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Author: Jane Gilmer
The Alchemical Actor offers an imagination for new and future theatre inspired by the manifesto of Antonin Artaud. The alchemical four elements – earth, water, air and fire and the four alchemical stages – nigredo, albedo, citrino and rubedo serve as initiatory steps towards the performance of transmutational consciousness. The depth psychological work of Carl G. Jung, the theatre techniques of Michael Chekhov and Rudolf Steiner infuse ‘this’ Great Work. Jane Gilmer leads the reader through alchemical imaginations beyond material cognition towards gold-making heart-thinking - key to new and future theatre.
Le nouveau fantastique de Jean-Pierre Andrevon analyse les facettes étranges du fantastique de Jean-Pierre Andrevon, écrivain contemporain appelé le « King » ou « Lovecraft » français. Andrevon propose une nouvelle vision du fantastique ancré profondément dans le quotidien contemporain, en apparence monotone et banal, dans lequel évoluent aussi bien ses personnages que ses lecteurs. L’auteur révèle ainsi le revers angoissant du monde, qui devient une source d’horreur puissante car familière au lecteur : catastrophes naturelles (pandémies mystérieuses, désastres climatiques, fin de l’Anthropocène) et historiques (guerres, totalitarismes), problèmes sociaux et psychologiques (folie, psychoses collectives, solitude). Un signe emblématique du fantastique andrevonien est également son dialogue avec le cinéma d’horreur.

Le nouveau fantastique de Jean-Pierre Andrevon analyses the uncanny facets of the fantastic by Jean-Pierre Andrevon, a contemporary writer called “the French Stephen King” or “the French H.P. Lovecraft". Andrevon presents a new vision of the fantastic, deeply rooted in contemporary everyday life, seemingly monotonous and banal, in which both his characters and his readers evolve. Thus, the author reveals a different, harrowing side of the world familiar to the reader, as it turns into a powerful source of horror: natural catastrophes (mysterious pandemics, climate-related disasters, end of the Anthropocene), historical tragedies (wars, totalitarianism), social and psychological problems (madness, collective psychosis, loneliness). Another hallmark of Andrevonian fantastic is its dialogue with horror cinema.
Essays in Late Medieval and Humanist Drama
Series:  Ludus, Volume: 16
Volume Editors: Peter Happé and Wim Hüsken
Staging History unites essays by nine specialists in the field of late medieval and early Renaissance drama. Their focus is on English, Dutch and Humanist German drama, as well as on a modern Swiss adaptation of Shakespeare’s Henry V. Featuring prominently in this book are plays by, among others, John Bale, Jacob Schoepper, Johannes Agricola and Jacob Duym. Special attention is also paid to the Croxton Play of the Sacrament and the Dutch abele spelen.
So far this topic has not received wide attention within the world of medieval and early Renaissance studies. This exploration aims at arousing more interest in this field by scholars working on European drama from the late Middle Ages and the early Renaissance.
This book constitutes a sociological research on the current “narrations” of the economic and refugee crisis which has mobilized all the aspects of social storytelling during the last decade, most particularly in the European South. Because the different (mass and social) media reflect the dominant ideas and representations, the research on the meaning of different media narratives becomes a necessary report for the understanding of the relation (or “inexistent dialogue”?) between official political discourses and popular myths (based on everyday life values of prosperity, mostly promoted by the mass culture and the cultural industries’ products). Despite the ongoing inequalities and difficulties, the contemporary audiences seem to counterbalance misery by the dreams of happiness, provided by this kind of products.

Contributors include: Christiana Constantopoulou, Amalia Frangiskou, Evangelia Kalerante, Laurence Larochelle, Debora Marcucci, Valentina Marinescu, Albertina Pretto, Maria Thanopoulou, Joanna Tsiganou, Vasilis Vamvakas, and Eleni Zyga.
In The Lyon Terence Giulia Torello-Hill and Andrew J. Turner take an unprecedented interdisciplinary approach to map out the influence of late-antique and medieval commentary and iconographic traditions over this seminal edition of the plays of Terence, published in Lyon in 1493, and examine its legacy. The work had a profound impact on the way Terence’s plays were read and understood throughout the sixteenth century, but its influence has been poorly recognised in modern scholarship. The authors establish the pivotal role that this book, and its editor Badius, played in the revitalisation of the theoretical understanding of classical comedy and in the revival of the plays of Terence that foreshadowed the establishment of early modern theatre in Italy and France.
Editor: Katrine Wong
Eastern and Western Synergies and Imaginations: Texts and Histories is a product of east-west studies crossed with adaptation studies: it goes beyond evaluation of cultural interactions and discussion of forms and manners of adaptation. This volume brings together critical discourses from various cultural locales which have developed from and thrived on the notion of “East meets West” or “West meets East”. The 10 chapters trace and investigate cross-, trans- or multi-cultural interpretations of fictional and non-fictional narratives that feature people and events in cities and regions which thrive, or have thrived, as East-West hubs, thereby expounding multiple layers of relationship between source texts and new texts. An allegorical play, The Three Ladies of Macao, premièred in December 2016, is now published as appendix in this volume.
Social Dynamics of Turbulent Theatrical Events
Since the beginning of theatre history, scandals have taken place and the variety of causes, processes and types of interactions makes them an interesting object of study. Theatre scandals often indicate clashes with a dominant ideology or with the ideology of a particular group in society. Sometimes, following a scandal, the attacked ideology changes and incorporates the possibility of the aesthetics or themes that caused the clash. In this way, scandals can cause dynamic changes within cultural systems.
Next to theoretical considerations the contributors, all members of the IFTR Theatrical Event Working Group, present in their various case studies a wide cultural and chronological diversity of theatre scandals, all of which were experienced as very shocking moments in theatre history.
Disability and Dissensus is a comprehensive collection of essays that reflects the interdisciplinary nature of critical cultural disability studies. The volume offers a selection of texts by numerous specialists in different areas of the humanities, both well-established scholars and young academics, as well as practitioners and activists from the USA, the UK, Poland, Ireland, and Greece. Taking inspiration from Critical Disability Studies and Jacques Rancière’s philosophy, the book critically engages with the changing modes of disability representation in contemporary cultures. It sheds light both on inspirations and continuities as well as tensions and conflicts within contemporary disability studies, fostering new understandings of human diversity and contributing to a dissensual ferment of thought in the academia, arts, and activism.

Contributors are: Rosemarie Garland-Thomson, Dan Goodley, Marek Mackiewicz-Ziccardi, Małgorzata Sugiera, David T. Mitchell, Sharon L. Snyder, Maria Tsakiri, Murray K. Simpson, James Casey, Agnieszka Izdebska, Edyta Lorek-Jezińska, Dorota Krzemińska, Jolanta Rzeźnicka-Krupa, Wiktoria Siedlecka-Dorosz, Katarzyna Ojrzyńska, Christian O’Reilly, and Len Collin.
Discoveries in a Dance Theatre Lab through Creative Process-based Research
In Expressive Arts Education and Therapy the reader follows the creation of art-making in tandem with the unfolding of sense-making. A dance theatre lab is the stage for exploration where what was discovered was phenomenologically and collaboratively reflected upon, the participatory nature of the creative work pouring into the research methodology. Creative Process-based Research efficacy is contingent upon the interaction of three poles – the creator, the product and an experience of the internal/external creative process of the creator. All three perspectives comprise the dynamics required of this research methodology in order to understand what is occurring in these three distinct and essential elements of the creative process. What results is an experience of cohesion that consciously describes this interplay.

The author outlines his influences that contributed to both the art-making and sense-making over the seven year research project. His work in experimental theatre in New York, as an educator with The European Graduate School in Switzerland and his studies with philosopher John de Ruiter in Canada are integrated into the world of research in the field of expressive arts. The visceral component of creating clarity is uncovered and articulated. This book inspires new ways of thinking about participatory, collaborative, arts-centered research where the skill of exposing the artist/researcher’s modus operandi for making art and making sense is named in a myriad of ways that call upon the intellect as well as the artist’s intuitive sense of what to focus on and its relevance to education, therapy and global health.
Joyce’s art is an art of idiosyncratic transformation, revision and recycling. More specifically, the work of his art lies in the act of creative transformation: the art of the paste that echoes Ezra Pound’s urge to make it new. The essays in this volume examine various modalities of the Joycean aesthetic metamorphosis: be it through the prism of Joyce engaging with other arts and artists, or through the prism of other arts and artists engaging with the Joycean aftermath. We have chosen the essays that best show the range of Joycean engagement with multiple artistic domains in a variety of media. Joyce’s art is multiform and protean: influenced by many, it influences many others.