Davis explores definitions of entertainment, arguing that it can be found embedded in all forms of theatre, not just the ‘popular’.
Presents a broad range of critical and theoretical methods, and applies them to contemporary and historical performance genres. Revised and Enlarged Edition
The first volume in the trilogy consent not to be a single being engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
Soundtrack and audiobook of the neo-noir fever dream and 120 decibel suicide note.
In glass cabinet.
Dissects the network of household, kinship and sexual relations that constitute the family form in advanced capitalist societies to show how they reinforce conditions of inequality.
Offers a glimpse of new perspectives on how philosophy performs in the gaps between thinking and acting.
A collection of 14 essays by international scholars and practitioners from across the disciplines of Philosophy, Literature and Theatre and Performance Studies, addressing the nature of the relationship between philosophy and performance.
Draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
The author’s concerns – which include the social meaning of illusion and the cultural manifestation of power – take the reader from Eleanora Duse to Laurie Anderson; from the puppet theatre of Kleist to Kantor’s theatre of the dead; and from the Kutiyattam temple dancers in Kerala to Womanhouse in Los Angeles.
Divided into two parts, `In the World’ and `In the Room’, the book presents a rounded picture of the possibilities of a `disobedient’ culture and includes many games and exercises for creative practitioners.
Illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s.
How does protest engage with theatre? What does theatre have to gain from protest?