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Books on the topic 'Indigenous theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

ACINPAKHI INFINITY: Indigenous Theatre of Bangladesh. University Press Limited, 2000.

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2

Acinpakhi infinity: Indigenous theatre of Bangladesh. University Press, 2000.

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3

Creating frames: Contemporary indigenous theatre 1967-1990. University of Queensland Press, 2004.

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4

Syron, Liza-Mare. Rehearsal Practices of Indigenous Women Theatre Makers. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82375-7.

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5

Ola Rotimi's African theatre: The development of an indigenous aesthetic. E. Mellen Press, 2005.

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6

Figueira, Dorothy Matilda. Theatres in the round: Multi-ethnic, indigenous, and intertextual dialogues in drama. Peter Lang, 2011.

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7

Epskamp, Kees. Learning by performing arts: From indigenous to endogenous cultural development. Center for the Study of Education in Developing Countries (CESO), 1992.

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8

Indigenous North American drama: A multivocal history. State University of New York Press, 2013.

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9

Haugen, Peter. World History for Dummies. Hungry Minds, 2001.

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10

World History For Dummies. Wiley Publishing, 2001.

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11

Haugen, Peter. Historia del mundo. Norma, 2002.

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12

Casey, Maryrose. INDIGENOUS AUSTRALIAN THEATRE PRACTICES. Routledge, 2009.

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13

Casey, Maryrose. INDIGENOUS AUSTRALIAN THEATRE PRACTICES. Routledge, 2009.

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14

MacKenzie, Sarah. Indigenous Women's Theatre in Canada: A Mechanism of Decolonization. Fernwood Publishing Co., Ltd., 2020.

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15

Dutto, Matteo. Legacies of Indigenous Resistance: Pemulwuy, Jandamarra and Yagan in Australian Indigenous Film, Theatre and Literature. Lang AG International Academic Publishers, Peter, 2019.

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16

Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2020.

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17

Darby, Jaye T., Patrick Lonergan, Courtney Elkin Mohler, Christy Stanlake, and Wetmore Kevin J. Jr. Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2019.

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18

Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2020.

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19

Darby, Jaye T., Patrick Lonergan, Courtney Elkin Mohler, Christy Stanlake, and Kevin J. Jr Wetmore. Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2019.

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20

Harrington, John. Irish Theatre and the United States. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.38.

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Since well before the Abbey Theatre set its sights on America in 1911, Irish theatre has had strong ties with American theatre culture. Over the course of the twentieth century, touring productions of Irish plays have continued to have an impact on American theatre culture. From Eugene O’Neill on, Irish ethnicity within the US has been explored and defined by Irish-American theatre-makers, who have taken Irish theatre in directions that sometimes diverge in significant ways from Irish theatre produced in Ireland. At the same time, as Sam Shepard’s recent collaboration with the Abbey Theatre su

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21

Salmon Is Everything: Community-Based Theatre in the Klamath Watershed (First Peoples: New Directions in Indigenous Studies). Oregon State University Press, 2014.

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22

Theatres in the Round: Multi-Ethnic, Indigenous, and Intertextual Dialogues in Drama. Lang AG International Academic Publishers, Peter, 2011.

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23

Da Costa, Dia. A Hunger Called Theater. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040603.003.0007.

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Budhan Theater’s community-based politics and performance seems perfectly aligned with creative economy discourses, given the optimism with which the indigenous Chhara community embraces the possibility of transcending stigmatized histories of criminality through creative practices and livelihood opportunities. Yet, this chapter complicates this optimism by highlighting the complex affective structures—betrayal, sentimental optimism, cruel pessimism, and ordinary regard—that coconstitute Chhara history of criminality and activist performance. Combining transnational feminism, queer and affect

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24

Gotman, Kélina. ‘The Gift of Seeing Resemblances’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0011.

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In this penultimate chapter, the ‘choreomania’ diagnosis all but dissolves. Visiting British and other colonial government anthropologists, moving around the colonial world from Jamaica and Papua New Guinea to New Zealand, read islanders performing ecstatic preparations for the ‘Great Awakening’ or the return of ancestors in rafts as participating in yet another iteration of a primitive type of dancing disease. Yet, as this chapter also shows, the ‘cargo cults’, just like the Hauhau movement, conjugated a complex play of counter-mimicry which reappropriated colonial props, language, and gestur

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25

Houlahan, Mark. Unsettling the Bard. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.48.

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This article examines the cultural influence of William Shakespeare’s tragedies on Australasia and the Pacific. To this end, it analyses a range of live and filmed performances, along with the adaptive responses of writers, audiences, and critics to the tragedies. It begins by considering the presence of Shakespeare’s Complete Works on Captain James Cook’s Endeavour when it sailed the Pacific in 1769–1770 before turning to the first recorded Australian Shakespeare: a staging of Henry IV in Robert Sidaway’s Sydney theatre in 1800. It then looks at other works such as those by Charles and Ellen

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26

1952-, Brask Per K., and Morgan William 1940-, eds. Aboriginal voices: Amerindian, Inuit, and Sami theater. Johns Hopkins University Press, 1992.

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27

Brask, Per. Aboriginal Voices: Amerindian, Inuit, and Sami Theater (PAJ Books). The Johns Hopkins University Press, 1992.

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28

Rajadhyaksha, Ashish. 2. Late colonial India. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723097.003.0002.

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Between 1920 and 1931 India saw its first boom in indigenous film production. Indian cinema was clearly set to take-off, but where to? Both the boom in production, as well as the kind of money flowing into studios and into movie theatres, sent deeply conflicting messages. India’s movie economy found itself, not for the first time, speaking for a larger economic sector of which it would be both a symbol and an anomaly. ‘Late colonial India’ outlines colonial ambitions for Indian cinema; the Lahore Anarkali effect on the Mughal epic; the reform of the industry with the introduction of sound in 1

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29

Popenhagen, Ron J. Modernist Disguise. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.001.0001.

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This book chronicles and theorises face and body masking in arts and culture from the mid-nineteenth century to the new millennium. While featuring the modernist era in France, analyses include commentary on performers and visual artists from the margins of the European continent: Ireland and the Baltics; Denmark and the Mediterranean. Representations of silent Pierrots on stage are contrasted with images of fixed-form maskers and masquerades; two-dimensional depictions in paintings and photographs further the study of the form-altered human figure. The relationship of the European avant-garde

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30

Goodman, Jane E. Acting with One Voice. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190652807.003.0010.

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This chapter offers a critique of the well-worn claim that voluntary civic associations are inherently democratizing, modernizing forces. In 1930s‒1950s urban Algeria, unanimism—monological expression of unanimous group consensus in public rituals such as voting—was both what theater companies portrayed onstage and how they operated offstage. Contrary to theorists from Tocqueville to Habermas to Huntington, civic associations can have monological tendencies in which dialogism and plurality are downplayed. There are three possible sources of Algerian interest in public displays of unanimity. On

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31

Preston, VK. Baroque Relations. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.34.

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This chapter approaches dance archives and reenactment through analyses of the use of precious metals in drawings of dancers by the seventeenth-century French artist Daniel Rabel. Examining the artist’s album at the Louvre, Preston studies the visual effects of images and materials, testifying to French reimaginings of Indigenous performance practices in early seventeenth-century ballets in Paris. Turning to verse and livrets by René Bordier and Claude de l’Estoile, a founding member of the French Academy, she relates Rabel’s drawings to Andean dance, theater, and performance traditions in Cuz

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32

Moreda Rodríguez, Eva. Inventing the Recording. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552063.001.0001.

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Inventing the Recording: The Phonograph and National Culture in Spain, 1877–1914 focuses on the decades in which the recording went from technological possibility to commercial and cultural artifact, and it does so through the analysis of a specific and unique national context: Spain. It tells the stories of institutions and individuals in the country, discusses the development of discourses and ideas in close connection with national concerns and debates, and pays close attention to original recordings from this era. The book starts with the arrival in Spain of notices about Edison’s inventio

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33

Grau, Marion. Pilgrimage, Landscape, and Identity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197598634.001.0001.

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The book explores the ritual geography of a pilgrimage system woven around local medieval saints in Norway and the renaissance of pilgrimage in contemporary majority-Protestant Norway, facing challenges of migration, xenophobia, and climate crisis. The study is concerned with historical narratives and communal contemporary reinterpretations of the figure of St. Olav, the first Christian king who was a major impulse toward conversion to Christianity and the unification of regions of Norway in a nation unified by a Christian law and faith. This initially medieval pilgrimage network, which origin

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34

Haugen, Peter. Historia Del Mundo Para Dummies. Grupo Editorial Norma, 2005.

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35

World History for Dummies. 2nd ed. Wiley Publishing, 2009.

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36

World History For Dummies. John Wiley & Sons, Ltd., 2009.

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