三民網路書店 / 搜尋結果

Incorporating the very latest approaches to performance studies, this new study by Christopher Balme explores the history of cross-cultural performative encounters in the Pacific from the eighteenth-c

Decolonizing the Stage is a major study devoted to post-colonial drama and theatre. It examines the way dramatists and directors from various countries and societies have attempted to fuse the perform

The commedia dell'arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell'arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell'arte.

Providing thorough coverage of the methods and tools required in studying historical and contemporary theatre, this Introduction examines the complexities of a rapidly changing and dynamic discipline. Following a cross-cultural perspective, the book surveys the ways theatre and performance are studied by looking initially at key elements such as performers, spectators and space. The central focus is on methodology, which is divided into sections covering theatre theory, historiography and textual and performance analysis. The book covers all the main theatrical genres - drama, opera and dance - providing students with a comparative, integrated perspective. Designed to guide students through the academic dimension of the discipline, the volume emphasizes questions of methodology, research techniques and approaches, and will therefore be relevant for a wide variety of theatre studies courses. Informative textboxes provide background on key topics, and suggestions for further reading are

Providing thorough coverage of the methods and tools required in studying historical and contemporary theatre, this Introduction examines the complexities of a rapidly changing and dynamic discipline. Following a cross-cultural perspective, the book surveys the ways theatre and performance are studied by looking initially at key elements such as performers, spectators and space. The central focus is on methodology, which is divided into sections covering theatre theory, historiography and textual and performance analysis. The book covers all the main theatrical genres - drama, opera and dance - providing students with a comparative, integrated perspective. Designed to guide students through the academic dimension of the discipline, the volume emphasizes questions of methodology, research techniques and approaches, and will therefore be relevant for a wide variety of theatre studies courses. Informative textboxes provide background on key topics, and suggestions for further reading are

The concept of the public sphere, as first outlined by German philosopher Jürgen Habermas, refers to the right of all citizens to engage in debate on public issues on equal terms. In this book, Christopher B. Balme explores theatre's role in this crucial political and social function. He traces its origins and argues that the theatrical public sphere invariably focuses attention on theatre as an institution between the shifting borders of the private and public, reasoned debate and agonistic intervention. Chapters explore this concept in a variety of contexts, including the debates that led to the closure of British theatres in 1642, theatre's use of media, controversies surrounding race, religion and blasphemy, and theatre's place in a new age of globalised aesthetics. Balme concludes by addressing the relationship of theatre today with the public sphere and whether theatre's transformation into an art form has made it increasingly irrelevant for contemporary society.

The concept of the public sphere, as first outlined by German philosopher Jürgen Habermas, refers to the right of all citizens to engage in debate on public issues on equal terms. In this book, Christopher B. Balme explores theatre's role in this crucial political and social function. He traces its origins and argues that the theatrical public sphere invariably focuses attention on theatre as an institution between the shifting borders of the private and public, reasoned debate and agonistic intervention. Chapters explore this concept in a variety of contexts, including the debates that led to the closure of British theatres in 1642, theatre's use of media, controversies surrounding race, religion and blasphemy, and theatre's place in a new age of globalised aesthetics. Balme concludes by addressing the relationship of theatre today with the public sphere and whether theatre's transformation into an art form has made it increasingly irrelevant for contemporary society.

Between 1895 and 1922 the Anglo-American actor and manager, Maurice E. Bandmann (1872–1922) created a theatrical circuit that extended from Gibraltar to Tokyo and included regular tours to the West Indies and South America. With headquarters in Calcutta and Cairo and companies listed on the Indian stock exchange, his operations represent a significant shift towards the globalization of theatre. This study focuses on seven key areas: family networks; the business of theatrical touring; the politics of locality; repertoire and publics; an ethnography of itinerant acting; legal disputes and the provision of theatrical infrastructure. It draws on global and transnational history, network theory and analysis as well as in-depth archival research to provide a new approach to studying theatre in the age of empire.

Between 1895 and 1922 the Anglo-American actor and manager, Maurice E. Bandmann (1872–1922) created a theatrical circuit that extended from Gibraltar to Tokyo and included regular tours to the West Indies and South America. With headquarters in Calcutta and Cairo and companies listed on the Indian stock exchange, his operations represent a significant shift towards the globalization of theatre. This study focuses on seven key areas: family networks; the business of theatrical touring; the politics of locality; repertoire and publics; an ethnography of itinerant acting; legal disputes and the provision of theatrical infrastructure. It draws on global and transnational history, network theory and analysis as well as in-depth archival research to provide a new approach to studying theatre in the age of empire.

This book examines how the Cold War had a far-reaching impact on theatre by presenting a range of current scholarship on the topic from scholars from a dozen countries. They represent in turn a variet