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Theatre-Making : Interplay Between Text and Performance in the 21st Century by Kenneth A. Loparo and Duška Radosavljevic (2013, Trade Paperback)
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About this product
Product Identifiers
PublisherPalgrave Macmillan The Limited
ISBN-100230343112
ISBN-139780230343115
eBay Product ID (ePID)159976474
Product Key Features
Number of PagesXi, 275 Pages
LanguageEnglish
Publication NameTheatre-Making : Interplay between Text and Performance in the 21st Century
Publication Year2013
SubjectTheater / General, Television / Direction & Production, Drama, Theater / History & Criticism, Film / Direction & Production
TypeTextbook
AuthorKenneth A. Loparo, DuŠKa Radosavljevic
Subject AreaLiterary Criticism, Performing Arts
FormatTrade Paperback
Dimensions
Item Height0.7 in
Item Weight128.7 Oz
Item Length8.5 in
Item Width5.5 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN2013-021607
Reviews" Theatre-Making puts to rest some outdated binaries between text-oriented and "alternative" approaches. It is subtle in exploring the complexities and interrelationships of different modes of practise, and carefully attends to how apprently similar practises have evolved in different areas and traditions. This volume, which charts the history and dynamics of how practises emerge and overlap, will be invaluable to teachers and students of contemporary theatre." - Greath White, Central School of Speech and Drama, University of London, UK " By focusing on work like Tim Crouch's The Author , Ontroerend Goed's Internal and Simon Stephens's Three Kingdoms , Theatre-Making presents the notion of audience as co-creators, so that by the end of this hugely readable study, the title takes on a whole new meaning; all of us are discovered to be theatre-makers, no matter what our relationship is to the piece in question." - Dan Hutton, A Younger Theatre, UK, "Theatre-Making puts to rest some outdated binaries between text-oriented and "alternative" approaches. It is subtle in exploring the complexities and interrelationships of different modes of practise, and carefully attends to how apprently similar practises have evolved in different areas and traditions. This volume, which charts the history and dynamics of how practises emerge and overlap, will be invaluable to teachers and students of contemporary theatre." - Greath White, Central School of Speech and Drama, University of London, UK "By focusing on work like Tim Crouch's The Author, Ontroerend Goed's Internal and Simon Stephens's Three Kingdoms, Theatre-Making presents the notion of audience as co-creators, so that by the end of this hugely readable study, the title takes on a whole new meaning; all of us are discovered to be theatre-makers, no matter what our relationship is to the piece in question." - Dan Hutton, A Younger Theatre, UK, " Theatre-Making puts to rest some outdated binaries between text-oriented and "alternative" approaches. It is subtle in exploring the complexities and interrelationships of different modes of practise, and carefully attends to how apprently similar practises have evolved in different areas and traditions. This volume, which charts the history and dynamics of how practises emerge and overlap, will be invaluable to teachers and students of contemporary theatre." - Greath White, Central School of Speech and Drama, University of London, UK, 'Theatre-Making puts to rest some outdated binaries between text-oriented and "alternative" approaches. It is subtle in exploring the complexities and interrelationships of different modes of practise, and carefully attends to how apprently similar practises have evolved in different areas and traditions. This volume, which charts the history and dynamics of how practises emerge and overlap, will be invaluable to teachers and students of contemporary theatre.' - Greath White, Central School of Speech and Drama, University of London, UK ' By focusing on work like Tim Crouch's The Author , Ontroerend Goed's Internal and Simon Stephens's Three Kingdoms , Theatre-Making presents the notion of audience as co-creators, so that by the end of this hugely readable study, the title takes on a whole new meaning; all of us are discovered to be theatre-makers, no matter what our relationship is to the piece in question.' - Dan Hutton, A Younger Theatre, UK ' Theatre-Making lays out its most important intervention in its very title: Radosavljević proposes this term as the foundation of a new vocabulary for discussing contemporary theatre, bringing it all under the inclusive umbrella of making.' '€" Catherine Love, Exeunt 'History and theory are pretty much the biggest battlegrounds in any culture war. While barely acknowledging that there's 'an enemy' at all, DuÅ¡ka's book effortlessly hands recent theatre history to the good guys.' - Andrew Haydon, Postcards from the Gods 'Some books take you by the hand and gently guide you through their corridors of insight and knowledge. Others propel you into the heart of matters and never let go. DuÅ¡ka Radosavljevic's Theatre-Making does both in a manner that is consistently engaging, provocative, forthright, and surprising.' - Caridad Svich, Rutgers University, USA, "Theatre-Making puts to rest some outdated binaries between text-oriented and "alternative" approaches. It is subtle in exploring the complexities and interrelationships of different modes of practise, and carefully attends to how apprently similar practises have evolved in different areas and traditions. This volume, which charts the history and dynamics of how practises emerge and overlap, will be invaluable to teachers and students of contemporary theatre." - Greath White, Central School of Speech and Drama, University of London, UK "By focusing on work like Tim Crouch's The Author, Ontroerend Goed's Internal and Simon Stephens's Three Kingdoms, Theatre-Making presents the notion of audience as co-creators, so that by the end of this hugely readable study, the title takes on a whole new meaning; all of us are discovered to be theatre-makers, no matter what our relationship is to the piece in question." - Dan Hutton, A Younger Theatre, UK "Theatre-Making lays out its most important intervention in its very title: Radosavljevi proposes this term as the foundation of a new vocabulary for discussing contemporary theatre, bringing it all under the inclusive umbrella of making." - Catherine Love, Exeunt, 'Theatre-Making puts to rest some outdated binaries between text-oriented and "alternative" approaches. It is subtle in exploring the complexities and interrelationships of different modes of practise, and carefully attends to how apprently similar practises have evolved in different areas and traditions. This volume, which charts the history and dynamics of how practises emerge and overlap, will be invaluable to teachers and students of contemporary theatre.' - Greath White, Central School of Speech and Drama, University of London, UK 'By focusing on work like Tim Crouch's The Author, Ontroerend Goed's Internal and Simon Stephens's Three Kingdoms, Theatre-Making presents the notion of audience as co-creators, so that by the end of this hugely readable study, the title takes on a whole new meaning; all of us are discovered to be theatre-makers, no matter what our relationship is to the piece in question.' - Dan Hutton, A Younger Theatre, UK 'Theatre-Making lays out its most important intervention in its very title: Radosavljevi? proposes this term as the foundation of a new vocabulary for discussing contemporary theatre, bringing it all under the inclusive umbrella of making.' Catherine Love, Exeunt 'History and theory are pretty much the biggest battlegrounds in any culture war. While barely acknowledging that there's 'an enemy' at all, Du ka's book effortlessly hands recent theatre history to the good guys.' - Andrew Haydon, Postcards from the Gods 'Some books take you by the hand and gently guide you through their corridors of insight and knowledge. Others propel you into the heart of matters and never let go. Du ka Radosavljevic's Theatre-Making does both in a manner that is consistently engaging, provocative, forthright, and surprising.' - Caridad Svich, Rutgers University, USA, " Theatre-Making puts to rest some outdated binaries between text-oriented and "alternative" approaches. It is subtle in exploring the complexities and interrelationships of different modes of practise, and carefully attends to how apprently similar practises have evolved in different areas and traditions. This volume, which charts the history and dynamics of how practises emerge and overlap, will be invaluable to teachers and students of contemporary theatre." - Greath White, Central School of Speech and Drama, University of London, UK " By focusing on work like Tim Crouch's The Author , Ontroerend Goed's Internal and Simon Stephens's Three Kingdoms , Theatre-Making presents the notion of audience as co-creators, so that by the end of this hugely readable study, the title takes on a whole new meaning; all of us are discovered to be theatre-makers, no matter what our relationship is to the piece in question." - Dan Hutton, A Younger Theatre, UK " Theatre-Making lays out its most important intervention in its very title: Radosavljević proposes this term as the foundation of a new vocabulary for discussing contemporary theatre, bringing it all under the inclusive umbrella of making." '€" Catherine Love, Exeunt "History and theory are pretty much the biggest battlegrounds in any culture war. While barely acknowledging that there's 'an enemy' at all, DuÅ¡ka's book effortlessly hands recent theatre history to the good guys." - Andrew Haydon, Postcards from the Gods 'Some books take you by the hand and gently guide you through their corridors of insight and knowledge. Others propel you into the heart of matters and never let go. DuÅ¡ka Radosavljevic's Theatre-Making does both in a manner that is consistently engaging, provocative, forthright, and surprising.' - Caridad Svich, Rutgers University, USA
Dewey Edition23
Number of Volumes1 vol.
IllustratedYes
Dewey Decimal792
Table Of ContentIntroduction 1. Staging a Play: The Problems of Page and Stage 2. From Devising to Adaptation 3. New Writing in the 21st Century 4. Verbatim 5. Relational New Works Conclusion Bibliography Appendix 1: Simon Stephens - Interview Appendix 2: Philip Ralph - Interview Appendix 3: Tim Crouch - Interview
SynopsisTheatre-Making: Interplay Between Text and Performance in the 21st Century explores the modes of authorship in twenty-first century theatre - spanning classical theatre, devising and adaptation, new writing, verbatim and contemporary performance - with reference to genealogies through which these categories have been constructed in the English-speaking world. Based on substantial original research, it is the first book to deliberately bring together text-based and performance-based theatre, and offer their consideration with reference to different cultures (European vs. Anglo-American). Amongst other things, the book argues that devising has now become a historical category, that playwrights in the twenty-first century are more akin to music composers and that contemporary performance-makers are finally beginning to understand Brecht. Examples under discussion range from the Royal Shakespeare Company's kinaesthetic approach to Shakespeare, to the Belgian company Ontroerend Goed's interactive shows. Drawing on interviews with leading contemporary practitioners and companies, such as Tim Crouch, Kneehigh and Simon Stephens, amongst others, the book usefully bridges the gap between dramatic theatre and devised performance by exploring the role of the theatre writer, writing and text in all of these diverse manifestations of theatre and performance-making., Theatre-Making explores modes of authorship in contemporary theatre seeking to transcend the heritage of binaries from the Twentieth century such as text-based vs. devised theatre, East vs. West, theatre vs. performance - with reference to genealogies though which these categories have been constructed in the English-speaking world., Exploring modes of authorship in contemporary theatre, Theatre-Making: Interplay Between Text and Performance in the 21st Century seeks to transcend the heritage of binaries from the twentieth century, such as: text-based vs. devised theatre, East vs. West, theatre vs. performance - with reference to genealogies through which these categories have been constructed in the English-speaking world. Based on substantial original research, Theatre-Making is innovative in that it brings together text-based and performance-based theatre, and offers their consideration with reference to different cultures (European and Anglo-American). Amongst other things, this book argues that devising has now become a historical category, that playwrights in the twenty-first century are more akin to music composers and that contemporary performance-makers are finally beginning to understand Brecht. Examples under discussion range from the Royal Shakespeare Company's kinaesthetic approach to Shakespeare, to the Belgian company Ontroerend Goed's interactive shows. Drawing on interviews with leading contemporary practitioners and companies, such as Tim Crouch, Kneehigh and Simon Stephens, amongst others, this book usefully bridges the gap between dramatic theatre and devised performance by exploring the role of the theatre writer, writing and text in all of these diverse manifestations of theatre and performance-making. Formalizing the increasing currency of the terms 'theatre-making' and 'theatre-maker', the book also acknowledges changing trends in the de/professionalization of theatre artists in the English-speaking world in the twenty-first century. In addition, despite various forms of conservatism within the critical establishments all over Europe, this volume finds that in the twenty-first century, the notion of theatrical authorship in its own right is gaining significance through the globalized blogosphere.
LC Classification NumberPN1995.9.P7
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