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      • Trusted Partner
        Playhouse wills
        The Arts
        June 2015

        Playhouse wills

        1558–1642

        by Edited by E Honigmann and Susan Brock

        This edition, now available in paperback, constitutes an archive of source materials in the field of Elizabethan and Jacobean theatre. It is a collection of over one hundred wills left by those who participated in the life of the theatre - from actors and dramatists to carpenters and costumiers. The wills not only offer vital historical evidence but are also important human documents, testaments to the social, financial, religious and sentimental lives of Shakespeare's contemporaries. Of the wills reprinted here, one third were newly discovered, and many of the rest printed for the first time from the original wills, thus preserving the vacillations and abandoned intentions of the testators. ;

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      • Trusted Partner
        Playhouse wills
        The Arts
        June 2015

        Playhouse wills

        1558–1642

        by Edited by E Honigmann and Susan Brock

        This edition, now available in paperback, constitutes an archive of source materials in the field of Elizabethan and Jacobean theatre. It is a collection of over one hundred wills left by those who participated in the life of the theatre - from actors and dramatists to carpenters and costumiers. The wills not only offer vital historical evidence but are also important human documents, testaments to the social, financial, religious and sentimental lives of Shakespeare's contemporaries. Of the wills reprinted here, one third were newly discovered, and many of the rest printed for the first time from the original wills, thus preserving the vacillations and abandoned intentions of the testators. ;

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      • Trusted Partner
        Stage rights!
        The Arts
        May 2018

        Stage rights!

        The Actresses’ Franchise League, activism and politics 1908–58

        by Naomi Paxton, Maggie B. Gale

        Stage rights! explores the work and legacy of the first feminist political theatre group of the twentieth century, the Actresses' Franchise League. Formed in 1908 to support the suffrage movement through theatre, the League and its membership opened up new roles for women on stage and off, challenged stereotypes of suffragists and actresses, created new work inspired by the movement and was an integral part of the performative propaganda of the campaign. Introducing new archival material to both suffrage and theatre histories, this book is the first to focus in detail on the Actresses' Franchise League, its membership and its work. The volume is formulated as a historiographically innovative critical biography of the organisation over the fifty years of its activities, and invites a total reassessment of the League within the accepted narratives of the development of political theatre in the UK.

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      • Trusted Partner
        Stage rights!
        The Arts
        May 2018

        Stage rights!

        The Actresses’ Franchise League, activism and politics 1908–58

        by Naomi Paxton, Maggie B. Gale

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      • Trusted Partner
        Stage rights!
        The Arts
        May 2018

        Stage rights!

        The Actresses’ Franchise League, activism and politics 1908–58

        by Naomi Paxton, Maggie B. Gale

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      • Trusted Partner
        Queer exceptions
        The Arts
        December 2018

        Queer exceptions

        Solo performance in neoliberal times

        by Stephen Greer, Maggie B. Gale

        Queer expectations is a study of contemporary solo performance in the UK and Western Europe that explores the contentious relationship between identity, individuality and neoliberalism. With diverse case studies featuring the work of La Ribot, David Hoyle, Oreet Ashery, Bridget Christie, Tanja Ostojic, Adrian Howells and Nassim Soleimanpour, the book examines the role of singular or 'exceptional' subjects in constructing and challenging assumed notions of communal sociability and togetherness, while drawing fresh insight from the fields of sociology, gender studies and political philosophy to reconsider theatre's attachment to singular lives and experiences. Framed by a detailed exploration of arts festivals as encapsulating the material, entrepreneurial circumstances of contemporary performance-making, this is the first major critical study of solo work since the millennium.

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      • Trusted Partner
        Queer exceptions
        The Arts
        December 2018

        Queer exceptions

        Solo performance in neoliberal times

        by Stephen Greer, Maggie B. Gale

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      • Trusted Partner
        Queer exceptions
        The Arts
        December 2018

        Queer exceptions

        Solo performance in neoliberal times

        by Stephen Greer, Maggie B. Gale

        Contents List 1 Introduction: locating solo performance 2 Martyr 3 Pariah 4 Invalid 5 Alien 6 Killjoy 7 Optimist

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      • Trusted Partner
        Stage rights!
        The Arts
        January 2019

        Stage rights!

        The Actresses’ Franchise League, activism and politics 1908–58

        by Naomi Paxton, Maggie B. Gale

        Stage rights! explores the work and legacy of the first feminist political theatre group of the twentieth century, the Actresses' Franchise League. Formed in 1908 to support the suffrage movement through theatre, the League and its membership opened up new roles for women on stage and off, challenged stereotypes of suffragists and actresses, created new work inspired by the movement and was an integral part of the performative propaganda of the campaign. Introducing new archival material to both suffrage and theatre histories, this book is the first to focus in detail on the Actresses' Franchise League, its membership and its work. The volume is formulated as a historiographically innovative critical biography of the organisation over the fifty years of its activities, and invites a total reassessment of the League within the accepted narratives of the development of political theatre in the UK.

        More
      • Trusted Partner
        Witness onstage
        The Arts
        October 2019

        Witness onstage

        Documentary theatre in twenty-first century Russia

        by Molly Flynn, Maggie B. Gale

        As the Kremlin's crackdown on freedom of expression continues to tighten, Russian playwrights and directors are using documentary theatre to create space for the public discussion of injustice in the civic sphere and its connections to the country's twentieth-century past. Witness Onstage traces the history of documentary theatre's rapid growth in twenty-first century Russia and situates the form within the socio-political setting of the Putin years. It argues that through the practice of performing documents, Russian theatre artists are creating a new type of cultural and historical archive that challenges the dominance of state-sponsored media and invites individuals to participate in a collective renegotiation of cultural narratives.

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      • Trusted Partner
        Witness onstage
        The Arts
        October 2019

        Witness onstage

        Documentary theatre in twenty-first century Russia

        by Molly Flynn, Maggie B. Gale

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      • Trusted Partner
        Witness onstage
        The Arts
        October 2019

        Witness onstage

        Documentary theatre in twenty-first century Russia

        by Molly Flynn, Maggie B. Gale

        More
      • Trusted Partner
        Robert Lepage's original stage productions
        The Arts
        August 2020

        Robert Lepage's original stage productions

        Making theatre global

        by Karen Fricker, Maria M. Delgado, Maggie B. Gale, Peter Lichtenfels

        This book explores the development of Robert Lepage's distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage's productions. Productions discussed include The Dragon's Trilogy, Needles and Opium, and The Far Side of the Moon. Making theatre global: Robert Lepage's original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century.

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      • Trusted Partner
        Robert Lepage's original stage productions
        The Arts
        August 2020

        Robert Lepage's original stage productions

        Making theatre global

        by Karen Fricker, Maria M. Delgado, Maggie B. Gale, Peter Lichtenfels

        This book explores the development of Robert Lepage's distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage's productions. Productions discussed include The Dragon's Trilogy, Needles and Opium, and The Far Side of the Moon. Making theatre global: Robert Lepage's original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century.

        More
      • Trusted Partner
        Robert Lepage's original stage productions
        The Arts
        August 2020

        Robert Lepage's original stage productions

        Making theatre global

        by Karen Fricker, Maria M. Delgado, Maggie B. Gale, Peter Lichtenfels

        This book explores the development of Robert Lepage's distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage's productions. Productions discussed include The Dragon's Trilogy, Needles and Opium, and The Far Side of the Moon. Making theatre global: Robert Lepage's original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century.

        More
      • Trusted Partner
        Performing the testimonial
        The Arts
        July 2020

        Performing the testimonial

        Rethinking verbatim dramaturgies

        by Amanda Stuart Fisher, Maggie B. Gale

        Providing one of the first critically sustained engagements with the new forms of verbatim and testimonial theatre that emerged in the late 1990s and early 2000s, this book examines what distinguishes verbatim theatre from the more established documentary theatre traditions developed initially by Peter Weiss, Bertolt Brecht and Erwin Piscator. Examining a wide range of verbatim and testimonial plays from around the world, this book looks beyond the discourses of the real that have tended to dominate scholarship in this area and instead argues that this kind of theatre engages in acts of truth telling. Through its analysis of a range of international plays from UK, Germany, America, Australia and South Africa, the book explores theatre's dramaturgical interrogation of testimony and how the act of witnessing itself is reconfigured when relocated outside of the psychoanalytic frame and positioned as contributing to a decolonisation of testimony.

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      • Trusted Partner
        Performing the testimonial
        The Arts
        July 2020

        Performing the testimonial

        Rethinking verbatim dramaturgies

        by Amanda Stuart Fisher, Maggie B. Gale

        Providing one of the first critically sustained engagements with the new forms of verbatim and testimonial theatre that emerged in the late 1990s and early 2000s, this book examines what distinguishes verbatim theatre from the more established documentary theatre traditions developed initially by Peter Weiss, Bertolt Brecht and Erwin Piscator. Examining a wide range of verbatim and testimonial plays from around the world, this book looks beyond the discourses of the real that have tended to dominate scholarship in this area and instead argues that this kind of theatre engages in acts of truth telling. Through its analysis of a range of international plays from UK, Germany, America, Australia and South Africa, the book explores theatre's dramaturgical interrogation of testimony and how the act of witnessing itself is reconfigured when relocated outside of the psychoanalytic frame and positioned as contributing to a decolonisation of testimony.

        More
      • Trusted Partner
        Performing the testimonial
        The Arts
        July 2020

        Performing the testimonial

        Rethinking verbatim dramaturgies

        by Amanda Stuart Fisher, Maggie B. Gale

        Providing one of the first critically sustained engagements with the new forms of verbatim and testimonial theatre that emerged in the late 1990s and early 2000s, this book examines what distinguishes verbatim theatre from the more established documentary theatre traditions developed initially by Peter Weiss, Bertolt Brecht and Erwin Piscator. Examining a wide range of verbatim and testimonial plays from around the world, this book looks beyond the discourses of the real that have tended to dominate scholarship in this area and instead argues that this kind of theatre engages in acts of truth telling. Through its analysis of a range of international plays from UK, Germany, America, Australia and South Africa, the book explores theatre's dramaturgical interrogation of testimony and how the act of witnessing itself is reconfigured when relocated outside of the psychoanalytic frame and positioned as contributing to a decolonisation of testimony.

        More

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