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The Performance Studies Reader

Edited by Henry Bial, University of New Mexico, USA

'Clearly an important collection of essays it will provide an excellent resource for levels II and III specialist courses.' - Nick Kaye, University of Manchester

The Performance Studies Reader is a lively and much-needed anthology of critical writings on the burgeoning discipline of performance studies. It provides an overview of the full range of performance theory for undergraduates at all levels, and beginning graduate students in performance studies, theatre, performing arts and cultural studies. The collection is designed as a companion to Richard Schechner's popular Performance Studies: an Introduction (Routledge, 2002) but is also ideal as a stand-alone text. Henry Bial collects together key critical pieces frorn the field, referred to as 'suggested readings' in Performance Studies: an Introduction. He also broadens the discussion with additional selections. The structure and themes of the Reader closely follow those of Schechner's companion textbook. The articles in each section focus particularly on three primary areas in performance studies, theatre, anthropology and sociology/cultural studies.

Contents:

Part I. What is Performance Studies? 1. Performance studies: the broad spectrum approach Richard Schechner 2. Disciplines of the text: sites of performance W.B. Worthen 3. The liminal-norm Jon McKenzie 4. Professing performances: disciplinary genealogies Shannon Jackson 5. Performance studies Barbara Kirschenblatt-Gimblett

Part II. What is Performance? 6. Performances: belief in the part one is playing Erving Coffman 7. Blurred genres: the refiguration of social thought Clifford Geeriz 8. What is performance? Marvin Carlson 9. Life the movie Neal Gabler

Part III. Ritual 10. Liminality and communitas Victor Turner 10. 'Performance' and other analogies Catherine Bell 11. 'The blood that runs through the veins': the creation of identity and a client's experience of Cuban-American santeria dilogun divination Michael Atwood Mason 13. Saint Orlan: ritual as violent spectacle and cultural criticism Alyda Faber

Part IV. Play 14. The nature and significance of play as a cultural phenomenon Johan Huizinga 15. A theory of play and fantasy Gregory Bateson 16. The ambiguity of play: rhetorics of fate Brian Sutton-Smith 17. Just doing Allan Kaprow

Part V. Performativity 18.How to do things with words: lecture II J. L. Austin 19. Performative acts and gender constitution: an essay in phenomenology and feminist theory Judith Butler 20. Introduction to Performativity and Performance Andrew Parker and Eve Kosofsky Sedgwick 21. Theater and anthropology, theatricality and culture Johannes Fabian

Part VI. Performing 22. A dialogue about acting Berton Brecht 23. The actor's technique Jerzy Grolowski 24. A dream of passion Lee Strasberg 25. Presenting and re-presenting the self: from non-acting to acting in African performance Frances Harding

Part VII. Performance Processes 26. First attempts at a stylized theatre Vsevolod Meyerhold 27. The oral artist: training and preparation Isidore Okpewho 28. The performance text Marco De Marinis 29. The deep order called turbulence: the three faces of dramaturgy Eugenio Barba

Part VIII. Global and Intercultural Performance 30. Performing ethnography Victor Turner with Edie Turner 31. Of mimicry and man Homi K. Bhobha 32. Culturas-in-extremis: performing against the cultural backdrop of the mainstream bizarre Guillermo Gomez-Pena 33. Reverend Billy: preaching, protest and post-industrial flanerie Jill Lone 34. Performance studies: interventions and radical research Dwight Conquergood Index

October 2003: 246x174: 352pp Hb: 0-41 5-30240-4: Pb: 0-415-30241-2:


Performance Studies - An Introduction

Richard Schechner, Tisch School of the Arts, New York University, USA

'This isn't merely the musings of a theatre director who never stops innovating. It is a global thinker's striking, historic way of understanding human nature from a surprisingly practical perspective, which can be adapted in countless areas at numerous levels.' - Sun Huizhu, Professor of Drama, Shanghai Theatre Academy


This important introductory textbook provides a lively and accessible overview of the full range of performance for undergraduates at all levels and beginning a, graduate students in performance studies, theatre, performing arts and cultural studies. It includes discussion of the performing arts and popular
entertainments, rituals, play and games as well as the performances of every day life. Supporting examples and ideas are drawn from the performing arts, anthropology, post-structuralism, ritual theory, ethology, philosophy and aesthetics. The text has been fully developed with input from leading teachers and trialled with students.

User-friendly, with a special text design, it also includes the following features:

April 2002: 276x213: 304pp: illus. 20 line drawings and 173 b+w photographs Hb: 0-415-14620-8:
Pb: 0-415-14621-6:


Twentieth Century Theatre: A Sourcebook - 2nd Edition

Edited by Richard Drain

'From the most strident manifesto to the most decorous plea, this guide provides a sketch of this century's stage history as well as a useful resource for scholars interested in the status of theatre and performance within the past 100 years.' - American Theatre

Twentieth-Century Theatre: A Sourcebook offers an inspiring selection of original writings on theatre by some of the key artists and theorists of the last century. First published in 1995, this second edition has been expanded and updated, to include:


Clearly organized and fully cross-referenced, Twentieth-Century Theatre: A Sourcebook explores
significant innovations in modern stage practice and offers illuminating perspectives on the ideas behind them.

May 2004: 234x156: 408pp Hb: 0-415-32007-0: Pb: 0-415-32008-9:

Performance: A Critical Introduction

Marvin Carlson, City University of New York, USA

'This is vintage Carlson - erudite, concise, precise and engaging' - Maria Shevstova, Theatre Quarterly

This comprehensively revised, illustrated edition discusses recent performance work and takes into consideration changes that have taken place since the book's original publication in 1996. Marvin Carlson guides the reader through the contested definition of performance as a theatrical activity and the myriad ways in which performance has been interpreted by ethnographers, anthropologists, linguists, and cultural theorists. Topics covered include:


With a fully updated bibliography and additional glossary of terms, this new version of a classic text will be welcomed by students of performance studies, visual and performing arts or theatre history.

October 2003: 234x156: 288pp: illus. 25 b+w photographs Hb: 0-415-299268:
Pb: 0-415-29927-6:

A Sourcebook on Naturalist Theatre

Edited by Christopher Innes

A Sourcebook on Naturalist Theatre provides a fascinating overview of naturalist theatre. Innes has selected three writers, Ibsen, Chekhov and Bernard Shaw to exemplify the movement. A must for all students studying naturalist theatre.

2000: 272pp: illus. 10 line drawings, 10 b,w photographs Hb: 0-415-15228-3: Pb: 0-415-15229-1:

Performance Analysis

An Introductory Coursebook

Edited by Colin Counsel!, University of North London, UK and Laurie Wolf, College of William and Mary, Virginia, USA

'Performance Analysis is a remarkable collection of texts, remarkably presented. Its greatest strength is the flexibility it offers for teachers in many different settings.' - Michael Peterson, Milikin University/University of Wisconsin Madison

This revolutionary introductory performance studies coursebook brings together classic texts in critical theory and shows how these texts can be used in the analysis of performance. Themed sections bring together texts treating key topics such as:

Each reading is clearly introduced, making complex critical texts accessible for students at an introductory level. The ideas explored within these readings are further clarified through innovative, carefully tested exercises and activities.

2001: 234x156: 264pp Hb: 0-415-22406-3: Pb: 0-415-22407-1:

Theory/Theatre

An Introduction

Mark Fortier, University of Winnipeg, Canada

'As an introduction to the question of theory for the student of theatre, this is excellent.' - Modern literary Review

This is an enlarged edition of Mark Fortier's very successful and widely used essential text for students. Theory/Theatre introduces literary theory as it relates to theatre and performance. Fortier lucidly examines current theoretical approaches, from semiotics, poststructuralism, through cultural materialism, postcolonial studies and feminist theory. This new edition includes:

May 2002: 198x129: 272pp Hb: 0-415-25436-1: Pb: 0-415-25437-X:

The Twentieth-Century Performance Reader

Edited by Michael Huxley, De Montfort University, Leicester, UK and Noel Witts, University of Hull, Scarborough Campus, UK

The Twentieth-Century Performance Reader is the key introductory text to all types of performance. Extracts from fifty practitioners, critics and theorists from the fields of dance, drama, music, theatre and live art make up an essential sourcebook for students, researchers and practitioners. A bestseller since its publication in 1996, this second edition has been fully updated and includes:

Each extract is fully supplemented by a contextual summary, a biography of the writer, and suggestic for further reading. Organised alphabetically, this reader makes it possible to compare major writing on all types of performance in one volume. The ways in which different performance practitioners' ideas inter-relate are pointed out in a series of detailed cross-references for readers.

July 2002: 246x174: 488pp Hb: 0-415-25286-5: Pb: 0-415-25287-3:

The Routledge Reader in Politics and Performance

Edited by Lizbeth Goodman, University of Surrey, UK and with Jane De Gay, University of Leeds, UK

'A provocative collection of 50 writers ... The extracts are short and well-chosen, and for that alone will be thumbed by student readers.' - Plays International

The Routledge Reader in Politics and Performance brings together for the first time a comprehensive collection of extracts from key writings on politics, ideology, and performance. Taking an interdisciplinary approach to the subject, and including new writings from leading scholars, the book provides material on: post coloniality and performance theory and practice; critical theories and performance; intercultural perspectives; power, politics and the theatre; sexuality in performance; live arts and the media and theatre games.

2000: 234x156: 352pp Hb: 0-415-17472-4: Pb: 0-415-17473-2: eB: 0-203-14157-1:

The Routledge Reader in Gender and Performance

Edited by Lizbeth Goodman and Jane de Gay

'What is valuable about this volume is its diversity and eclecticism. The book will be a useful resource, particularly for the teaching of feminist theatre and performance.' - New Theatre Quarterly

1998: 234x156: 360pp Hb: 0-415-16582-2: Pb: 0-415-16583-0:

Systems of Rehearsal

Stanislaysky, Brecht, Grotowski, and Brook Shomit Mitter

'Excellent account of methodologies of modern directors'- R. Roberts, Sheffield University

The gap between theory and practice in rehearsal is wide. Many actors and directors apply theories without fully understanding them, and most accounts of rehearsal techniques fail to put the methods in context. Systems of Rehearsal is the first systematic appraisal of the three principal paradigms in which virtually all theatre work is conducted today - those developed by Stanislaysky, Brecht and Grotowski. The author compares each system to the work of the contemporary director who, says Mitter, is the Great Imitator of each of them: Peter Brook.

1992: 216x138: 192pp: illus. 4 b+w photographs Pb: 0-415-06784-7: eB: 0-203-13169-X:

Antonin Artaud: A Critical Reader

Edited by Edward Scheer, University of New South Wales, Australia

Antonin Artaud was one of the most brilliant and baffling voices of the twentieth century. Working across a
multitude of disciplines, his genre-defying creative output was immense. Best known for his concept of a
'theatre of cruelty', his legacy has been to re-define the possibilities of live performance. This resource collects, for the first time, some of the best critical writing on his life and work. Antonin Artaud: A Critical Reader:

This indispensable collection is essential reading for scholars and students working across a variety of arts disciplines, including theatre, film, philosophy, literature and fine art.

Contents: Introduction. On Antonin Artaud: A Beginner's Guide to Cruelty

Part 1. On Biography: Madness and Language

i) Andre Breton, with Andre Parinaud from Conversations: the Autobiography of Surrealism ii) Andre Breton, 'Homage to Antonin Artaud' iii) Georges Bataille, from 'Surrealism from Day to Day' iv) Sylvere Lotringer, a selection from an interview with Jacques Latremoliere v) Gilles Deleuze, 'Thirteenth Series of the Schizophrenic and the Little Girl'

Part 2. Theatre: Acts and Representations

i) Jacques Derrida, from 'The Theatre of Cruelty and The Closure of Representation' ii) Helga Finter, from 'Antonin Artaud and the Impossible Theatre. The Legacy of the Theatre of Cruelty' iii) Jerzy Grotowski, 'He Wasn't Entirely Himself' iv) Jane Goodall, 'The Plague and its Powers in Artaudian Theatre' v) Herbert Blau, from 'The Dubious Spectacle of Collective Identity' vi) Susan Sontag, from 'Approaching Artaud' vii) Leo Bersani, 'Artaud, Defecation and Birth'

Part 3. On Writing and Fine Arts

i) Maurice Blanchot, 'Artaud' ii) Julia Kristeva, from 'The Subject in Process' iii) Jacques Derrida, from 'Forcener le subjectile' ('To unsense the subjectile') iv) Umberto Artioli, from 'Production of Reality or Hunger for the Impossible?'

Part 4. Beyond Words: On Film and Radio

i) Allen S. Weiss, 'K' ii) Denis Hollier, 'The Death of Paper, Part Two: Artaud's Sound System' iii) Mikhail Yampolsky, from 'Voice Devoured: Artaud and Borges on Dubbing' iv) Francis Vanoye 'Cinemas of Cruelty?'

Bibliography Index

September 2003: 234x156: 224pp Hb: 0-415-28254-3: Pb: 0-415-28255-1:

Twentieth-Century Actor Training

Edited by Alison Hodge, Royal Holloway College, UK

'A uniquely valuable introduction to the life, principles, and practices of fourteen of the most important figures in twentieth century actor training.' - Phillip Zarilli, Director, actor trainer and actor

Actor training is arguably the central phenomenon of twentieth century theatre making. Here
for the first time, the theories, training exercises and productions of fourteen directors are analysed in a single volume, each one written by a leading expert. The practitioners included are: Stella Adler, Bertolt Brecht, Joseph Chaikin, Jacques Copeau, Joan Littlewood, Vsevelod Meyerhold, Konstantin Stanislaysky, Eugenio Barba, Peter Brook, Michael Chekhov, Jerzy Grotowski, Sanford Meisner, Wlodimierz Staniewski, Lee Strasburg.

1999: 234x156: 272pp: illus. 25 b+w photographs Hb: 0-415-19451-2: Pb: 0-415-19452-0: eB: 0-203-00760-3:

Signs of Performance

An Introduction to Twentieth-Century Theatre

Colin Counsell, University of North London, UK

Signs of Performance provides the beginning student with working examples of theatrical analysis. Its range covers the whole of the twentieth-century theatre, from Stanislavski to Brecht and Samuel Beckett to Robert Wilson. Colin Counsell takes an historical look at theatre as a cultural practice, clearly tracing connections between:

1996: 216x138: 256pp Hb: 0-415-10642-7: Pb: 0-415-10643-5: