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This book examines the intersection between sound and modernity in dramatic and musical performance in Manila and the Asia-Pacific between 1869 and 1948. During this period, tolerant political regimes resulted in the globalization of capitalist relations and the improvement of transcontinental travel and worldwide communication. This allowed modern modes of theatre and music consumption to instigate the uniformization of cultural products and processes, while simultaneously fragmenting societies into distinct identities, institutions, and nascent nation-states. Taking the performing bodies of migrant musicians as the locus of sound, this book argues that the global movement of acoustic modernities was replicated and diversified through its multiple subjectivities within empire, nation, and individual agencies. It traces the arrival of European travelling music and theatre companies in Asia which re-casted listening into an act of modern cultural consumption, and follows the migration of Manila musicians as they engaged in the modernization project of the neighboring Asian cities.

Culture --- Theater --- Cultural and Media Studies. --- Theatre History. --- National/Regional Theatre and Performance. --- Global/International Theatre and Performance. --- Cultural studies --- Study and teaching. --- History. --- Music --- Performance. --- Musical performance --- Performance of music --- Theater-History. --- Theater. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Theater—History. --- National and Regional Theatre and Performance. --- Global and International Theatre and Performance.

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This book explores how the English rural has been represented in contemporary theatre and performance. Exploring a range of plays, forms, and contexts of theatre production, Representing the Rural celebrates the lively engagement with rurality on English stages since 2000, constituting the first full study of theatrical representations of rural life. Interdisciplinary in its approach, this book draws on political philosophy and cultural geography in its definitions of rurality and Englishness, and works with key theoretical concepts such as nostalgia and ethnonationalism. Covering a range of perspectives from the country garden in Mike Bartlett’s Albion to agricultural labour in Nell Leyshon’s The Farm, the enclosure acts in D.C. Moore’s Common to Black rural history in Testament’s Black Men Walking, the book shows how theatre and performance can open up different ways of reading rural geographies, histories, and lives. While Representing the Rural is aimed at students and researchers of theatre and performance, its interdisciplinary scope means that it has wider appeal to other disciplines in the arts and humanities, including geography, politics, and history. Dr Gemma Edwards is a Leverhulme Early Career Fellow at the University of Manchester, UK. Her work focuses on place, politics, and performance, particularly in non-metropolitan contexts. She has published on rurality in contemporary theatre, and her next project explores race, class, and English nationhood from 1945 to the present.

Theater—History. --- Theater. --- Ecocriticism. --- Human geography. --- Cultural geography. --- Contemporary Theatre and Performance. --- National and Regional Theatre and Performance. --- Social and Cultural Geography. --- Human geography --- Anthropo-geography --- Anthropogeography --- Geographical distribution of humans --- Social geography --- Anthropology --- Geography --- Human ecology --- Ecological literary criticism --- Environmental literary criticism --- Criticism --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors

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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 variety of perspectives, methodologies and theatrical genres, including not only Bertolt Brecht, Jerzy Grotowski and Peter Brook, but also Polish folk-dancing, documentary theatre and opera production. The contributions demonstrate that there was much more at stake and a much larger investment of ideological and economic capital than a simple dichotomy between East versus West or socialism versus capitalism might suggest. Culture, and theatrical culture in particular with its high degree of representational power, was recognized as an important medium in the ideological struggles that characterize this epoch. Most importantly, the volume explores how theatre can be reconceptualized in terms of transnational or even global processes which, it will be argued, were an integral part of Cold War rivalries.

Culture --- Theater --- Russia --- Europe, Eastern --- World history. --- Cultural and Media Studies. --- Theatre History. --- Global/International Theatre and Performance. --- National/Regional Theatre and Performance. --- Russian, Soviet, and East European History. --- World History, Global and Transnational History. --- Study and teaching. --- History. --- Drama --- History --- Drama, Modern --- Universal history --- Cultural studies --- Theater-History. --- Theater. --- Russia-History. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Cold War in literature. --- History and criticism. --- Theater—History. --- Russia—History. --- Europe, Eastern—History. --- Soviet Union --- Global and International Theatre and Performance. --- National and Regional Theatre and Performance.