term hold for Theatre and Performance Studies today? First coined in the late eighteenth century to define a space for inter-state relations, the term has since migrated from law to political and cultural practice, retaining connotations of an ever-expanding, progressive vision of global cooperation. Theatre and Performance Studies have long pursued the promise of the international, from re-thinking “national” canons to developing novel theoretical and methodological foundations for the study of theatre and performance. The series publishes both monographs and edited volumes that represent and at the same time critically interrogate these very processes. We thus invite submissions that examine the evolving diversity of performances from Eurasia, Africa, the Americas, and Oceania. We seek to become an intellectual home to manuscripts that contain an overtly international or transnational dimension, explore new historical, methodological and geographical frontiers, and address pressing contemporary concerns.
For information on the IFTR and its annual conferences, please see the organization’s website: www.iftr.org.
For inquiries regarding the Series, please contact the Editors, Milija Gluhovic (m.gluhovic@warwck.ac.uk) and Emine Fişek (emine.fisek@boun.edu.tr).
Interested authors are invited to submit proposals for collected volumes to the publisher at BRILL, Christa Stevens.
For information on the IFTR and its annual conferences, please see the organization’s website: www.iftr.org.
For inquiries regarding the Series, please contact the Editors, Milija Gluhovic (m.gluhovic@warwck.ac.uk) and Emine Fişek (emine.fisek@boun.edu.tr).
Interested authors are invited to submit proposals for collected volumes to the publisher at BRILL, Christa Stevens.
Author:
Abstract
While water as setting and as mirror have driven animation technologies in mainstream American animated features (requiring, in Disney’s 1937 Snow White, the enormous resources of the multiplane camera), contemporary Indigenous productions activate another relationship of viewer to screen and viewer to water, converging to form a new Indigenous screen imaginary that connects instruction with care. This article traces the integration of North American Indigenous animation aesthetics with interrelated relationships and obligations around water and water protection. Drawing on examples from an expanding corpus of short animated productions, I argue that Indigenous ways of envisioning water present viewers with instruction towards action: water conveys a teaching. Following Lenape critic Joanne Barker’s turn to water as an analytic – “a water that (in)forms, a water that instructs” – I explore Indigenous animation of water as both pedagogy and technology, a conjunction that foregrounds human creative authorship even as it decenters the human in favor of water as a teacher.
Medieval and Early Renaissance Theatre and Drama
Editor:
Ludus intends to introduce those interested in literature, in the performing arts, or in history to the various aspects of theatre and drama from the Middle Ages and the Early Renaissance. It publishes books on closely defined topics, mostly seen from a comparative point of view.
Author:
Abstract
The ocean, for Jean Epstein, figures the disruption that the cinematograph offers for human perception, presenting a nonhuman view on the world. This article will critically engage with Epstein’s writings on water to reflect on Mati Diop’s Atlantics (2019) and its particular conception of the oceanic. Atlantics positions the ocean within the perspectives of its filmic subjects but also in excess of them. This perspectival nature of the oceanic speaks to a liminal space between male and female, living and dead, human and nonhuman, which mirrors contemporary debates within Black studies around the exclusion of Blackness from the normative category of the human: the contingency of the definition of humanity based on racial exclusion. As a result, it is not only the nonhuman perspective that the ocean provides in Atlantics, but a spectral haunting of those deemed other than human by global capitalism, which disrupts, as a queer prophecy, the veneer of necessity that the neocolonial order requires to sustain itself.
Author:
Abstract
This article examines the movements of the elements (water, air, fire, and earth) in the recent (2018–2021) films of Japanese experimental filmmaker Takashi Makino. It proposes that Makino’s unique style of filmmaking – which consists of layering thousands of moving images of the natural world on top of each other – expresses and encompasses elemental tensions between form and formlessness, clarity and obscurity, and identity and transformation. Taking the storm as an ecological force which foregrounds elemental kinetics, Makino’s films are analyzed in their capacity to disclose natural motion. This allows for a renewed conception of the elemental, understood as process and flow rather than individual units. An elemental politics of the storm emerges, which calls for the fostering of productive and complex movement rather than the stasis of conservation.
Author:
Abstract
Adapted from philosopher Jean-Luc Nancy’s semi-autobiographical text, The Intruder remains one of French director Claire Denis’ most transnational and yet dreamlike works. In this article, I pair philosopher Gaston Bachelard (in particular, his concept of the material and dynamic imagination and his reveries on water and air) with Denis to explore how The Intruder enacts an imagining of the elements and an elemental poetics of film form. Bringing Bachelard into a dialogue with Saad Chakali’s, Rosalind Galt’s and Nancy’s writing on the film’s imagery, I also approach The Intruder as an image-poem that is structured by poetically ‘weighted’ images and by recurrent symbolism. Shot through with an oneiric sense of drift, voyaging and diffusion, I explore some of the ways that Denis’s elemental imaginings of air and oceanic water reflect an affective politics.