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Relevant bibliographies by topics / Applied theatre/performance / Books

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Books on the topic 'Applied theatre/performance'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Goodall, Jane. Performance and evolution in the age of Darwin: Out of the natural order. London: Routledge, 2002.

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2

Nicholson, Helen. Theatre and Performance Practices: Applied Drama. Palgrave Macmillan, 2005.

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3

Thompson, James. Digging Up Stories: Applied Theatre, Performance and War. Manchester University Press, 2006.

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4

Thompson, James. Digging Up Stories: Applied Theatre, Performance and War. Manchester University Press, 2006.

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5

Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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6

J, Thompson. Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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7

J, Thompson. Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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8

Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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9

Thompson, James. Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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10

Interactive and Improvisational Drama: Varieties of Applied Theatre and Performance. iUniverse, Inc., 2007.

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11

Jola, Corinne, and Pil Hansen, eds. Performance in Theatre and Everyday Life: Cognitive, Neuronal, and Applied Aspects of Acting. Frontiers Media SA, 2021. http://dx.doi.org/10.3389/978-2-88971-430-8.

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12

Altonen, Heli, Vigdis Aune, Kathy Barolsky, Ellen Foyn Bruun, Nanna Edvartsen, Rikke Gürgens Gjærum, Courtney Helen Grile, et al. Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts. Edited by Petro Janse van Vuuren, Bjørn Rasmussen, and Ayanda Khala. Cappelen Damm Akademisk - NOASP, 2021. http://dx.doi.org/10.23865/noasp.135.

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Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts is the outcome of a longstanding collaboration between two centers of applied theatre education and research in South-Africa and Norway, respectively (2017–2022). It presents knowledge, critical conversations and artistic work related to issues of democracy, both historical and contemporary. Within the global framework of our current (post)democracies, thirteen chapters contain stories and analyses from artists and researchers who all study, understand and facilitate theatre as a political-performative medium in dealing with community-specific democratic issues. The reader encounters studies and reports from specific cases of applied theatre, community culture development and performance activism in countries such as South-Africa, Pakistan, Zimbabwe and Norway. There is a common interest in theatre as a platform for active citizenry, as well as several attempts to explore theatre as a platform for “political subjectivation” (Rancière).

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13

Midgelow, Vida L., ed. The Oxford Handbook of Improvisation in Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780199396986.001.0001.

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Discussing improvisatory activities in dance, this handbook attests to the presence of improvisation in many forms of dance and to the ways improvisation has been developed and employed for far-reaching purposes. The handbook recognizes that improvisation has been a long-standing and central approach within the choreographic process for many dance makers, while for others it is a performance form in its own right. It is also a key feature, though often implicit and overlooked, of most social dance forms and is widely used within therapeutic, educational, and other applied contexts. Accordingly, throughout the handbook examples of improvised dancing from tango to therapy and from contact to ballet are discussed. This breadth has been important in gathering this collection, and it makes evident the presence of improvisation in a wide range of contexts—be it in theatres, community halls, or hospitals. This very breadth expands our vision, such that the nature and significance of the improvisatory can be better understood.

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14

Bala, Sruti. The gestures of participatory art. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.001.0001.

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The gestures of participatory art offers a critical investigation of key debates in relation to participatory art, spanning the domains of applied and community theatre, immersive performance as well as the visual arts. Rather than seeking a genre-based definition, it asks how artists, audiences and art practices approach the subject of participation beyond the predetermined options allocated to them. In doing so, it inquires into the ways that artworks participate in civic life. Participation is the utopian sweet dream that has turned into a nightmare in contemporary neoliberal societies. Yet can the participatory ideal be discarded or merely replaced with another term, just because it has become disemboweled into a tool of pacification? The gestures of participatory art insists that the concept of participation must be re-imagined and shifted onto other registers. It proposes the concept of the gesture as a rewarding way of theorizing participatory art. The gesture is simultaneously an expression of an inner attitude as well as a social habitude; it is situated in between image, speech and action. The study reads the gestural as a way to link discussions on participatory art to broader issues of citizenship and collective action. Moving from reflections on institutional critique and impact to concrete analyses of moments of unsolicited, delicate participation or refusal, the book examines a range of practices from India, Sudan, Guatemala and El Salvador, the Lebanon, the Netherlands and Germany. It engages with the critiques of participation and pleads for a critical reclaiming of participatory practices.

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15

Jeffs, Kathleen. Staging the Spanish Golden Age. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.001.0001.

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This book offers first-hand experiences from the rehearsal room of the Royal Shakespeare Company’s 2004–5 Spanish Golden Age season in order to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume proposes translation and communication methodologies that can feed the creative processes of working actors and directors, while maintaining an ethos of fidelity with regards to the original texts. A successful theatrical ensemble thrives on the mingling of these different voices directed towards a common goal. The work carried out during this season has repercussions in the areas comedia critics debate on the page; each of the chapters engages with one area of these overlapping disciplines. Now that the Royal Shakespeare Company’s Spanish Golden Age season has closed, this book posits a model for future productions of the comedia in English, one that recognizes the need for the languages of the scholar and the theatre artist to be made mutually intelligible by the use of collaborative strategies, mediated by a consultant or dramaturg proficient in both tongues. This model applies more generally to theatrical collaborations involving a translator, writer, and director, and is intended to be useful for translation and performance processes in any language.

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