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This book addresses the notion posed by Thomas Kilroy in his definition of a playwright’s creative process: ‘We write plays, I feel, in order to populate the stage’. It gathers eclectic reflections on contemporary Irish theatre from both Irish theatre practitioners and international academics. The eighteen contributions offer innovative perspectives on Irish theatre since the early 1990s up to the present, testifying to the development of themes explored by emerging and established playwrights as well as to the (r)evolutions in practices and approaches to the stage that have taken place in the last thirty years. This cross-disciplinary collection devotes as much attention to contextual questions and approaches to the stage in practice as it does to the play text in its traditional and revised forms. The essays and interviews encourage dialectic exchange between analytical studies on contemporary Irish theatre and contributions by theatre practitioners.v>.

Theater --- History. --- Theater. --- Actors. --- Contemporary Theatre. --- Performers and Practitioners. --- National/Regional Theatre and Performance. --- Theatre Industry. --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors

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Audiences are not what they used to be. Munching crisps or snapping selfies, chatting loudly or charging phones onstage – bad behaviour in theatre is apparently on the rise. And lately some spectators have begun to fight back… The Reasonable Audience explores the recent trend of ‘theatre etiquette’: an audience-led crusade to bring ‘manners and respect’ back to the auditorium. This comes at a time when, around the world, arts institutions are working to balance the traditional pleasures of receptive quietness with the need to foster more inclusive experiences. Through investigating the rhetorics of morality underpinning both sides of the argument, this book examines how models of 'good' and 'bad' spectatorship are constructed and legitimised. Is theatre etiquette actually snobbish? Are audiences really more selfish? Who gets to decide what counts as ‘reasonable’ within public space?Using theatre etiquette to explore wider issues of social participation, cultural exclusion, and the politics of identity, Kirsty Sedgman asks what it means to police the behaviour of others.

Theater audiences --- Etiquette. --- Authority. --- Political science --- Authoritarianism --- Consensus (Social sciences) --- Ceremonies --- Condolence, Etiquette of --- Manners --- Politeness --- Usages --- Conduct of life --- Manners and customs --- Audiences, Theater --- Theater --- Theatergoers --- Performing arts --- Theater attendance --- Attitudes. --- Audiences --- Theater. --- Performing arts. --- Contemporary Theatre. --- Performing Arts. --- Theatre Industry. --- Show business --- Arts --- Performance art --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors

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"This is the first book on debbie tucker green and is likely to remain the definitive and authoritative study of this major playwright and director for decades to come. Essays across the volume provide fresh methodologies for analysing not only tucker green’s theatre, but theatre at large, by engaging with Kamau Brathwaite and Tricia Rose on Caribbean musicality, Henry Louis Gates Jr on black meaning-making, Sara Ahmed and María Lugones on aggression as resistance to injustice, and Homi K. Bhabha and Stuart Hall on hybrid identities. The essays make a convincing case for tucker green as the most important artist and most dedicated human rights activist on the stage today." - Professor Clare Finburgh Delijani, Goldsmiths University of London, UK This long-awaited book is the first full-length study of the work of the extraordinary contemporary black British playwright, debbie tucker green. Covering the period from 2000 (Two Women) to 2017 (a profoundly affectionate, passionate devotion to someone (-noun)), it offers scholars and students the opportunity to engage in cutting-edge critical debate engendered by tucker green’s innovative dramatic works for stage, television, and radio. This groundbreaking book includes contributions by a range of outstanding scholars, including black playwriting specialists, world-leading contemporary theatre scholars and some of the very best emerging researchers in the field. While always focused on the precision and detail of tucker green’s work, this book simultaneously reframes broader debates around contemporary drama and its politics, poses new questions of theatre, and provokes scholarly thinking in ways that, however obliquely, contribute to the change for which the plays agitate. Dr Siân Adiseshiah is Senior Lecturer in English and Drama at Loughborough University. Her previous books include (co-edited with Louise LePage) Twenty-First Century Drama: What Happens Now (Palgrave, 2016); (co-edited with Rupert Hildyard), Twenty-First Century Fiction: What Happens Now (Palgrave, 2014) and Churchill’s Socialism: Political Resistance in the Plays of Caryl Churchill (CSP, 2009). She is currently writing a monograph, Utopian Drama: In Search of A Genre. Dr Jacqueline Bolton is Senior Lecturer in Theatre and Drama at the University of Lincoln. She has contributed chapters on Simon Stephens and Joint Stock theatre company to Modern British Playwriting: Voices, Documents, New Interpretations: the 2000s (Methuen, 2013) and British Theatre Companies: From Fringe to Mainstream (Methuen, 2015), and articles on contemporary theatre-making to Studies in Theatre and Performance and Contemporary Theatre Review. She is currently writing a monograph on the plays of Simon Stephens.

Performing arts. --- Show business --- Arts --- Performance art --- Theater. --- Theater—Production and direction. --- Actors. --- Contemporary Theatre. --- Performing Arts. --- Theatre Direction and Production. --- National/Regional Theatre and Performance. --- Theatre Industry. --- Performers and Practitioners. --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors

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This book traces an engagement between intercultural dance company Marrugeku and unceded lands of the Yawuru, Bunuba, and Nyikina in the north west of Australia. In the face of colonial legacies and extractive capitalism, it examines how Indigenous ontologies bring ecological thought to dance through an entangled web of attachments to people, species, geologies, political histories, and land. Following choreographic interactions across the multiple subject positions of Indigenous, settler, and European artists during a period of intense choreographic development for the company between 2012–2016 the book closely examines projects such as Yawuru/Bardi dancer and choreographer Dalisa Pigram’s solo Gudirr Gudirr (2013) and the multimedia work Cut the Sky (2015). Dance in Contested Land reveals how emergent intercultural dramaturgies can mediate dance and land to revision and reorientate kinetics, emotion, and responsibilities through sites of Indigenous resurgence and experimentation.

Dance. --- Performing arts. --- Theater. --- Performing Arts. --- Global/International Theatre and Performance. --- National/Regional Theatre and Performance. --- Theatre Industry. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Show business --- Arts --- Performance art --- Dances --- Dancing --- Amusements --- Balls (Parties) --- Eurythmics --- Aboriginal Australians --- Land tenure.

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This book explores how doing dramaturgy is informed by today’s highly diverse field of theatre, dance and performance. It does so in dialogue with fourteen performances and their makers, tracing the thinking-through-practice that underlies these creations. The first part of the book looks at how dramaturgs participate in practices of thinking-making and introduces a dramaturgical mode of looking at performances and the processes in which they are created. The second part of the book discusses the performances and creative processes of Manuela Infante, Julian Hetzel, Ivo van Hove, Anouk van Dijk, Falk Richter, Milo Rau, Kris Verdonck, Death Centre, Hotel Modern, Jr.cE.sA.r , Emio Greco and Pieter C. Scholten, Dries Verhoeven, the LGB Society of Mind, Sanja Mitrović, and Amanda Piña. Showing how ways of making and ways of doing dramaturgy mutually inform each other, this book is an essential resource for students and others aspiring to develop their own dramaturgical practice. Maaike Bleeker is Professor of Theatre, Dance and Performance Studies at Utrecht University, Netherlands. As a dramaturg, she worked with theatre directors and choreographers on a wide variety of projects. Moving back and forth between theory and practice, she investigates thinking as material and embodied practice, and making theatre as an expression of such thinking. .

Drama --- Dramaturges. --- Technique. --- Dramaturgs --- Literary managers (Theater) --- Theatrical producers and directors --- Dramaturgy --- Authorship --- Playwriting --- Performing arts. --- Theater. --- Cultural industries. --- Theater—History. --- Theatre and Performance Arts. --- Theatre Industry. --- Contemporary Theatre and Performance. --- Applied Theatre. --- Practice-as-Research. --- Creative industries --- Culture industries --- Industries --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Show business --- Arts --- Performance art