The Paris jigsaw
Internationalism and the city's stages
by Maria M. Delgado, Maggie B. Gale, Peter Lichtenfels
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Afghanistan, Aland Islands, Albania, Algeria, American Samoa, Andorra, Angola, Anguilla, Antarctica, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Azerbaijan, Bahamas, Bahrain, Bangladesh, Barbados, Belarus, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bonaire, Sint Eustatius, Saba, Bosnia and Herzegovina, Botswana, Bouvet Island, Brazil, British Indian Ocean Territory, British Virgin Islands, Brunei, Bulgaria, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Cape Verde, Cayman Islands, Central African Republic, Chad, Chile, China, Christmas Island, Cocos [Keeling] Islands, Colombia, Comoros, Congo [DRC], Congo [Republic], Cook Islands, Costa Rica, Cote d'Ivoire, Croatia, Cuba, Curaçao, Cyprus, Czech Republic, Denmark, Djibouti, Dominica, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Falkland Islands [Islas Malvinas], Faroe Islands, Fiji, Finland, France, French Guiana, French Polynesia, French Southern Territories, Gabon, Gambia, Georgia, Germany, Ghana, Gibraltar, Greece, Greenland, Grenada, Guadeloupe, Guam, Guatemala, Guernsey, Guinea, Guinea-Bissau, Guyana, Haiti, Heard Island and McDonald Islands, Honduras, Hong Kong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Isle of Man, Israel, Italy, Jamaica, Japan, Jersey, Jordan, Kazakhstan, Kenya, Kiribati, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Luxembourg, Macau, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Marshall Islands, Martinique, Mauritania, Mauritius, Mayotte, Mexico, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Myanmar [Burma], Namibia, Nauru, Nepal, Netherlands, New Caledonia, New Zealand, Nicaragua, Niger, Nigeria, Niue, Norfolk Island, North Korea, Northern Mariana Islands, Norway, Oman, Pakistan, Palau, Palestinian Territories, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Pitcairn Islands, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Barthélemy, Saint Helena, Saint Kitts and Nevis, Saint Lucia, Saint Martin, French part, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Samoa, San Marino, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Sint Maarten (Dutch Part), Slovakia, Slovenia, Solomon Islands, Somalia, South Africa, South Georgia and the South Sandwich Islands, South Korea, South Sudan, Spain, Sri Lanka, Sudan, Suriname, Svalbard and Jan Mayen, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tajikistan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tonga, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Turks and Caicos Islands, Tuvalu, U.S. Minor Outlying Islands, U.S. Virgin Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican City, Venezuela, Vietnam, Wallis and Futuna, Western Sahara, Yemen, Zambia, Zimbabwe
Endorsements
Paris has always exerted a magnetic force on artists. A natural haven for those fleeing the Russian Revolution in the early years of the twentieth century, it later offered safety to artists escaping oppressive regimes in Europe and farther afield. In recent years it has welcomed performers, artists and intellectuals from Middle and Far Eastern countries, from Africa and Latin America, offering strategies for the practice of theatre in a new Europe of ever-shifting boundaries. This book examines the creation and development of communities of actors, directors, designers and playwrights in Paris over the past thirty years, it shows how the willingness of the city to welcome international influences, even appointing foreigners to the most influential theatre positions, has enriched its creative life. This examination reveals that many of the most important trends and new developments in the art of theatre have been the direct result of that creative combination of influences from all over the world. Incorporating both the views of academic experts in the field and a range of practitioners who have shaped the city's theatrical cultures, it demonstrates how the pioneering work of Brook, Boal, Mnouchkine, Lecoq and many others has been able to draw on this vibrant, multi-cultural mix, in turn creating new work that has enriched theatre's potential to enlarge our thinking and our imagination. -
Author Biography
Maria M. Delgado is Director of Research at Royal Central School of Speech and Drama; Maggie B. Gale is Professor and Chair in Drama at The University of Manchester Maggie B. Gale is Senior Lecturer in Drama and Theatre Arts at the University of Birmingham
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
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Bibliographic Information
- Publisher Manchester University Press
- Publication Date April 2002
- Orginal LanguageEnglish
- ISBN/Identifier 9780719061844
- Publication Country or regionUnited Kingdom
- FormatPaperback
- Primary Price 36.95 USD
- Pages320
- ReadershipGeneral/trade
- Publish StatusPublished
- Dimensions216 X 138 mm
- IllustrationIllustrations, black & white
- SeriesTheatre: Theory – Practice – Performance
- Reference CodeIPR2501
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