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Performing Gods in Classical Antiquity and the Age of Shakespeare
The gods have much to tell us about performance. When human actors portray deities onstage, such divine epiphanies reveal not only the complexities of mortals playing gods but also the nature of theatrical spectacle itself. The very impossibility of rendering the gods in all their divine splendor in a truly convincing way lies at the intersection of divine power and the power of the theater. This book pursues these dynamics on the stages of ancient Athens and Rome as well on those of Renaissance England to shed new light on theatrical performance. The authors reveal how gods appear onstage both to astound and to dramatize the very machinations by which theatrical performance operates. Offering an array of case studies featuring both canonical and lesser-studied texts, this volume discusses work of Aeschylus, Sophocles, Euripides, Aristophanes, and Plautus as well as Beaumont, Heywood, Jonson, Marlowe, and Shakespeare. This book uniquely brings together the joint perspectives of two experts on classical and Renaissance drama. This volume will appeal to students and enthusiasts of literature, classics, theater, and performance studies.
Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance-drama
This study examines the effect of the mask upon the masked performer int he Balinese Topeng and Calonarang dance dramas and Japanese Noh Theatre. It represents the first systematic study of the relationship between the actor and the mask from the performer's perspective. The approach is largely empirically based and draws upon the author's extensive field research in Bali and Japan which included interviews with performers and mask makers, study of mask carving and dance and observation of private lessons and public performances. This study will be of interest to scholars and students in many fields including Anthropology, Cultural Studies, Performance Studies, Theatre, Dance and Visual Arts. It will be also of interest to theatre and dance practitioners, especially those working with masks or intercultural performance.
Identity, Home and Writing Elsewhere in Contemporary Chinese Diaspora Poetry
An exploration of the burgeoning field of Anglophone Asian diaspora poetry, this book draws on the thematic concerns of Hong Kong, Asian-American and British Asian poets from the wider Chinese or East Asian diasporic culture to offer a transnational understanding of the complex notions of home, displacement and race in a globalised world. Located within current discourse surrounding Asian poetry, postcolonial and migrant writing, and bridging the fields of literary and cultural criticism with author interviews, this book provides close readings on established and emerging Chinese diasporic poets' work by incorporating the writers' own reflections on their craft through interviews with some o...
The Curriculum, Training Methods and History of a Comptetitive Improvisational Comedy Company
You can hit, you can field, but can you make them laugh? Working from interviews and questionnaires, Bradsaw (theater, Gonzaga U.) also uses his personal experience with a ComedySportz team in describing the intensive preparation necessary to get players ready for competitive improv comedy. He describes the history of the art form, the workshops conducted to help players develop the timing of trapeze artists and the hides of rhinos, and the fine points of a sport that favors explosive mind games over protective headgear, however handy the latter may be. He includes a list of teams in the Comedy League of America, the games played in ComedySportz, and a sample questionnaire. We were amused. The text is double-spaced. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).
Shakespeare and the Mediterranean
Shakespeare's career-long fascination with the Mediterranean made the association a natural one for this first World Shakespeare Congress of the Third Millennium. The plenary lectures and selected papers in this volume represent some of the best contemporary thought and writing on Shakespeare, in the ranging plenary lectures by Jonathan Bate on Shakespeare's islands and the Muslim connection, Michael Coveney's on the late Sir John Gielgud, Robert Ellrodt's on Shakespeare's sonnets and Montaigne's essays, Stephen Orgel's on Shakespeare's own Shylock, and Marina Warner's on Shakespeare's fairy-tale uses of magic. Also included in the volume's several sections are original pagers selected from special sessions and seminars by other distinguished writers, including Jean E. Howard, Gary Taylor, and Richard Wilson. Tom Clayton is Regents' Professor of English Language and Literature and chair of the Classical Civilization Program at the University of Minnesota. Susan Brock is Head of Library and Information Resources at the Shakespeare Birthplace Trust in Stratford-upon-Avon and Honorary Fellow of the Shakespeare Institute of the University of Birmingham. Vicente Fores is Associate Profe
Dear Hong Kong
Xu Xi’s body of work witnesses her turbulent love affair with her home-city of Hong Kong. In this probing memoir, she unravels her recently finalised decision to leave the city for good. She critiques a Hong Kong that has, in her eyes, lost its way. And yet, it is only out of the city’s enduring presence in her life, both in the form of memory and periodic homecomings, that she has carved out a personal and literary identity. Dear Hong Kong is a profound reflection on the life of Hong Kong, personified and interrogated by one of its most lucid writers.
Ola Rotimi's African Theatre
This work is an exploration into the writing, cultural and theatrical aesthetics of African writer and director, Ola Rotimi. It is a quest and search for an authentic African esthetic that has been transformed by at least two centuries of the European colonization. This work focuses on the aesthetic dimensions of the Ori Olokun theatre under the artistic direction of Ola Rotimi. It reviews Ola Rotimi's vision and impact with the Ori Olokun Company, and his quest to formulate a truly authentic African theatre, void of the imported European sensibility and colonially inherited aesthetic. The unique creative achievement of Rotimi's work at the Ori Olokun theatre, is that it evolved out of the i...
