A Companion to Celestina, Enrique Fernandez brings together twenty-three hitherto unpublished contributions on the
Tragicomedia de Calisto y Melibea, popularly known as
Celestina (c. 1499) written by leading experts who summarize, evaluate and expand on previous studies. The resulting chapters offer the non-specialist an overview of Celestina studies. Those who already know the field will find state of the art studies filled with new insights that elaborate on or depart from the well-established currents of criticism. Celestina's creation and sources, the parody of religious and erudite traditions, the treatment of magic, prostitution, the celestinesca and picaresque genre, the translations into other languages as well as the adaptations into the visual arts (engravings, paintings, films) are some of the topics included in this companion.
Contributors are: Beatriz de Alba-Koch, Raúl Álvarez Moreno, Consolación Baranda, Ted L. Bergman, Patrizia Botta, José Luis Canet, Fernando Cantalapiedra, Ricardo Castells, Ivy Corfis, Manuel da Costa Fontes, Enrique Fernandez, José Luis Gastañaga Ponce de León, Ryan D. Giles, Yolanda Iglesias, Gustavo Illades Aguiar, Kathleen V. Kish, Bienvenido Morros Mestres, Devid Paolini, Antonio Pérez Romero, Amaranta Saguar García, Connie Scarborough, Joseph T. Snow, and Enriqueta Zafra.
In ice hockey, the term body check refers to a specific move to gain control. It is a blow from body to body, a dynamic clash of physical strength, which will determine the course of the game. In this book, too, the body is checked and there is physical confrontation. Not in the hockey ring, but on stage.
This book deals with the body in contemporary (performing) arts. The focus is on exploring theoretical avenues and developing new concepts to grasp corporeal images more accurately. This theoretical research is confronted with the voice of artists whose work explicitly deals with the body. In-depth interviews with a.o. Meg Stuart, Wim Vandekeybus, Romeo Castellucci, Jerôme Bel reveal a very broad range of views on the (re)presentation of the body in today’s performing arts. The combination of these two voices –the theoretician’s and the artist’s -shows that research by artists and cultural scientists is perfectly complementary.
Marguerite Duras. Un théâtre de voix / A Theatre of Voices propose une relecture originale du théâtre de Marguerite Duras dans sa dimension à la fois textuelle et scénique. Les articles ici réunis sont écrits par plusieurs des meilleurs spécialistes du théâtre français ou par des praticiens de la scène. Ils témoignent des dernières avancées de la recherche, particulièrement dans les domaines de la voix et du son. Les auteurs démontrent, par des analyses précises et approfondies d’un large éventail des pièces de Duras, que ses innovations scéniques ont eu un impact radical sur le développement de la forme théâtrale. L'ouvrage offre également la lecture d'un entretien inédit en français de Duras sur son théâtre en 1985. Ce livre est donc une ressource indispensable pour les étudiants de la littérature française, ainsi que pour les étudiants du théâtre contemporain.
Marguerite Duras. Un théâtre de voix / A Theatre of Voices presents a radical reappraisal of the plays of Marguerite Duras. The essays are written by some of the leading scholars in French theatre studies today. A number of the approaches, particularly in the areas of voice and the auditory, are at the cutting-edge of contemporary performance research. The authors demonstrate, by precise and detailed analysis of the full range of her plays, that Duras was a trailblazer, and that the startling ways in which she manipulated the languages of the stage have shaped the development of the form. The book is a therefore a vital resource for students of French literature and culture, and for students of contemporary theatre.
At a time when universities demand immediate and quantifiable impacts of scholarship, the voices of research participants become secondary to impact factors and the volume of research produced. Moreover, what counts as research within the academy constrains practices and methods that may more authentically articulate the phenomena being studied. When external forces limit methodological practices, research innovation slows and homogenizes.
This book aims to address the methodological, interpretive, ethical/procedural challenges and tensions within theatre-based research with a goal of elevating our field’s research practice and inquiry. Each chapter embraces various methodologies, positionalities and examples of mediation by inviting two or more leading researchers to interrogated each other’s work and, in so doing, highlighted current debates and practices in theatre-based research. Topics include: ethics, method, audience, purpose, mediation, form, aesthetics, voice, data generation, and research participants. Each chapter frames a critical dialogue between researchers that take multiple forms (dialogic interlude, research conversation, dramatic narrative, duologue, poetic exchange, etc.).
Marie Vieux Chauvet’s Theatres: Thought, Form, and Performance of Revolt at once reflects and acts upon the praxis of theatre that inspired Haitian writer Marie Vieux Chauvet, while at the same time provides incisively new cultural studies readings about revolt in her theatre and prose. Chauvet – like many free-minded women of the Caribbean and the African diaspora – was banned from the public sphere, leaving her work largely ignored for decades. Following on a renewed interest in Chauvet, this collection makes essential contributions to Africana Studies, Theatre Studies, Performance Studies, Postcolonial Studies, and Global South Feminisms.
Contributors are: Alessandra Benedicty-Kokken, Stéphanie Bérard, Christian Flaugh, Gabrielle Gallo, Jeremy Matthew Glick, Kaiama L. Glover, Régine Michelle Jean-Charles, Cae Joseph-Massena, Nehanda Loiseau, Judith G. Miller, Lizabeth Paravisini-Gebert, Anthony Phelps, Ioana Pribiag, Charlee M. Redman Bezilla, Guy Régis Jr, and Lena Taub Robles.
This collection is a beautiful gathering of voices exploring Chauvet’s theatrical work, along with the role of theatre in her novels. The richly textured and evocatively written essays offer many new and necessary insights into the work of one of Haiti’s greatest writers. — Laurent Dubois, Marcello Lotti Professor of Romance Studies and History, Duke University. Author of
Haiti: The Aftershocks of History
This collection draws necessary critical attention to how theatre and performance animate the work of a key figure in Caribbean fiction and drama. Using an innovative scholarly and artistic approach, the collection incorporates leading and new voices in Haitian studies and Francophone studies on Chauvet’s depictions of revolt. — Soyica Diggs Colbert, Professor of African American Studies and Theater & Performance Studies, Georgetown University. Author of
Black Movements: Performance and Cultural Politics
Shakespeare as German Author, edited by John McCarthy, revisits in particular the formative phase of German Shakespeare reception 1760-1830. Following a detailed introduction to the historical and theoretical parameters of an era in search of its own literary voice, six case studies examine Shakespeare’s catalytic role in reshaping German aesthetics and stage production. They illuminate what German speakers found so appealing (or off-putting) about Shakespeare’s spirit, consider how translating it nurtured new linguistic and aesthetic sensibilities, and reflect on its relationship to German
Geist through translation and cultural transfer theory. In the process, they shed new light, e.g., on the rise of
Hamlet to canonical status, the role of women translators, and why
Titus Andronicus proved so influential in twentieth-century theater performance.
Contributors are: Lisa Beesley, Astrid Dröse, Johanna Hörnig, Till Kinzel, John A. McCarthy, Curtis L. Maughan, Monika Nenon, Christine Nilsson.
One of the most striking features of cultural life in South Africa has been the extent to which one area of cultural practice - theatre - has more than any other testified to the present condition of the country, now in transition between its colonial past and a decolonized future. But in what sense and how far does the critical force of theatre in South Africa as a mode of intervention continue?
In the immediate post-election moment, theatre seemed to be pursuing an escapist, nostalgic route, relieved of its historical burden of protest and opposition. But, as the contributors to this volume show, new voices have been emerging, and a more complex politics of the theatre, involving feminist and gay initiatives, physical theatre, festival theatre and theatre-for-education, has become apparent.
Both new and familiar players in South African theatre studies from around the world here respond to or anticipate the altered conditions of the country, while exploring the notion that theatre continues to 'intervene.' This broad focus enables a wide and stimulating range of approaches: contributors examine strategies of intervention among audiences, theatres, established and fledgling writers, canonical and new texts, traditional and innovative critical perspectives. The book concludes with four recent interviews with influential practitioners about the meaning and future of theatre in South Africa: Athol Fugard, Fatima Dike, Reza de Wet, and Janet Suzman.
After Beckett / D’après Beckett (edited by Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden and Bruno Clément / Paris) constitutes a collection of over 40 articles selected from contributions to the Sydney Symposium of January 2003 that – as a part of an International Sydney Festival – was one of the major events related to Samuel Beckett of the last decade.
The three sections of the book reflect the most vibrant fields of research in Beckett studies today: “Intertextuality and Theory”, “Philosophy and Theory” and “Textual Genesis, Contextual Genesis and Language”. Scholars from all over the world participating in this collection testify to the durable and universal nature of interest in Beckett’s work.
After Beckett / D’après Beckett (édité par Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden et Bruno Clément / Paris) constitue une collection de plus de 40 articles présentant une sélection parmi les contributions au Colloque International de Sydney qui a eu lieu en janvier 2003 dans le cadre du Festival International de Sydney. Cette réunion a été l’un des événements majeurs de ce début du troisième millénaire pour ce qui concerne les études beckettiennes.
Les trois sections du recueil reflètent les champs d’intérêt les plus importants de la critique beckettienne actuelle: “Intertextualité et confluence”, “Philosophie et Théorie” et “Genèse textuelle, Genèse contextuelle et Langage”. Des universitaires du monde entier ont participé à ce livre et témoignent ainsi de l’intérêt universel et durable de l’œuvre de Samuel Beckett