Theatre Books: Online Versions & Excerpts

Introduction to the series -- Acknowledgements -- List of plates -- Preface -- 1. Stillness -- 2. Being clothing -- 3. Mimicry and repetition -- 4. The Other and the other -- 5. Inconsistency, catastrophe and surprise -- 6. Cathexes and chaos -- 7. Drives and primaries -- 8. Transitions as desires -- 9. Transference, substitution and reversal -- 10. Language -- 11. Time and space -- 12. Cathexes of desire -- 13. Looking at light -- 14. Presence or puppeteering -- 15. Conclusion -- Appendices -- Bibliography -- Index

Introduction : archaeologies of presence / Gabriella Giannachi, Nick Kaye and Michael Shanks -- How to define presence effects : the work of Janet Cardiff / Josette Féral -- Environmental presence / Gabriella Giannachi -- Performance remains again / Rebecca Schneider -- Tension/release and the production of time in performance / Jon Erickson -- Appearing as embodied mind : defining a weak, a strong and a radical concept of presence / Erika Fischer-Lichte -- "Presence" as a question and emergent possibility : a case study from the performer's perspective / Phillip Zarrilli -- Out-standing standing-within : being alone together in the work of Bodies in flight / Simon Jones -- Mis-spectatorship, or, "redistributing the sensible" / Nicholas Ridout -- Looking back : a conversation about presence, 2006 / Tim Etchells, Gabriella Giannachi and Nick Kaye -- Temporal anxiety/"presence" in Absentia : experiencing performance as documentation / Amelia Jones -- Here and now / Lynn Hershman Leeson and Michael Shanks -- Photographic presence : time and the image / Nick Kaye -- Neither here nor there : let's talk about adult matters / Mike Pearson

Part I 1. The Concept of Practice and the Sociology of the Arts by Tasos Zembylas 2. Art Bundles by Theodore Schatzki 3. Practices of Contemporary Art: A Pragmatic Approach to a New Artistic Paradigm by Nathalie Heinich 4. Artistic Practices as Gendered Practices: Ways and Reasons by Marie Buscatto Part II 5. Artistic Practices over the Course of Careers in Film by Chris Mathieu and Iben Sandal Stjerne 6. "You’re Not Going to Play What You Practiced…. Something Else is Going to Happen" by Silvana K. Figueroa-Dreher 7. The Knowing Body-in-Action in Performing Arts: Embodiment, experiential transformation, and intersubjectivity by Chiara Bassetti 8. Forms of Knowing in the Literary Writing Process by Tasos Zembylas 9. Engaging in the Politics of Participative Art in Practice by Laurent Thévenot 10. Art Installation as Knowledge Assembly: Curating Contemporary Art by Sophia Krzys Acord 11. The Intricacies of Street Art Learning: A Sociological Explanation by Graciela Trajtenberg

another online version
Chapter 1 – Choreography Inventories and Taxonomies Traveling and Disseminating Authorship, Narrative, and Technique Revealing and Testifying Making and Collaborating Chapter 2 - Kinesthesia Chorographies and Anatomies Trembling and Orienting Hardening and Picturing Encompassing and Expressing Synthesizing and Simulating Chapter 3 – Empathy Taken Unawares by Surprising Magnetisms Surveying the Scene, Nervously Domesticating and Othering Identifying and Emoting Resonating and Predicting Chapter 4 – Choreographing Empathy Grounding and Remembering Locating and Surveilling Engendering and Evaluating Downloading and Accessorizing Choreographing Empathy

"In this engaging cross-disciplinary study, Timothy Murray examines the artistic struggle over traumatic fantasies of race, gender, sexuality, and power. Establishing a retrospective dialogue between past and present, stage and video, Drama Trauma links the impact of trauma on recent political projects in performance and video with the specters of difference haunting Shakespeare's plays. The book provides close readings of cultural formations as diverse as Shakespearean drama, the Statue of Liberty, contemporary plays by women, African-American performance, and feminist interventions in video, performance and installation. The texts discussed include: * installations by Mary Kelly and Dawn Dedeaux, * plays by Ntozake Shange, Rochelle Owens, Adrienne Kennedy, Marsha Norman and Amiri Baraka * performances by Robbie McCauley, Jordan, Orlan, and Carmelita Tropicana * stage, film and video productions of King Lear, Othello, Romeo and Juliet and All's Well that Ends Well."

"Although the particularly strenuous physical training emblematic of Grotowski's approach is not gender specific, it has historically been associated with a masculine conception of the performer incarnated by Ryszard Cieslak in The Constant Prince, thus overlooking the work of Rena Mirecka, Maja Komorowska, and Elizabeth Albahaca, to name only the leading women performers identified with the period of theatre productions. This book therefore redresses this imbalance by focusing on key women from different cultures and generations who share a direct connection to Grotowski's legacy while clearly asserting their artistic independence. These women actively participated in all phases of the Polish director’s practical research, and continue to play a vital role in today's transnational community of artists whose work reflects Grotowski's enduring influence."

"Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this concept plays in defining musical meaning. In discussions of music from both popular and classical traditions, Sanden demonstrates how liveness is performed by acts of human expression in productive tension with the electronic machines involved in making this music, whether on stage or on recording. Liveness is not a fixed ontological state that exists in the absence of electronic mediation, but rather a dynamically performed assertion of human presence within a technological network of communication. This book provides new insights into how the ideas of performance and liveness continue to permeate the perception and reception of even highly mediatized music within a society so deeply invested, on every level, with the use of electronic technologies."

"No study of modern theater is complete without a thorough understanding of the enormous influence of visionary genius Edward Gordon Craig. Born in England in 1872, Craig went on to become famous world-wide as an actor, manager, director, playwright, designer, and most importantly an author and theorist, whose books were translated into German, Russian, Japanese, Dutch, Hungarian, and Danish. Although an essential parallel to the European avant-garde, Craig was often read as "exceptional" and highly innovative in his native Britain, thus, The Mask not only appears as Craig's main cosmopolitan project but also at times functions as a surrogate stage for his experiments in theater practice. The book has a comprehensive chronology, extensive notes and a bibliography making it an essential text for undergraduates, postgraduates, actors, theatre professionals, designers, directors, researchers and writers in the fields of theatre studies (especially theater set and lighting) and theater history."

another online version
Pt. I: Gestures in Music 1 Why Study Musical Gestures?, by Marc Leman, Rolf Inge Godoy; 2 Musical Gestures: Concepts & Methods in Research, by Marc Leman, Rolf Inge God0y, Marcelo M. Wanderley, Alexander Refsum Jensenius; 3 Gestures in Performance, by Sofia Dahl, Laura Leante, Martin Clayton, Isabella Poggi, Nicolas Rasamimanana, Roberto Iiresin, Frederic Bevilacqua; 4 Music and Gestures: A Historical Introduction & Survey of Earlier Research, by Albrecht Schneider; Pt. II: Gestural Significations 5 Gestural Affordances of Musical Sound, by Rolf Inge Godoy; 6 Music, Gesture, & the Formation of Embodied Meaning, by Marc Leman; 7 The Functional Role & Bio-kinetics of Basic & Expressive Gestures in Activation & Sonification, by Leon Van Noorden; Pt. III: Gesture Generation & Control 8 Gesture & Timbre, by Rolf Inge Godoy, Rolf Bader, Knut Guettler, Tor Halmrast; 9 Sensorimotor Control of Sound-producing Gestures, by Sylvie Gibet; 10 Visual Gesture Recognition: From Motion Tracking to Expressive Gesture, by Thomas B. Moeslund, Antonio Camurri; 11 Conductors' Gestures & Their Mapping to Sound Synthesis, by Gunnar Johannsen, Teresa Marrin Nakra

"Whether performing a national anthem for visiting heads of state, creating a school play about a country's birth, or marching in protest of a change in public policy, young people use theatre and performance as a means of publicly staking a claim in national politics, directly engaging with ideas of nationalism around the world. This collection explores the issues of how children fit into national discourse on international stages. The authors focus on national performances by/for/with youth and examine a wide range of performances from across the globe, from parades and protests to devised and traditional theatre."

"Roberta Carreri is one of acclaimed theatre company Odin Teatret's longest-serving actors, and the last to be trained by Eugenio Barba himself. In this book, she relives the milestones of her professional journey, including: her first experiences of street theatre the discovery of Asian performance traditions pedagogical activities and character creation encounters with artists and spectators the inception of her solo performances, Judith and Salt Interwoven with rich photographic documentation and a wealth of biographical information, this inspiring handbook reveals the professional secrets of an Odin Teatret actor as well as the story of a life of work, research, and passion."

Section 1: Performance Theory & Cognition 1. Performance, Phenomenology, & the Cognitive Turn F. Elizabeth Hart 2. Cognitive Studies & Epistemic Competence in Cultural History: Moving Beyond Freud & Lacan Bruce McConachie 3. Performance Strategies, Image Schemas, & Communication Frameworks Tobin Nellhaus Section 2: Drama &Cognition 4. Essentialism & Comedy: A Cognitive Reading of the Motif of Mislaid Identity in Dryden’s Ampitryon (1690) Lisa Zunshine 5. `It Is Required/You Do Awake Your Faith’: Learning to Trust the Body through Performing The Winter’s Tale Naomi Rokotnitz Section 3: Acting & Cognition 6. Neuroscience & Creativity in the Rehearsal Process John Lutterbie 7. Image & Action: Cognitive Neuroscience and Actor Training Rhonda Blair Section 4: The Spectator & Cognition 8. See the Play, Read the Book Howard Mancing 9. Categories & Catcalls: Cognitive Dissonance in The Playboy of the Western World Neal Swettenham Glossary of Terms Jennifer Pierce

Part 1: Placements & Boundaries 1. The Theatre ici Marvin Carlson 2. Monarchs on Trial at the Early Modern Court Janette Dillon 3. What time is this place? Continuity, Conflict & the Right to the City: Lessons from Haymarket Square Loren Kruger 4. Performing Like a City: London's South Bank & the Cultural Politics of Urban Governance Michael McKinnie 5. What is Sydney about Sydney theatre?: Performance Space & the Creation of a ‘Matrix of Sensibility’ Gay McAuley 6. Thresholds of Tolerance: Censorship, Artistic Freedom & the Theatrical Public Sphere Christopher Balme 7. "Set in Poland, that is to say Nowhere": Alfred Jarry & the Politics of Topological Space Nicolas Salazar-Sutil Part 2: Utopia & Heterotopia 8. Equality & Theatre Architecture: Voltaire’s Private Theatre Ludger Schwarte 9. Rousseau's Heterotopology of Theatre Juliane Rebentisch 10. Heterotopias of the Public Sphere: Theatre & Festival around 1800 Patrick Primavesi 11. Other Space or Space of Others?: Reflections on Contemporary Political Theatre Benjamin Wihstutz 12. Opéra Pagaï’s Entreprise de Détournement: Collages of Geographic, Imaginary & Discursive Spaces Susan Haedicke Part 3: Strategies of Spatial Appropriation 13. Policies of Spatial Appropriation Erika Fischer-Lichte 14. "Moment to Moment—Space": The Architecture Performances of Gordon Matta-Clark Philip Ursprung 15. Uncanny Connections: William Forsythe’s Choreographic Installations Kirsten Maar 16. Change through Rapprochement: Spatial Practices in Contemporary Performances Jens Roselt 17. Life Politics/Life Aesthetics: Environmental Performance in red, black, GREEN: a blues Shannon Jackson

Part I: Positioning the Neo-Political Subject 1. Bloody Thought Herb Blau 2. ID/entity: the Subject’s Own Taking Place Matthew Causey and Gabriella Calchi Novati Part II: A/Semiotic Directions 3. The Theatre of Thought Patricia MacCormack 4. Performance, the Field Body, & Zombies in Societies of Entrainment David Fancy 5. The Fugitive Theatre of Romeo Castellucci: Intermedial Refractions & Fractalactic Occurrences Bryan Reynolds & Adam Bryx 6. The Post-subjective Body, Or Deleuze & Guattari Meet Romeo Castellucci Audronė Žukauskaitė Part III: Collaborative Practice, Collective Action 7. A Diluted Manifesto Lin Hixson, Matthew Goulish, & Laura Cull 8. Being Janez Janša’ Maaike Bleeker 9. The Bone’s Pirouette: Dance, Identity & Energy Petra Kuppers 10. Dance & the Event: John Jasperse’s Giant Empty & the Disclosure of Being as Time Nigel Stewart Part IV: Performing Along & Outside the Borders of Identity 11. Temporary Legitimacy: Queer Possibilities in Digital Performance Stephen Greer 12. Affective Presents/Effective Presence: Intensity, Futurity, & the Theatrical Politics of the Child Joshua Abrahams 13. The Matter of Queer Politics & Ethics: Antony Hegarty & The Crying Light Fintan Walsh 14. Reflective Viewing: ORLAN’s Hybridized Harlequin, Banksy, Bacon, & the Animal-Human Divide Jennifer Parker-Starbuck 15. Palestine & Political Invention Maurya Wickstrom

"In Performance Theatre and the Poetics of Failure, Sara Jane Bailes begins with Samuel Beckett and considers failure in performance as a hopeful strategy. She examines the work of internationally acclaimed UK and US experimental theatre companies Forced Entertainment, Goat Island and Elevator Repair Service, addressing accepted narratives about artistic and cultural value in contemporary theatre-making. Her discussion draws on examples where misfire, the accidental and the intentionally amateur challenge our perception of skill and virtuosity in such diverse modes of performance as slapstick and punk."

Performer Training is an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey: · Some of Asia's traditional training methods and recent experiments in performer training · Eugenio Barba's training methods · Jerzy Grotowski's most recent investigations · The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett · Descriptions of the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute · Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses · The reformulation of the use of emotions in performer training known as Alba Emoting.

another online version
Introduction: Transnational Geographies & 'Asian' Performance 1. Transnational Theatre Networks 2. Intersectional Identities in Transnational Theatre Part 1: Transnationalism in Context 3.Glocalisation at the Singapore Arts Festival 4. Performing Displacement: Asian American Diasporic and Refugee Theatre 5. Touring Transnationality: The Production of British East Asian Theatre Part 2: Transnationalism across Contexts 6. Singapore-Scotland: Transnational Policy & Theatrical Exchange 7. Relational Spaces of Protest: The Orphan of Zhao Controversy 8. Translocal Circulation: From M. Butterfly to Mu-Lan Conclusion: A Slice of Transnationalism, Performance & Asian Identity

1. Introduction 2. On the Ambiguity of the Notion of Beauty 3. Technology – Unity and Distinctions 4. To Do – On the Immediacy of Performative Beauty 5. To Act – On the Beauty of Interaction 6. To Perform – On Beauty as Realization 7. The Beauty of Acts 8. Beauty in a Participatory Culture

"The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves."

Part I: Strategies and Dynamics 1. Postcolonial Modernity: Theatre in Morocco & the Interweaving Loop Khalid Amine 2. Cultural Interweaving in Mexican Political Cabaret Gastón A. Alzate 3. Farewell & Welcome Back, My Concubine: Female Impersonation on the Chinese Stage Shen Lin 4. Performing Orientalist, Intercultural & Globalized Modernities: The Case of Les Naufragés du Fol Espoir by the Théâtre du Soleil Brian Singleton Part II: Rituals & Festivals 5. Oceanic Imagination, Intercultural Performance, Pacific Historiography Margaret Werry 6. Dancing for the Dead Jacqueline Lo 7. Un/familiar Landscapes: Tragedy & Festivals Natascha Siouzouli 8. "Let the Games Begin": Pageants, Protests, Indigeneity (1968–2010) Helen Gilbert Part III: Failures and Resistances 9. Hauntings of the Intercultural: Enigmas & Lessons on the Borders of Failure Rustom Bharucha 10. Strategic Unweaving: Itō Michio & the Diasporic Dancing Body Carol Fisher Sorgenfrei 11. Linguistic & Cultural Interweaving on the Contemporary English & American Stages Marvin Carlson 12. Failed Stages: Postcolonial Public Spheres & the Search for a Caribbean Theatre Christopher Balme Epilogue: Global Pathways Homi K. Bhabha

"This book offers a study of post-9/11 anti-war organizations in the United States and their role in domestic foreign policy debates. The moment of the 9/11 terrorist attacks has been much cited in political and cultural scholarship and much attention has been paid to the promotion of "War on Terror" policies. The social mechanisms behind the circumscription and regulation of national ideals attracted critical analyses from scholars across disciplines; yet the prevalence of scholarly concern with the negative political devices of the Bush Administration at times seemed to risk reproducing the hierarchies of power that underpinned the very issue of concern, and even the War on Terror itself. By contrast, this book celebrates the political acts of individuals committed to changing the dominant politics of the Bush era. Drawing on participant observation and interviews with the leaders of prominent anti-war organizations including Code Pink and Iraq Veterans Against the War, the book employs Performance Theory to evaluate the capacity of protest to effect lasting social change."

Body in Mind: Exploring Pre-Expressivity by Val Taylor; Peter Brook & Traditional Thought by Basarab Nicolescu, translated by David Williams; Grotowski, Holiness, & the Pre-Expressive by Ralph Yarrow; Barba's Concepts of the Pre-Expressive & the Third Organ of the Body of the Theatre & Theories of Consciousness by Daniel Meyer-Dinkgrafe; Pre-Expressivity: Some Thoughts from the Rehearsal Floor by John Martin; Endnote: The Range of Approaches by Ralph Yarrow

"Di Benedetto considers theatrical practice through the lens of contemporary neuroscientific discoveries in this provoking study, which lays the foundation for considering the physiological basis of the power of theatre practice to affect human behavior. He presents a basic summary of the ways that the senses function in relation to cognitive science and physiology, offering an overview of dominant trends of discussion on the realm of the senses in performance. Also presented are examples of how those ideas are illustrated in recent theatrical presentations, and how the different senses form the structure of a theatrical event. Di Benedetto concludes by suggesting the possible implications these neuroscientific ideas have upon our understanding of theatrical composition, audience response, and the generation of meaning."

[on order May 2023]
The Routledge Companion to Theatre and Performance provides an analytical, informative and engaging introduction to important people, companies, events, concepts and practices that have defined the complementary fields of theatre and performance studies. This fully updated second edition contains three easy to use alphabetized sections including over 120 revised entries on topics and people ranging from performance artist Ron Athey, to directors Vsevold Meyerhold and Robert Wilson, megamusicals , postdramatic theatre and documentation."

1. Stanislavski’s Life and Context 2. An Actor’s Work: Basic Training 3. An Actor’s Work: Analysis of the Play 4. An Actor’s work: Consolidation and spontaneity 5. An Actor’s work: Embodiment of the role 6. Stanislavski’s Legacy and Influence Chronology Glossary Bibliography Appendix 1: Synopsis of and extract from Tennessee Williams (2009) The Glass Menagerie, London: Penguin, Characters and Scene One pp xv-9 lines 1- 136 Appendix 2: Synopsis of Arthur Miller’s Death of a Salesman, Certain Private Conversations in Two Acts and a Requiem

"In this timely study about Richard Maxwell and the New York City Players, Gorman surveys the plays written and performances directed since 1996. Touching upon the acting, production and rehearsal processes of NYC Player's work, and Maxwell's representations of space, community, race, and gender, this volume provides scholars with an important overview of a key figure in contemporary drama."

"This book discusses the delicate balance between translating and directing from an intercultural, semiotic, aesthetic, and interlingual perspective, taking a critical stance on approaches that belittle translation for the theatre or equate it to an editorial practice focused on literality. Chapters emphasize the idea of dramatic translation as a particular and extremely challenging type of performance, while consistently exploring its various textual, intertextual, intertranslational, contextual, cultural, and intercultural facets. The notion of performance is applied to textual interpretation as performance, interlingual versus intersemiotic performance, and (inter)cultural performance in the adaptation of translated texts for the stage, providing a wide-ranging discussion from an international group of contributors, directors, and translators."

"Towards a Theory of Mime is a genuinely unique book about non-verbal communication and performance. Combining a broad global history of the evolution of human communication with an introduction to the general practice of mime, Alexander Iliev traces a lineage from Marceau and Barrault to his own distinguished practice as performer and teacher."

"Such closely intertwined areas as translation and adaptation need to encounter each other’s methodologies and perspectives in order to develop ever more rigorous approaches to the study of adaptation and translation phenomena, challenging current assumptions and prejudices in terms of both. The book includes contributions as diverse yet interrelated as Bakhtin’s notion of translation and adaptation, Bollywood adaptations of Shakespeare’s Othello, and an analysis of performance practice, itself arguably an adaptive practice, which uses a variety of languages from English and Greek to British and International Sign-Language."

"This book gives a new view on the legacy of Jerzy Grotowski (1933-1999), one of the central, and yet misunderstood, figures who shaped 20th-century theatre, focusing on his least known last phase of work on ancient songs and the craft of the performer. Salata posits Grotowski's work as philosophical practice, and more particularly, as practical research in the phenomenology of being, arguing that Grotowski's departure from theatrical productions (and thus critical consideration) resulted from his uncompromising pursuit of one central problem, "What does it mean to reveal oneself?" -- the very question that drove his stage directing work."

another online version
Contents: 1. The "Given Circumstances" 2. Emotional Control: Lee Strasberg as "Big Daddy" of the Method 3. Script Analysis: Stella Adler’s Feminist Subtext 4. Exercises in Repetition: Sanford Meisner and "Instinct" 5. Respect for the Actress: Uta Hagen on Playing Female Roles 6. The "Magic If": Forward-Looking Conclusions

"Crossing the Stage brings together for the first time essays which explore cross-dressing in theatre, cabaret, opera and dance. The volume contains seminal pieces which have become standard texts in the field, as well as new work especially commissioned from leading writers on performance."

"Feminist Theaters in the USA is a fresh, informative portrait of a key era in feminist and theater history It is vital reading for feminist students, theater historians and theater practitioners. Their continued movement forward will be challenged and enriched by this timely look back at the trials and accomplishments of their predecessors. Canning interviews over thirty women who took part in the dynamic feminist theater of the 1970s and 1980s. They provide first-hand accounts of the excitement, struggles and innovations which formed their experience. From this foundation Cannning constructs a compelling combination of historical survey, critique and celebration which explores: * The history of the groups and their formation * The politics which shaped their work * Their methods and creative processes * The productions they brought to the stage * The reception from critics and audiences"

"Kinship and Performance in the Black and Green Atlantic advances an innovative and compelling approach to writing comparative studies of performance in transnational, intercultural relation to one another. Its chosen subject in this case is the cultural and political intersection of African and Irish diasporic peoples and movements. Gough approaches her subject via five key "flashpoints" in Black/Green relations, moving from the mid-nineteenth century to the early twenty-first century. In turn, each of these is related to mediums of performance that were prevalent at the time, such as abolitionist oratory and melodrama, photography and tableaux, architecture and folk drama, television and political demonstrations, and visual art and dramaturgy. By examining the unlikely kinship between social actors such as Ida B. Wells and Maud Gonne, Lady Augusta Gregory and Zora Neale Hurston, and Bernadette Devlin and Alice Childress, along with a host of old and new theatrical "characters," this book explores how a transmedial investigation of gender, community, and performance allows for a revision of historiography in Atlantic studies, while the study itself revises and reimagines key concepts central to performance studies."

Introduction -- Forerunners : Dorothy Parker, Dawn Powell, Betty MacDonald -- Nora Ephron : all you ever wanted to know about control (but feared you'd appear too manipulative if you asked) -- Shirley Jackson : "in the country of the story, the writer is king" -- Alison Lurie : "writing was a kind of witch's spell" -- Grace Paley : "the ear is smarter than the eye" -- Anne Tyler : seeing through a "mist of irony" -- Lisa Alther : playing for the laugh: comic control in Kinflicks -- Rita Mae Brown : "an equal opportunity offender" -- Conclusion : what wit controlled

Introduction Philip Purvis 1. Performing Masculinity / Masculinity in Performance Kate Whittaker Part I : Voicing Masculinity 2. Soprano Masculinities Susan McClary 3. Pitch Fever: The Castrato, the Tenor, and the Question of Masculinity in Nineteenth Century Opera Freya Jarman 4. Russian Opera Rebels: Fyodor Komissarzhevsky, Nikolai Figner, and the Rise of the Tenor Antihero Juliet Forshaw 5. The Erotics of Masculinity in Zeffirelli’s Film Otello Marcia J. Citron Part II: Troubling Masculinity 6. Saint-Saëns’s Samson Kevin Kopelson 7. More Cases of Wagner Peter Franklin 8. Britten and the Deadlock of Identity Politics J.P.E. Harper-Scott 9. Troubling Gender and Identity in W.A. Mozart’s Zaide and Chaya Czernowin’s Adama Martin Iddon Part III: Troubled Masculinity 10. Opera’s Unconscious, or What Men Don’t Say Ian Biddle 11. Portrait of the Artist as an Older Man Linda and Michael Hutcheon 12. The ‘Crisis’ of Masculinity in Poulenc’s Les Mamelles de Tirésias Philip Purvis

"Since its first publication in 1997, My Gender Workbook has been challenging, encouraging, questioning, and helping those trying to figure out how to become a "real man," a "real woman," or "something else entirely." In this exciting new edition of her classic text, Bornstein re-examines gender in light of issues like race, class, sexuality, and language. With new quizzes, new puzzles, new exercises, and plenty of Kate's playful and provocative style, My New Gender Workbook promises to help a new generation create their own unique place on the gender spectrum."

"This volume explores comedy as a place where gender and sexuality, through performance, challenge sexist and heteronormative forces in Western culture. The contributors investigate the effects of gender, sexuality, sexual identity, race, class and nationality on humor and comedic performance. Each chapter, distinct in its voice and content, addresses how particular historical periods seem to affect who laughs at what, why, and with what consequences. This book not only spans a broad range of historical and literary periods, it also engages in a critical conversation with past and present thinkers to articulate the political, cultural and social effects of comedy."

"Kinship and Performance in the Black and Green Atlantic advances an innovative and compelling approach to writing comparative studies of performance in transnational, intercultural relation to one another. Its chosen subject in this case is the cultural and political intersection of African and Irish diasporic peoples and movements. Gough approaches her subject via five key "flashpoints" in Black/Green relations, moving from the mid-nineteenth century to the early twenty-first century. In turn, each of these is related to mediums of performance that were prevalent at the time, such as abolitionist oratory and melodrama, photography and tableaux, architecture and folk drama, television and political demonstrations, and visual art and dramaturgy. By examining the unlikely kinship between social actors such as Ida B. Wells and Maud Gonne, Lady Augusta Gregory and Zora Neale Hurston, and Bernadette Devlin and Alice Childress, along with a host of old and new theatrical "characters," this book explores how a transmedial investigation of gender, community, and performance allows for a revision of historiography in Atlantic studies, while the study itself revises and reimagines key concepts central to performance studies."