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Books on the topic 'Punchdrunk'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Mack, Chester. Punchdrunk man reader. St. Paul, Minn: Thistlerose Publications, 1988.

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2

Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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3

Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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4

Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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5

Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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6

Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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7

Machon, Josephine. Punchdrunk Encyclopaedia. Taylor & Francis Group, 2018.

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8

Machon, Josephine, and Stephen Dobbie. The Punchdrunk Encyclopaedia. Edited by Josephine Machon. Routledge, 2018. http://dx.doi.org/10.4324/9781315150352.

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9

Biggin, Rose. Immersive Theatre and Audience Experience: Space, Game and Story in the Work of Punchdrunk. Palgrave Macmillan, 2017.

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10

Biggin, Rose. Immersive Theatre and Audience Experience: Space, Game and Story in the Work of Punchdrunk. Springer, 2018.

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11

British Theatre Companies : 1995-2014: Mind the Gap, Kneehigh Theatre, Suspect Culture, Stan's Cafe, Blast Theory, Punchdrunk. Bloomsbury Publishing Plc, 2015.

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12

Prince, Kathryn. Intimate and Epic Macbeths in Contemporary Performance. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.29.

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The recent performance history of Macbeth illustrates two tendencies discernible in contemporary Shakespeare performance more widely: the strong, empathic engagement characteristic of theatrical intimacy in the Aristotelian vein and the vast, distancing sweep of epic as theorized by Bertolt Brecht and, later, Walter Benjamin. By considering productions by Punchdrunk, Rift, John Tiffany and Andrew Goldberg, Kenneth Branagh and Rob Ashford, and Grzegorz Jarzyna, this chapter argues that epic theatre as proposed by Brecht and Benjamin is a marked feature of immersive productions, which combine the impression of intimacy with the distancing effect of the epic. Using Elinor Fuchs’s notion of landscape theatre, it concludes that in contemporary apolitical epic theatre, intimacy can be achieved outside Aristotelian catharsis or character and even beyond the notion of humanity.

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13

Scott, Palmer, Joslin McKinney, Stephen A. Di Benedetto, and Carina E. I. Westling. Immersion and Participation in Punchdrunk's Theatrical Worlds. Bloomsbury Publishing Plc, 2020.

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14

Scott, Palmer, Joslin McKinney, Stephen A. Di Benedetto, and Carina E. I. Westling. Immersion and Participation in Punchdrunk's Theatrical Worlds. Bloomsbury Publishing Plc, 2020.

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15

Purcell, Stephen. ‘It’s All a Bit of a Risk’. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.30.

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This essay considers three movements in twenty-first-century Shakespearean performance in light of Philip Auslander’s influential study Liveness: Performance in a Mediatized Culture (1999): (1) the live broadcasting of theatre productions; (2) the increasingly popular genre of immersive theatre as spectator sport; and (3) the body of practice emerging from, and centring on, the reconstructed Shakespeare’s Globe Theatre in London. It considers the ways in which each of these movements constructs ‘liveness’, paying particular attention to the implications of these constructions for Shakespearean performance. The first movement is examined through the lens of the National Theatre Live broadcast of Nicholas Hytner’s Othello, whose ‘liveness’ involves an interplay of filmic and theatrical registers; the second, through a discussion of Punchdrunk’s Sleep No More; and the third, through the modern practice of finding ‘liveness’ in game-like theatre techniques and in the responsiveness of the actor at Shakespeare’s Globe.

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