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El. knyga: European Theatre Performance Practice, 1900 to the Present

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This volume captures the rich diversity of European performance practice evident in the twentieth and early part of the twenty-first century. Written by leading directors, actors, dancers, scenographers and academics from across Europe, the collection spans a broad range of subject areas including dance, theatre, live art, multimedia performance and street protest. The essays are divided into three sections on: performers and performing; staging performance; representation and reception, and document innovations in acting, performance and stagecraft by key practitioners. Articles also explore the ways that performance has been used to stage debates around major preoccupations of the age such as war, the human condition, globalization, the impact of new technologies and identity politics. This volume, which features previously published performance manifestoes, articles, and book chapters on the most frequently discussed and debated topics in the field, is an indispensable reference work for both academics and students.
Acknowledgements ix
Series Preface xiii
Introduction xv
PART I ACTING AND PERFORMANCE
1 `When Acting is an Art', in An Actor Prepares, trans. Elizabeth Reynolds Hapgood, London: Methuen, pp. 12--23.
3(12)
Constantin Stanislavski
2 `Michael Chekhov on the Technique of Acting: Was Don Quixote True to Life?”r;', in Alison Hodge (ed.), Twentieth Century Actor Training, London: Routledge, pp. 79--97.
15(20)
Franc Chamberlain
3 `The Dance of the Future', in The Art of the Dance, New York: Theatre Arts Books, pp. 54--63.
35(12)
Isadora Duncan
4 `The Actor and the Uber-Marionette', in Franc Chamberlain (ed.), On the Art of Theatre, Abingdon: Routledge, pp. 27--48.
47(22)
Edward Gordon Craig
5 `Actors on Brecht', in Peter Thomson and Glendyr Sacks (eds), The Cambridge Companion to Brecht, Cambridge: Cambridge University Press, pp. 278--96.
69(20)
Margaret Eddershaw
6 `Introduction', in The Mastery of Movement, revised by Lisa Ullmann, Plymouth: Northcote House, pp. 1--17.
89(18)
Rudolf Laban
7 `Samuel Beckett as Director: The Art of Mastering Failure', in John Pilling (ed.), The Cambridge Companion to Beckett, Cambridge: Cambridge University Press, pp. 196--208.
107(14)
Anna McMullan
8 `Performance', in The Theatre of Growtowski, London: Methuen, pp. 128--43.
121(20)
Jennifer Kumiega
9 `Theatre Theory: Sociology and the Actor's Technique', in Towards a Third Theatre: Eugenio Barba and the Odin Teatret, London: Routledge, pp. 30--40.
141(12)
Ian Watson
10 `The Masks of Jacques Lecoq', in Franc Chamberlain and Ralph Yarrow (eds), Jacques Lecoq and the British Theatre, London: Routledge, pp. 71--84.
153(14)
John Wright
11 `Woman, Man, Dog, Tree: Two Decades of Intimate and Monumental Bodies in Pina Bausch's Tanztheater', in Rebecca Schneider and Gabrielle Cody (eds), Re:Direction: A Theoretical and Practical Guide, London: Routledge, pp. 193--205.
167(14)
Gabrielle Cody
12 `On Risk and Investment', in Certain Fragments, London: Routledge, pp. 48--49.
181(2)
Tim Etchells
13 `On Seeing the Invisible', in Marina Abramovic (ed.), The House with the Ocean View, Milan: Charta, pp. 171--79.
183(12)
Peggy Phelan
PART II STAGING PERFORMANCE
14 `Of the Futility of the Theatrical”r; in the Theater', in Roger Shattuck and Simon Watson Taylor (eds), Selected Works of Alfred Jarry, London: Methuen, pp. 69--75.
195(8)
Alfred Jarry
15 `Ideas on a Reform of Our Mise en Scene', in Adolphe Appia: Essays, Scenarios and Designs, trans. Walther R. Volbach, ed. Richard C. Beacham, Ann Arbor, MI: UMI Research Press, pp. 101--107.
203(8)
Adolphe Appia
16 `The Founding and Manifesto of Futurism', in Marinetti's Selected Writings, ed. R.W. Flint, New York: Farrar, Straus and Giroux, pp. 39--44.
211(6)
Filuppo T. Marinetti
17 `Biomechanics and Constructivism', in Meyerhold: A Revolution in Theatre, London: Methuen, pp. 172--87.
217(18)
Edward Braun
18 `The Naked Stage', in Jacques Copeau, Cambridge: Cambridge University Press, pp. 51--63.
235(14)
John Rudlin
19 `Theater (Buhne)', in Walter Gropius and Arthur S. Wensinger (eds), The Theatre of the Bauhaus, Middletown, CT: Wesleyan University Press, pp. 81--101.
249(22)
Oskar Schlemmer
20 `The Documentary Play', in The Political Theatre, trans. H. Rorrison, London: Methuen, pp. 91--98.
271(8)
Erwin Piscator
21 `Bertolt Brecht (1898--1956) and Caspar Neher (1897--1962)', in The Cambridge Introduction to Scenography, Cambridge: Cambridge University Press, pp. 44--51.
279(8)
Joslin McKinney
Philip Butterworth
22 `Production and Metaphysics', in The Theatre and its Double, trans. Victor Corti, London: John Calder, pp. 23--33.
287(12)
Antonin Artaud
23 `Myth and Theatre Laboratories', in Christopher Innes (ed.), Avant Garde Theatre 1892--1992, London: Routledge, pp. 125--36.
299(14)
Peter Brook
24 `After Ideology: Heiner Muller and the Theatre of Catastrophe', in Dan Friedman (ed.), The Cultural Politics of Heiner Muller, Newcastle: Cambridge Scholars, pp. 121--29.
313(10)
David Kilpatrick
25 `1789', Drama Review, 15, pp. 73--91.
323(20)
Victoria Nes Kirby
26 `Notes on Political Street Theatre, Paris: 1968, 1969', Drama Review, 13, pp. 111--18.
343(8)
Jean-Jacques Lebel
27 `Make-believe: Societas Raffaello Sanzio do theatre', in Joe Kelleher and Nicholas Ridout (eds), Contemporary Theatres in Europe: A Critical Companion, Abingdon: Routledge, pp. 175--87.
351(14)
Nicholas Ridout
28 `Spectacle, Synergy and Megamusicals: The Global-Industrialisation of the Live-Entertainment Economy', in James Curran (ed.), Media Organisations in Society, London: Arnold, pp. 69--83.
365(16)
Jonathan Burston
29 `The Digital Double', in Gavin Carver and Colin Beardon (eds), New Visions in Performance: The Impact of Digital Technologies, Lisse: Swets & Zeitlinger, pp. 13--18.
381(10)
Steve Dixon
PART III REPRESENTATION AND RECEPTION
30 `Women's Suffrage Drama', in Maroula Joannou and June Purvis (eds), The Women's Suffrage Movement: New Feminist Essays, Manchester: Manchester University Press, pp. 127--39.
391(14)
Katharine Cockin
31 `A Propertyless Theatre for the Propertyless Class', in Raphael Samuel, Ewan MacColl and Stuart Cosgrove (eds), Theatres of the Left 1880--1935: Workers' Theatre Movements in Britain and America, London: Routledge & Kegan Paul (1985), pp. 77--98.
405(22)
Tom Thomas
32 `Modern Dance in the Third Reich: Six Positions and a Coda', in Susan Leigh Foster (ed.), Choreographing History, Bloomington: Indiana University Press, pp. 165--76.
427(14)
Susan A. Manning
33 `Reading The Blacks through the 1956 Preface: Politics and Betrayal', in Clare Finburgh, Carl Lavery and Maria Shevtsova (eds), Jean Genet: Performance and Politics, Basingstoke: Palgrave, pp. 68--78.
441(12)
Carl Lavery
34 `Performance, Community, Culture', in The Politics of Performance: Radical Theatre as Cultural Intervention, London: Routledge, pp. 29--40.
453(14)
Baz Kershaw
35 `The Politics of Representation in DV8's Dead Dreams of Monochrome Men and Adventures in Motion Picture's Swan Lake', pp. 467--73, adapted from `Identity Politics', in The Male Dancer: Bodies, Spectacle, Sexualities, 2nd edn, Abingdon: Routledge, 2007.
467(8)
Ramsay Burt
36 `ORLAN's Performative Transformations of Subjectivity', in Peggy Phelan and Jill Lane (eds), The Ends of Performance, New York: New York University Press, pp. 285--92.
475(12)
Tanya Augsburg
37 `Addenda, Phenomenology, Embodiment: Cyborgs and Disability Performance', in Susan Broadhurst and Josephine Machon (eds), Performance and Technology, Basingstoke: Palgrave, pp. 169--80.
487(12)
Petra Kuppers
38 `Performing Like an Asylum Seeker: Paradoxes of Hyper-Authenticity', Research in Drama Education, 13, pp. 159--70.
499(12)
Silvija Jestrovic
39 `The Role of National Theatres in an Age of Globalization', in Steve Wilmer (ed.), National Theatres in a Changing Europe, Basingstoke: Palgrave, pp. 228--38.
511(12)
Janelle Reinelt
40 `There is a Word for People Like You: Audience. The Spectator as Bad Witness and Bad Voyeur', in Judith Helmer and Florian Malzacher (eds), Not Even a Game Anymore: The Theatre of Forced Entertainment, Berlin: Alexander Verlag, pp. 121--35.
523(16)
Florian Malzacher
Name Index 539
Nadine Holdsworth is Professor of Theatre and Performance Studies at the University of Warwick and Geoff Willcocks is Head of the Department for Performing Arts at Coventry University, UK.
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