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Performance and Professional Wrestling
No full textPerformance and Professional Wrestling is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport.
Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections:
Audience
Circulation
Lucha
Gender
Queerness
Bodies
Race
A significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport
Deliberation, Embodiment and Oral Criticism: A Case Study on Spill Festival of Performance
No full textTheatre Criticism: Changing Landscapes
No full textThe world of theatre criticism is rapidly changing in its form, function and modes of operation in the twenty-first century.
The dominance of the internet has led to a growing trend of selfappointed theatre critics and bloggers who are changing the focus and purpose of the discussion around live performance. Even though the blogosphere has garnered suspicion and hostility from some mainstream newspaper critics, it has also provided significant intellectual and ideological challenges to the increasingly conservative profile of the professional critic.
This book features 16 commissioned contributions from scholars, arts journalists and bloggers, as well as a small selection of innovative critical practice. Authors from Australia, Canada, Croatia, Germany, Greece, Italy, Latvia, Russia, the UK and the US share their perspectives on relevant historical, theoretical and political contexts influencing the development of the discipline, as well as specific aspects of the contemporary practices and genres of theatre criticism.
The book features an introductory essay by its editor, Duška Radosavljevic
Hoo:Ha: Illuminating and Exploiting a Dissonance Between Funniness and Sexiness with the Female Comic Body in Performance
No full textThe Unknown, the Unexpected and the Uncanny: A New Lorca, Three New Catalan Productions, and a Few Extras
No full textIn depth production reviews of El público (Àlex Rigola, Teatro de la Abadía, 2015) Els veïns de Dalt (Cesc Gay, Teatre Romea, 2015), Panorama desde el pont/A View from the Bridge (George Lavaudant, Teatre Romea, 2016), Infamià (Pere Riera, Teatre Villaroel, 2015), Hotel Paradiso (Familie Flöz, Teatre Lliure, 2016)
Queer Dramaturgies: International Perspectives on Where Performance Leads Queer
No full textThis international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts
Imagining Theatre in Auschwitz: Performance, Solidarity and Survival in the Works of Charlotte Delbo
No full textThis volume gathers contributions from a range of international scholars and geopolitical contexts to explore why people organise themselves into performance communities in sites of crisis and how performance – social and aesthetic, sanctioned and underground – is employed as a mechanism for survival. The chapters treat a wide range of what can be considered 'survival', ranging from sheer physical survival, to the survival of a social group with its own unique culture and values, to the survival of the very possibility of agency and dissent. Performance as a form of political resistance and protest plays a large part in many of the essays, but performance does more than that: it enables societies in crisis to continue to define themselves. By maintaining identities that are based on their own chosen affiliations and not defined solely in opposition to their oppressors, individuals and groups prepare themselves for a post-crisis future by keeping alive their own notions of who they are and who they hope to be
Applied Theatre and Practice as Research: Polyphonic Conversations
No full textApplied theatre practice as research might be perceived as a curious conflation. Not greatly foregrounded in the literature on applied theatre or performance practice as research, this article engages with the particularities of such a pairing. Beginning with identifying why a consideration is timely, ‘the practice as research’ and ‘social’ turns are invoked and analysed as relevant contexts to consider applied theatre practice as research. Two projects are offered, providing specific examples for discussion. Revealed by increased scrutiny, some broader epistemological questions emerge concerning power, hierarchy of knowledge and research ‘authoring’. A metaphor of polyphonic conversations is offered as an amplification of the applied theatre practical research methodological terrain. Encouraging the basis of many sets of voices contributing to research and potentially negotiating concerns about power hierarchies and knowledge production, the metaphor provokes a fluidity of epistemology, including expanding on the now familiar debates around theory and practice particularly relevant for socially engaged performance-related practical research
Marginalised Youth in the App Generation: Making the Case for the Integration of Digital Technologies in Process Drama
No full textThis paper intends to argue that the introduction of digital technology into Process Drama is not an attempt to replace the imaginative realm of play. Instead digital technologies can aid immersion into the liminal space of a workshop. The App Generation, Generation Z, or the ‘post-millenials’ form a new community of young people who are digitally literate, who have grown up surrounded by technology that they have learnt to engage with as part of their development: Technology is a new instrument of play. The intention of this research is to present an argument for the effectual integration of technology into Process Drama to revive and update the approach. The intention is to engage participants in an experience that speaks to their own worlds. I will draw upon a project I undertook in a primary school with six 8-9yrs old children to further justify the needs for digital technologies in Process Drama and reflect upon the possibilities offered by this approach