Results by title

967 books match the query 'Theater' and 67 start with p

cover of Poverty and Antitheatricality: Form and Formlessness in Latin American Literature, Art, and Theory

Poverty and Antitheatricality

Form and Formlessness in Latin American Literature, Art, and Theory

Stephen Buttes

Rutgers University Press, 2025

Poverty and Antitheatricality argues that many major analytical approaches today misunderstand the problem of poverty by emphasizing its status as an experience. These experiential models transform poverty from a specific socioeconomic status lived in a particular historical sequence into a transhistorical presence of marginality that is not only inevitable but necessary. Embedded in capitalist, socialist, and populist forms of socioeconomic organization, these models paradoxically suggest that if we want to have a world free of poverty, we must always have the poor and their experience of formlessness. Taking up the paired terms—form and formlessness—Stephen Buttes demonstrates how they sustain not only debates about poverty and its political role within modernity but also the idea of the work of art within the history of modernism. Offering critiques of critical theory alongside new readings of both canonical and little-studied Latin American authors and artists, Poverty and Antitheatricality makes a compelling case that understanding the kind of problem the work of art is opens up overlooked but essential pathways to understanding poverty and the kind of problem it is.
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cover of Poverty and Charity in Early Modern Theater and Performance

Poverty and Charity in Early Modern Theater and Performance

Robert Henke

University of Iowa Press, 2015

Whereas previous studies of poverty and early modern theatre have concentrated on England and the criminal rogue, Poverty and Charity in Early Modern Theatre and Performance takes a transnational approach, which reveals a greater range of attitudes and charitable practices regarding the poor than state poor laws and rogue books suggest. Close study of German and Latin beggar catalogues, popular songs performed in Italian piazzas, the Paduan actor-playwright Ruzante, the commedia dell’arte in both Italy and France, and Shakespeare demonstrate how early modern theatre and performance could reveal the gap between official policy and actual practices regarding the poor.

The actor-based theatre and performance traditions examined in this study, which persistently explore felt connections between the itinerant actor and the vagabond beggar, evoke the poor through complex and variegated forms of imagination, thought, and feeling. Early modern theatre does not simply reflect the social ills of hunger, poverty, and degradation, but works them through the forms of poverty, involving displacement, condensation, exaggeration, projection, fictionalization, and marginalization. As the critical mass of medieval charity was put into question, the beggar-almsgiver encounter became more like a performance. But it was not a performance whose script was prewritten as the inevitable exposure of the dissembling beggar. Just as people’s attitudes toward the poor could rapidly change from skepticism to sympathy during famines and times of acute need, fictions of performance such as Edgar’s dazzling impersonation of a mad beggar in Shakespeare’s King Lear could prompt responses of sympathy and even radical calls for economic redistribution.
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cover of Power and Performance: Ethnographic Explorations through Proverbial Wisdom and Theater in Shaba, Zaire

Power and Performance

Ethnographic Explorations through Proverbial Wisdom and Theater in Shaba, Zaire

Johannes Fabian

University of Wisconsin Press, 1990

In 1985 Johannes Fabian, while engaged in fieldwork in the Shaba province of Zaire, first encountered this saying. Its implications—for the charismatic religious movements Fabian was examining, for the highly charged political atmosphere of Zaire, and for the cultures of the Luba peoples—continued to intrigue him, though its meaning remained elusive.  On a later visit, he mentioned the saying to a company of popular actors, and triggered an ethnographic brainstorm.  “Spontaneously, they decided it would be just the right topic for their next play.  On the spot they began planning—suggestions for a plot were made, problems of translating the French term ‘pouvoir’ were debated, several actors cited sayings and customs from their home villages. . . .” 

Power and Performance examines traditional proverbs about power as it illustrates how the performance of Le pouvoir se mange entier was created, rehearsed, and performed. The play deals with the issue of power through a series of conflicts between villagers and their chief. Both rehearsal and performance versions of the text of this drama are included, in Swahili and in English translation.

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cover of Practising the Real on the Contemporary Stage

Practising the Real on the Contemporary Stage

José Antonio Sánchez

Intellect Books, 2014

An analysis of reality and "the real" as presented in contemporary artistic creation, Practising the Real on the Contemporary Stage examines the responses given by performing arts to the importance placed on reality beyond representation. This book proposes four historic itineraries defined by the ways in which the issue of the real is addressed: the representation of visible reality and its paradoxes, the place of the real on the lived body, the limits placed on representation by experiences of pain and death, and those practices that denounce the real. Practising the Real on the Contemporary Stage will be warmly welcomed by scholars of aesthetics and contemporary artistic practice. 
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cover of Pragmatic Liberation and the Politics of Puerto Rican Diasporic Drama

Pragmatic Liberation and the Politics of Puerto Rican Diasporic Drama

Jon D. Rossini

University of Michigan Press, 2024

2025 ATHE Outstanding Book Award Finalist

  • 2025 ATDS John W. Frick Book Award Finalist
  • 2025 MLA Prize in U.S. Latina and Latino and Chicana and Chicano Literary and Cultural Studies Honorable Mention

Pragmatic Liberation and the Politics of Puerto Rican Diasporic Drama explores the work of a unique group of playwrights—Puerto Rican dramatists writing in the United States—who offer a model of political engagement. As members of the Puerto Rican diaspora, they have a heightened awareness of the systematic discrimination and the colonial citizenship created by Puerto Rico’s territorial status. Pragmatic Liberation analyzes the work of established playwrights as well as work that has previously received little attention in the world of theater studies, including René Marqués’s Palm Sunday. The book demonstrates the strategies these playwrights use to model a nuanced way of moving toward liberation while being sensitive to the potential impact these actions might have on those closest to us. This is a crucially important model that needs more attention in our currently polarized political moment.

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cover of Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age

Preaching to Convert

Evangelical Outreach and Performance Activism in a Secular Age

John Fletcher

University of Michigan Press, 2015

Preaching to Convert offers an intriguing new perspective on the outreach strategies of U.S. evangelicals, framing them as examples of activist performance, broadly defined as acts performed before an audience in the hopes of changing hearts and minds. Most writing about activist performance has focused on left-progressive causes, events, and actors. Preaching to Convert argues against such a constricted view of activism and for a more nuanced understanding of U.S. evangelicalism as a movement defined by its desire to win converts and spread the gospel.
 
The book positions evangelicals as a diverse, complicated group confronting the loss of conservative Christianity’s default status in 21st-century U.S. culture. In the face of an increasingly secular age, evangelicals have been reassessing models of outreach. In acts like handing out Bible tracts to strangers on the street or going door-to-door with a Bible in hand, in elaborately staged horror-themed morality plays or multimillion-dollar creationist discovery centers, in megachurch services beamed to dozens of satellite campuses, and in controversial “ex-gay” ministries striving to return gays and lesbians to the straight and narrow, evangelicals are redefining what it means to be deeply committed in a pluralist world. The book’s engaging style and careful argumentation make it accessible and appealing to scholars and students across a range of fields.
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cover of Precarious Forms: Performing Utopia in the Neoliberal Americas

Precarious Forms

Performing Utopia in the Neoliberal Americas

Candice Amich

Northwestern University Press, 2020

Precarious Forms: Performing Utopia in the Neoliberal Americas explores how performance art and poetry convey utopian desires even in the bleakest of times. Candice Amich argues that utopian longing in the neoliberal Americas paradoxically arises from the material conditions of socioeconomic crisis. Working across national, linguistic, and generic boundaries, Amich identifies new political and affective modes of reception in her examination of resistant art forms. She locates texts in the activist struggles of the Global South, where neoliberal extraction and exploitation most palpably reanimate the colonial and imperial legacies of earlier stages of capitalism.
 
The poets and artists surveyed in Precarious Forms enact gestures of solidarity and mutual care at sites of neoliberal dispossession. In her analysis of poems, body art, and multimedia installations that illuminate the persistence of a radical utopian imaginary in the Americas, Amich engages critical debates in performance studies, Latin American cultural studies, literature, and art history.
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cover of Presidential Libraries as Performance: Curating American Character from Herbert Hoover to George W. Bush

Presidential Libraries as Performance

Curating American Character from Herbert Hoover to George W. Bush

Jodi Kanter

Southern Illinois University Press, 2016

How do the funding, setting architecture, and exhibition of a presidential library shape our understanding of the president’s character? And how do diverse performances of the presidency create radically different opportunities for the practice of American citizenship? In Presidential Libraries as Performance: Curating American Character from Herbert Hoover to George W. Bush, Jodi Kanter analyzes presidential libraries as performances that encourage visitors to think in particular ways about executive leadership and about their own roles in public life.

Kanter considers the moments in the presidents’ lives the museums choose to interpret, and not to interpret, and how the libraries approach common subjects in the presidential museum narrative—the presidents’ early years in relation to cultural ideals, the libraries’ representations of presidential failures, personal and political, and the question of presidential legacy. Identifying the limited number of strategies the libraries currently use to represent the diversity of the American experience and American character, Kanter offers concrete suggestions for reinventing and reshaping the practices of museum professionals and visitors within the walls of these institutions.

Presidential museums can tell us important things about the relationships between performance and politics, entertainment and history, and leaders and the people they lead. Kanter demonstrates how the presidential libraries generate normative narratives about individual presidents, historical events, and what it means to be an American.
 
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cover of Prismatic Performances: Queer South Africa and the Fragmentation of the Rainbow Nation

Prismatic Performances

Queer South Africa and the Fragmentation of the Rainbow Nation

April Sizemore-Barber

University of Michigan Press, 2021

Listed as one of Lambda Literary's Most Anticipated LGBTQ Books for September 2020

At his 1994 inauguration, South African president Nelson Mandela announced the “Rainbow Nation, at peace with itself and the world.” This national rainbow notably extended beyond the bounds of racial coexistence and reconciliation to include “sexual orientation” as a protected category in the Bill of Rights. Yet despite the promise of equality and dignity, the new government’s alliance with neoliberal interests and the devastation of the AIDS epidemic left South Africa an increasingly unequal society.
 
Prismatic Performances focuses on the queer embodiments that both reveal and animate the gaps between South Africa’s self-image and its lived realities. It argues that performance has become a key location where contradictions inherent to South Africa’s post-apartheid identity are negotiated. The book spans 30 years of cultural production and numerous social locations and includes: a team of black lesbian soccer players who reveal and redefine the gendered and sexed limitations of racialized “Africanness;” white gay performers who use drag and gender subversion to work through questions of racial and societal transformation; black artists across the arts who have developed aesthetics that place on display their audiences’ complicity in the problem of sexual violence; and a primarily heterosexual panAfrican online soap opera fandom community who, by combining new virtual spaces with old melodramatic tropes allow for extended deliberation and new paradigms through which African same-sex relationships are acceptable.
 
Prismatic Performances contends that when explicitly queer bodies emerge onto public stages, audiences are made intimately aware of their own bodies’ identifications and desires. As the sheen of the New South Africa began to fade, these performances revealed the inadequacy and, indeed, the violence, of the Rainbow Nation as an aspirational metaphor. Simultaneously they created space for imagining new radical configurations of belonging.

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cover of Privileged Spectatorship: Theatrical Interventions in White Supremacy

Privileged Spectatorship

Theatrical Interventions in White Supremacy

Dani Snyder-Young

Northwestern University Press, 2021

Many professional theater artists attempt to use live performances in formal theater spaces to disrupt racism and create a more equitable society. Privileged Spectatorship: Theatrical Interventions in White Supremacy examines the impact of such projects, looking at how and why they do and do not intervene in white supremacy. In this incisive study, Dani Snyder-Young examines audience responses to a range of theatrical events that focus on race‑related conflict or racial identity in the contemporary United States. The audiences for these performances, produced at mainstream not‑for‑profit professional theaters in major American cities in 2013–18, reflect dominant patterns of theater attendance: the majority of spectators are older, affluent, white, and describe themselves as politically progressive. Snyder-Young studies the ways these audience members consume the stories of racialized others and analyzes how different artistic, organizational, and programmatic strategies can (or cannot) mitigate white privilege.

This book is essential reading for scholars and students of theater, performance studies, and critical ethnic studies and for theater practitioners interested in equity and inclusion.

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cover of Problem Solved!: The Music and Theater of The Negro Problem

Problem Solved!

The Music and Theater of The Negro Problem

Stew Stewart and Heidi Rodewald, Edited and with an Introduction by Brandon Woolf

University of Michigan Press, 2027

Problem Solved! invites readers into the exhilarating, unpredictable artistic world of The Negro Problem, the genre-defying music and theater collective behind the Tony and Obie Award–winning Passing Strange. Blending previously unpublished song lyrics, playscripts, critical essays, intimate interviews, and performance texts, the collection charts more than three decades of daring experimentation across rock music, musical theater, avant-garde performance, and other interdisciplinary forms of social and artistic critique.

Equal parts archive, mixtape, and critical meditation, the book captures The Negro Problem’s unique ability to move between seriousness and satire, activism and irony, intellectual rigor and irresistible melody. In addition to theatrical texts written and composed by Stew Stewart and Heidi Rodewald, the volume features a contextual essay by historian Scott Kurashige, close readings of The Total Bent by performance studies scholar Tavia Nyong’o, dramaturgical analyses of Passing Strange by volume editor Brandon Woolf, and a long-form interview about the band’s origins from co-leader Heidi Rodewald. The volume explores how the band challenges conventional ideas about race, identity, authenticity, activism, and musical theater through humor, contradiction, experimentation, and joyful disruption. Problem Solved! invites general readers, music enthusiasts, scholars, and theater lovers alike to explore how song can boldly and beautifully rise to meet our fractious cultural moment.

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cover of Project Planning for the Stage: Tools and Techniques for Managing Extraordinary Performances

Project Planning for the Stage

Tools and Techniques for Managing Extraordinary Performances

Rich Dionne

Southern Illinois University Press, 2018

Author Rich Dionne reframes theatre production as a project and provides essential tools for understanding and managing it efficiently, whether it be a stage play, an opera, a dance piece, or other performance that requires the collaboration of the artists and artisans creating the visual and aural landscape for it.
 
Project Planning for the Stage is organized into four sections corresponding to the life cycle of a theatre production: defining the goals and scope of the production and assembling the crew; planning, estimating, and scheduling; executing and managing; and closing and strike. Each section focuses on relevant concepts and skills and outlines the application of effective project-planning procedures and techniques—including critical path analysis and Gantt charts.
 
This book will be a valuable addition to the libraries of technical managers in live entertainment. Technical directors, costume shop managers, master electricians, properties masters, and video supervisors—anyone managing even part of a production—need to understand project-planning concepts such as the boundaries of authority and responsibility, parametric and bottom-up estimates, and precedence diagrams. The incredibly useful and powerful tools outlined in this book allow any technical manager to deliver the best possible outcome for a production.
 
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cover of Prologues and Epilogues of Restoration Theater: Gender and Comedy, Performance and Print

Prologues and Epilogues of Restoration Theater

Gender and Comedy, Performance and Print

Diana Solomon

University of Delaware Press, 2013

Often perceived as merely formulaic or historical documents, dramatic prologues and epilogues – players’ comic, poetic bids for the audience’s good opinion – became essential parts of Restoration theater, appearing in over 90 percent of performed and printed plays between 1660 and 1714. Their popularity coincided with the rise of the English actress, and Prologues and Epilogues of Restoration Theater unites these elements in the first book-length study on the subject. It finds that these paratexts provided the first sanctioned space for actresses in Britain to voice ideas in public, communicate directly with other women, and perform comedy – arguably the most powerful type of speech, and one that enabled interrogation of misogynist social practices. This book provides a taxonomy of prologues and epilogues with a corresponding appendix, and demonstrates through case studies of Anne Bracegirdle and Anne Oldfield how the study of prologues and epilogues enriches Restoration theater scholarship.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 
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cover of Prometheus Bound

Prometheus Bound

Aeschylus

University of Chicago Press, 2013

A stand-alone edition of Aeschylus’s Prometheus Bound taken from Chicago’s renowned translations of the Greek tragedies.

In the wake of the Olympian gods’ clash with the Titans, Zeus punishes his former ally and fellow deity, Prometheus, for having dared to bring knowledge to humankind. In this sole surviving play of Aeschylus’s Prometheus trilogy, we find Prometheus chained in a desolate landscape, suffering great cruelty at the hands of his fellow gods. 

Drawn from the authoritative third edition of the University of Chicago Press’s Complete Greek Tragedies series, David Grene’s searing translation of Prometheus Bound is presented here in a stand-alone edition. An introduction by Glenn W. Most and Mark Griffith provides essential information about the play’s first production, plot, and reception in antiquity.

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cover of Prospero's Son: Life, Books, Love, and Theater

Prospero's Son

Life, Books, Love, and Theater

Seth Lerer

University of Chicago Press, 2013

“This book is the record of a struggle between two temperaments, two consciousnesses and almost two epochs.” That’s how Edmund Gosse opened Father and Son, the classic 1907 book about his relationship with his father. Seth Lerer’s Prospero’s Son is, as fits our latter days, altogether more complicated, layered, and multivalent, but at its heart is that same problem: the fraught relationship between fathers and sons.
 
At the same time, Lerer’s memoir is about the power of books and theater, the excitement of stories in a young man’s life, and the transformative magic of words and performance. A flamboyantly performative father, a teacher and lifelong actor, comes to terms with his life as a gay man. A bookish boy becomes a professor of literature and an acclaimed expert on the very children’s books that set him on his path in the first place. And when that boy grows up, he learns how hard it is to be a father and how much books can, and cannot, instruct him. Throughout these intertwined accounts of changing selves, Lerer returns again and again to stories—the ways they teach us about discovery, deliverance, forgetting, and remembering.
 
“A child is a man in small letter,” wrote Bishop John Earle in the seventeenth century. “His father hath writ him as his own little story.” With Prospero’s Son, Seth Lerer acknowledges the author of his story while simultaneously reminding us that we all confront the blank page of life on our own, as authors of our lives.
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cover of Provocative Eloquence: Theater, Violence, and Antislavery Speech in the Antebellum United States

Provocative Eloquence

Theater, Violence, and Antislavery Speech in the Antebellum United States

Laura L. Mielke

University of Michigan Press, 2019

In the mid-19th century, rhetoric surrounding slavery was permeated by violence. Slavery’s defenders often used brute force to suppress opponents, and even those abolitionists dedicated to pacifism drew upon visions of widespread destruction. Provocative Eloquence recounts how the theater, long an arena for heightened eloquence and physical contest, proved terribly relevant in the lead up to the Civil War. As antislavery speech and open conflict intertwined, the nation became a stage. The book brings together notions of intertextuality and interperformativity to understand how the confluence of oratorical and theatrical practices in the antebellum period reflected the conflict over slavery and deeply influenced the language that barely contained that conflict. The book draws on a wide range of work in performance studies, theater history, black performance theory, oratorical studies, and literature and law to provide a new narrative of the interaction of oratorical, theatrical, and literary histories of the nineteenth-century U.S.
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cover of Psyche and Symbol in the Theater of Federico Garcia Lorca: Perlimplin, Yerma, Blood Wedding

Psyche and Symbol in the Theater of Federico Garcia Lorca

Perlimplin, Yerma, Blood Wedding

By Rupert C. Allen

University of Texas Press, 1974

Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a "statement" by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols.

In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored.

Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self.

Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.

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