Immersive theatre currently enjoys ubiquity, popularity and recognition in theatre journalism and scholarship. However, the politics of immersive theatre aesthetics still lacks a substantial critique. Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny? Beyond Immersive Theatre contextualises these questions by tracing the evolution of neoliberal politics and the experience economy over the past four decades. Through detailed critical analyses of work by Ray Lee, Lundahl & Seitl, Punchdrunk, shunt, Theatre Delicatessen and Half Cut, Adam Alston argues that there is a tacit politics to immersive theatre aesthetics – a tacit politics that is illuminated by neoliberalism, and that is ripe to be challenged by the evolution and diversification of immersive theatre.
Taking up the work of prominent theater and performance artists, Beyond Text reveals the audacity and beauty of avant-garde performance in print. With extended analyses of the works of Edward Gordon Craig, German expressionist Lothar Schreyer, the Living Theatre, Carolee Schneemann, and Guillermo Gómez-Peña, the book shows how live performance and print aesthetically revived one another during a period in which both were supposed to be in a state of terminal cultural decline. While the European and American avant-gardes did indeed dismiss the dramatic author, they also adopted print as a theatrical medium, altering the status, form, and function of text and image in ways that continue to impact both the performing arts and the book arts. Beyond Text participates in the ongoing critical effort to unsettle conventional historical and theoretical accounts of text-performance relations, which have too often been figured in binary, chronological (“from page to stage”), or hierarchical terms. Across five case studies spanning twelve decades, Beyond Text demonstrates that print—as noun and verb—has been integral to the practices of modern and contemporary theater and performance artists.
The idea of American musical theatre often conjures up images of bright lights and big city, but its lifeblood is found in amateur productions at high schools, community theatres, afterschool programs, summer camps, and dinner theatres. In Beyond Broadway, author Stacy Wolf looks at the widespread presence and persistence of musical theatre in U.S. culture, and examines it as a social practice--a live, visceral experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do so many Americans continue to passionately engage in a century-old artistic practice that requires intense, person-to-person collaboration? And why do audiences still flock to musicals in their hometowns? Touring American elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres from California to Tennessee, Wolf illustrates musical theatre's abundance and longevity in the U.S. as a thriving social activity that touches millions of lives.
A new teacher's handbook of over 140 theatre games to stimulate creativity in performers of all ages. The essentials of creative acting skills with games and exercises in twelve units: Unit 1: Group Orientation; Unit 2: Trust; Unit 3: Warming Up; Unit 4: Developing the Senses; Unit 5: Co-ordination and Interaction; Unit 6: Co-operation; Unit 7: Reality; Unit 8: Sensitivity and Communication; Unit 9: Transformation, Discovery and Spontaneity; Unit 10: Characters and Stories; Unit 11: Drawing to Music and Unit 12: Creative Quotations.
How do you develop the craft and skills of stage management for today's theatre industry? And how can these same skills be applied in a variety of entertainment settings to help you develop a rewarding and successful career? Drawing on his diverse experience working with companies from across the performing arts spectrum in venues from the Hollywood Bowl to the Barbican Centre in London, Michael Vitale offers a practical resource on the art of stage management for new and established stage managers. Besides providing detailed coverage of the role within theatre, the book uniquely explores the field of stage management in numerous branches of the entertainment industry. From theatre, opera, and theme parks, to cruise ships, special events, and dance, stage managers are an integral part of keeping productions running, and this book offers guidance on each distinct area to equip you for a varied and successful career. Written with candour and filled with real-world examples, the book examines the nuts and bolts of the job at each stage of the production process: from preproduction, room rehearsal, technical rehearsal, through to running the show. Vitale considers the skills needed to work with a myriad of different people, explores the traits of a successful stage manager, and helps you to hone and evaluate your own practice. Whether you are exploring the field for the first time or are a veteran looking to diversify your resumé, Introduction to the Art of Stage Management will provide insight, practical information, and useful tips to help along the way. An accompanying Companion Website features a range of time-saving templates and forms, such as schedule templates and scene samples. https://www.bloomsbury.com/uk/introduction-to-the-art-of-stage-management-9781474257190/
In setting foot on stage, every performer risks the possiblity of failure. Indeed, the very performance of any human action is inextricable from its potential not to succeed. This inherent potential has become a key critical trope in contemporary theatre, performance studies, and scholarship around visual cultures. Beyond Failure explores what it means for our understanding not just of theatrical practice but of human social and cultural activity more broadly. The essays in this volume tackle contemporary debates around the theory and poetics of failure, suggesting that in the absence of success can be found a defiance and hopefulness that points to new ways of knowing and being in the world. Beyond Failure offers a unique and engaging approach for students and practitioners interested not only in the impact of failure on the stage, but what it means for wider social and cultural debates.
Too often in our classrooms, students believe that confrontation is the only solution to conflict. Patricia Sternberg offers a promising alternative. In Theatre for Conflict Resolution, she outlines a variety of playmaking activities and theatre games designed to teach students that communication is the key.
Many of us, especially since 9/11, have become personally concerned about issues of security, and this is no surprise. Security is near the top of government and corporate agendas around the globe. Security-related stories appear on the front page everyday. How well though, do any of us truly understand what achieving real security involves? In Beyond Fear, Bruce Schneier invites us to take a critical look at not just the threats to our security, but the ways in which we're encouraged to think about security by law enforcement agencies, businesses of all shapes and sizes, and our national governments and militaries. Schneier believes we all can and should be better security consumers, and that the trade-offs we make in the name of security - in terms of cash outlays, taxes, inconvenience, and diminished freedoms - should be part of an ongoing negotiation in our personal, professional, and civic lives, and the subject of an open and informed national discussion. With a well-deserved reputation for original and sometimes iconoclastic thought, Schneier has a lot to say that is provocative, counter-intuitive, and just plain good sense. He explains in detail, for example, why we need to design security systems that don't just work well, but fail well, and why secrecy on the part of government often undermines security. He also believes, for instance, that national ID cards are an exceptionally bad idea: technically unsound, and even destructive of security. And, contrary to a lot of current nay-sayers, he thinks online shopping is fundamentally safe, and that many of the new airline security measure (though by no means all) are actually quite effective. A skeptic of much that's promised by highly touted technologies like biometrics, Schneier is also a refreshingly positive, problem-solving force in the often self-dramatizing and fear-mongering world of security pundits. Schneier helps the reader to understand the issues at stake, and how to best come to one's own conclusions, including the vast infrastructure we already have in place, and the vaster systems--some useful, others useless or worse--that we're being asked to submit to and pay for. Bruce Schneier is the author of seven books, including Applied Cryptography (which Wired called "the one book the National Security Agency wanted never to be published") and Secrets and Lies (described in Fortune as "startlingly lively...¦[a] jewel box of little surprises you can actually use."). He is also Founder and Chief Technology Officer of Counterpane Internet Security, Inc., and publishes Crypto-Gram, one of the most widely read newsletters in the field of online security.
