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Shakespeare and the Politics of Commoners: Digesting the New Social History
Shakespeare and the Politics of Commoners is a highly original contribution to our understanding of Shakespeare's plays. It breaks important new ground in introducing readers, lay and scholarly alike, to the existence and character of the political culture of the mass of ordinary commoners in Shakespeare's England, as revealed by the recent findings of 'the new social history'. The volume thereby helps to challenge the traditional myths of a non-political commons and a culture of obedience. It also brings together leading Shakespeareans, who digest recent social history, with eminent early modern social historians, who turn their focus on Shakespeare. This genuinely cross-disciplinary approach generates fresh readings of over ten of Shakespeare's plays and locates the impress on Shakespearean drama of popular political thought and pressure in this period of perceived crisis. The volume is unique in engaging and digesting the dramatic importance of the discoveries of the new social history, thereby resituating and revaluing Shakespeare within the social depth of politics.
Shakespeare, Italy, and Transnational Exchange: Early Modern to Present (Routledge Studies in Shakespeare)
This interdisciplinary, transhistorical collection brings together international scholars from English literature, Italian studies, performance history, and comparative literature to offer new perspectives on the vibrant engagements between Shakespeare and Italian theatre, literary culture, and politics, from the sixteenth to the twenty-first century. Chapters address the intricate, two-way exchange between Shakespeare and Italy: how the artistic and intellectual culture of Renaissance Italy shaped Shakespeare’s drama in his own time, and how the afterlife of Shakespeare’s work and reputation in Italy since the eighteenth century has permeated Italian drama, poetry, opera, novels, and film. Responding to exciting recent scholarship on Shakespeare and Italy, as well as transnational theatre, this volume moves beyond conventional source study and familiar questions about influence, location, and adaptation to propose instead a new, evolving paradigm of cultural interchange. Essays in this volume, ranging in methodology from archival research to repertory study, are unified by an interest in how Shakespeare’s works represent and enact exchanges across the linguistic, cultural, and political boundaries separating England and Italy. Arranged chronologically, chapters address historically-contingent cultural negotiations: from networks, intertextual dialogues, and exchanges of ideas and people in the early modern period to questions of authenticity and formations of Italian cultural and national identity in the eighteenth and nineteenth century. They also explore problems of originality and ownership in twentieth- and twenty-first-century translations of Shakespeare’s works, and new settings and new media in highly personalized revisions that often make a paradoxical return to earlier origins. This book captures, defines, and explains these lively, shifting currents of cultural interchange.
The Shakespeare North Playhouse: Replica Theatres and Their Uses (ISSN)
This collection celebrates the opening of the Shakespeare North Playhouse (SNP). After discussion of its genesis and development by four people pivotal to its progress at different stages of the project, this book explores different aspects of the SNP’s purpose and functions across three broad categories: buildings and spaces, practices and performance, and community arts and education. Various chapters offer answers to fundamental questions about replica theatres, including: Why do we build them? What do they do? How do we use them? In the course of these discussions, the purposes, potential, and programming of the SNP are discussed in relation to other Globe-type replicas in the UK and beyond. Contributors to this collection analyse key academic and practice-based concerns within their fields of expertise connected to the use (and misuse) of replica theatres to suggest the ways in which they can be used to drive research and practice in contemporary Shakespearean performance, connect with young people, and serve local communities.This book will appeal to academics, students, and practitioners interested in historical and contemporary approaches to Shakespeare in the fields covered. It should also appeal to general readers with an interest in the topics, particularly in Merseyside and the North-West region.
Shakespeare on European Festival Stages
From the aftermath of World War II to the convulsions of Brexit, festivals have deployed Shakespeare as a model of inclusive and progressive theatre to seek cultural solutions to Europe's multi-faceted crises. Shakespeare on European Festival Stages is the first book to chart Shakespeare's presence at continental European festivals. It examines the role these festivals play in European socio-cultural exchanges, and the impact festivals make on the wider production and circulation of staged Shakespeare across the continent. This collection offers authoritative, lively and informed accounts of the production of Shakespeare at the following festivals: the Avignon Festival and Le Printemps des comédiens in Montpellier (France), the Almagro festival (Spain), Shakespeare at Four Castles (Czech Republic and Slovakia), the International Shakespeare Festival in Craiova (Romania), the Shakespeare festivals in Elsinore (Denmark), Gdansk (Poland), Gyula (Hungary), Itaka (Serbia), Neuss (Germany), Patalenitsa (Bulgaria), Rome and Verona (Italy).Shakespeare on European Festival Stages is essential reading for students, scholars and practitioners interested in Shakespeare in performance, in translation and in a post-national Shakespeare that knows no borders and belongs to all of Europe.
Shakespearean Criticism (Shakespearean Criticism)
Reissuing works originally published between 1984 and 1995, this set brings back into print early volumes from the Shakespearean Criticism Series originally edited by Joseph Price. The books present selections of renowned scholarship on each play, touching on performances as well as the dramatic literature. The pieces included are a mixture of influential historical criticism, more modern interpretations and enlightening reviews, most of which were published in wide-spread places before these compilations were first made. Companions to the plays, these books showcase critical opinion and scholarly debate.
The Shakespearean International Yearbook: 20: Special Section, Pericles, Prince of Tyre (The Shakespearean International Yearbook)
This year publishing its twentieth volume, The Shakespearean International Yearbook surveys the present state of Shakespeare studies, addressing issues that are fundamental to our interpretive encounter with Shakespeare’s work and his time, across the whole spectrum of his literary output. Contributions are solicited from scholars across the field, from both hemispheres of the globe. New trends are evaluated from the point of view of established scholarship, and emerging work in the field is encouraged. Each issue includes a special section under the guidance of a specialist Guest Editor, along with coverage of the current state of the field in other aspects. An essential reference tool for scholars of early modern literature and culture, this annual publication captures, from year to year, current and developing thought in Shakespeare scholarship and theater practice worldwide. There is a particular emphasis on Shakespeare studies in global contexts.
Shakespeare's Hamlet: Philosophical Perspectives (Oxford Studies in Philosophy and Lit)
Does philosophy gain or lose when it is embedded within literature or embodied by drama? Does literary criticism gain or lose when it turns to literary works as occasions for abstract reflection? Leading literary scholars and philosophers interrogate philosophical dimensions of Shakespeare's Hamlet with these urgent questions in view. Scholars probe Hamlet's own insights, assess the significance of philosophy's literary-dramatic framing by this play, and trace the philosophically-relevant underpinnings revealed by historical transformations in Hamlet's reception. They focus on the play's thematizations of subjectivity, knowledge, sex, grief, self-theatricalization. Examining Shakespeare's play from a philosophical standpoint sharpens the questions the play itself so famously poses: What counts as a proper response to injustice upon realizing that whatever one does, there can be no undoing of the initial wrong? What do our commitments to the dead amount to? How to persist in infusing significance into action while grasping the degradation of death and our own replaceability? Scholars at the forefront of their fields tackle these and other questions from a wide range of viewpoints, illuminating the central concerns of one of Shakespeare's masterpieces.
Sondheim in Our Time and His
Sondheim in Our Time and His offers a wide-ranging historical investigation of the landmark works and extraordinary career of Stephen Sondheim, a career which has spanned much of the history of American musical theater. Each author uncovers those aspects of biography, collaborative process, and contemporary context that impacted the creation and reception of Sondheim's musicals. In addition, several authors explore in detail how Sondheim's shows have been dramatically revised and adapted over time. Multiple chapters invite the reader to rethink Sondheim's works from a distinctly contemporary critical perspective and to consider how these musicals are being reenvisioned today. Through chapters focused on individual musicals, and others that explore a specific topic as manifested throughout his entire career, plus an afterword by Kristen Anderson-Lopez; by digging deep into the archives and focusing intently on his scores; from interviews with performers, directors, and bookwriters, and close study of live and recorded productions--volume editor W. Anthony Sheppard brings together Sondheim's past with the present, thriving existence of his musicals.
A Stage of Emancipation: Change and Progress at the Dublin Gate Theatre
An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. As the prominence of the recent #WakingTheFeminists movement illustrates, the Irish theatre world is highly conscious of the ways in which theatre can foster social emancipation. This volume of essays uncovers a wide range of marginalised histories by reflecting on the emancipatory role that the Dublin Gate Theatre (est. 1928) has played in Irish culture and society, both historically and in more recent times. The Gate’s founders, Hilton Edwards and Michéal mac Liammóir, promoted the work of many female playwrights and created an explicitly cosmopolitan stage on which repressive ideas about gender, sexuality, class and language were questioned. During Selina Cartmell’s current tenure as director, cultural diversity and social emancipation have also featured prominently on the Gate’s agenda, with various productions exploring issues of ethnicity in contemporary Ireland. The Gate thus offers a unique model for studying the ways in which cosmopolitan theatres, as cultural institutions, give expression to and engage with the complexities of identity and diversity in changing, globalised societies. CONTRIBUTORS: David Clare, Marguérite Corporaal, Mark Fitzgerald, Barry Houlihan, Radvan Markus, Deirdre McFeely, Justine Nakase, Siobhan O'Gorman, Mary Trotter, Grace Vroomen, Ian R. Walsh, Feargal Whelan
Staging Difficult Pasts: Transnational Memory, Theatres, and Museums
This collection of original essays brings together museum, theatre, and performance case studies with a focus on their distinctive and overlapping modes of producing memory for transnational audiences. Whether this is through narrative, object, embodied encounter or a combination of the three, this volume considers distinctions and interactions between memory and history specifically through the lenses of theatre and performance studies, visual culture, and museum and curator studies. This book is underpinned by three areas of research enquiry: How are contemporary theatre makers and museum curators staging historical narratives of difficult pasts? How might comparisons between theatre and museum practices offer new insights into the role objects play in generating and representing difficult pasts? What points of overlap, comparison, and contrast among these constructions of history and memory of authoritarianism, slavery, colonialism, genocide, armed conflict, fascism, and communism might offer an expanded understanding of difficult pasts in these transnational cultural contexts? This collection is designed for any scholar of its central disciplines, as well as for those interested in cultural geography, memory studies, and postcolonial theory. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-NoDerivatives (CC-BY-ND) 4.0 license.
Stanislavsky and Race: Questioning the “System” in the 21st Century (Stanislavsky And...)
Stanislavsky and Race is the first book to explore the role that Konstantin Stanislavsky’s “system” and its legacies can play in building, troubling and illuminating today’s anti-racist theatre practices. This collection of essays from leading figures in the field of actor training stands not only as a resource for a new area of academic enquiry, but also for students, actors, directors, teachers and academics who are engaged in making inclusive contemporary theatre. In seeking to dismantle the dogma that surrounds much actor training and replace it with a culturally competent approach that will benefit our entire community, the “system” is approached from a range of perspectives featuring the research, reflections and provocations of 20 different international artists interrogating Stanislavsky’s approach through the lens of race, place and identity. Stanislavsky and … is a series of multi-perspectival collections that bring the enduring legacy of Stanislavskian actor training into the spotlight of contemporary performance culture, making them ideal for students, teachers and scholars of acting, actor training and directing.
Talking about Immersive Theatre: Conversations on Immersions and Interactivities in Performance (Theatre Makers)
How do theatre makers in Britain produce immersive, participatory experiences for audiences? How are productions designed and rehearsed, and how can the experience of different companies inform your own practice and understanding of this burgeoning craft?This collection of original discussions with some of Britain's leading immersive and interactive theatre makers explores their processes, methods and practices, offering a behind-the-scenes tour of how they make their work. It provides new material addressing a range of previously undisclosed topics including approaches to casting and rehearsal strategies, through to more concrete concerns such as funding and finance models. They reveal the discrete nuts and bolts of building audience-experience, and candidly discuss their own position to the term 'immersive' and how they perceive their place within the wider experience-centric cultural landscape.This collection combines perspectives from practitioners across the spectrum of immersions and interactivity in performance to showcase working methods across a variety of forms; from one-on-one, to gamified, playable experiences. The diversity of conversations captured in this volume reflects the polyphony of the immersive and interactive landscape in Britain, introducing readers to the work of Les Enfants Terrible, Parabolic, COLAB Theatre, The Lab Collective, Cross Collaborations, and ZU-UK. Makers participate in frank dialogue that reveals the ways in which they employ scenography, design, game and structural mechanics, approaches to stage management tactics, as well as the development of audience relationships, the role of intimacy and agency.
Tamburlaine: A Critical Reader (Arden Early Modern Drama Guides)
Arden Early Modern Drama Guides offer students and academics practical and accessible introductions to the critical and performance contexts of key Elizabethan and Jacobean plays. Essays from leading international scholars give invaluable insight into the text by presenting a range of critical perspectives, making the books ideal companions for study and research. Key features include: Essays on the plays' critical and performance history A keynote essay on current research and thinking about the play A selection of new essays by leading scholars A survey of resources to direct students' further reading about the play in print and onlineThe blockbuster Tamburlaine plays (1587) instantly established Marlowe's reputation for experimenting with subversive, outrageous and immoral material. The plays follow the meteoric rise of a Scythian shepherd-turned-warlord, whose conquests of eastern emperors soon sees him established as the most powerful man in the world. The visual tableaux featured in the plays are iconic. He uses his enemy Bajazeth as a footstool, and has other emperors pull his chariot like horses. He burns the Qur'an on stage. The plays were memorable, too, for how they sounded: they showcased the power and variability of iambic pentameter, the meter that Shakespeare would go on to perfect. No history of Shakespeare's theatre is complete without understanding the influence and significance of Marlowe's Tamburlaine plays.Tamburlaine: A Critical Reader offers the definitive introduction to these plays and new perspectives on these seminal works. It provides an overview of their reception on stage and by critics, and offers fresh insights into the teaching of these plays in the classroom.
The Taming of the Shrew: The State of Play (Arden Shakespeare The State of Play)
The Taming of the Shrew has puzzled, entertained and angered audiences, and it has been reinvented many times throughout its controversial history. Offering a focused overview of key emerging ideas and discourses surrounding Shakespeare's problematic comedy, the volume reveals and debates how contemporary readings and adaptions of the play have sought to reconsider and resolve the play's contentious portrayal of gender, power and identity. Each chapter has been carefully selected for its originality and relevance to the needs of students, teachers and researchers. Key themes and issues include:· Gender and Power· History and Early Modern Contexts· Performance and Politics· Adaptation and Afterlife All the essays offer new perspectives and combine to give readers an up-to-date understanding of what's exciting and challenging about The Taming of the Shrew.
Teaching and Learning Shakespeare through Theatre-based Practice
How can the study of Shakespeare contribute to equipping young people for the challenges of an uncertain future? This book argues for the necessity of a Shakespeare education that: finds meaning in the texts through inviting in the prior knowledge, experiences and ideas of students; combines intellectual, social and emotional learning; and develops a critical perspective on what a cultural inheritance is all about. It offers a comprehensive exploration of the educational principles underpinning theatre-based practice and explains how and why this practice can open up the possibilities of Shakespeare study in the classroom. It empowers Shakespeare educators working with young people aged 5-18 to interact critically, creatively and collaboratively with Shakespeare as a living artist.Drawing on the authors' research and experience with organizations including the Royal Shakespeare Company, Shakespeare's Globe, the Folger and Coram Shakespeare Schools Foundation, Part One consolidates recent developments in the field and engages in lively dialogue with core questions of Shakespeare's place in the classroom. Part Two curates a series of interviews with leaders and practitioners from the above and other Shakespeare institutions, exploring their core principles and practices. Part Three presents chapters from and about classroom teachers, who share their experiences of successfully embedding theatre-based approaches to Shakespeare in their own diverse contexts.
Telling Our Stories of Home: International Performance Pieces By and About Women
What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer. The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother's death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years. These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page. The plays include: The House by Arzé Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Évelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciação (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)
The Tempest: Shakespeare: The Critical Tradition (Shakespeare: The Critical Tradition)
The Tempest: Critical Tradition increases our knowledge of how Shakespeare's plays were received and understood by critics, editors and general readers. The volume offers, in separate sections, both critical opinions about the play across the centuries and an evaluation of their positions within and their impact on the reception of the play. The volume features criticism from key literary figures, such as Ben Jonson, Samuel Taylor Coleridge, John Dryden, John Ruskin and Edward Malone. The chronological arrangement of the text-excerpts engages the readers in a direct and unbiased dialogue, whereas the introduction offers a critical evaluation from a current stance, including modern theories and methods. Thus the volume makes a major contribution to our understanding of the play and of the traditions of Shakespearean criticism surrounding it as they have developed from century to century.
Theater and Human Flourishing (The Humanities and Human Flourishing)
The Humanities and Human Flourishing series publishes edited volumes that explore the role of human flourishing in the central disciplines of the humanities, and whether and how the humanities can increase human happiness. This volume presents essays on the significance of theater to wellbeing and human flourishing. Combining scholarship in psychology and positive psychology with new perspectives in theater and performance studies, the volume features eleven prominent theater and performance studies scholars who offer original, previously unpublished examinations of the social benefits of theater and performance. This volume explores the questions: Why is theater considered a "social good"? And what makes theater a valuable contribution to happiness and wellbeing? Contributors point to theater as a rich source of community and examine the unique value of live, theatrical performance as a medium through which trauma as well as socio-political differences can be expressed. The personal, societal, and artistic benefits of theater are examined through chapters on actors' suffering and acting training, community theater, theater and trauma, breaking social barriers through theater, etiquette in the theater, and the theatrical community as a refuge for minoritized groups. Like other titles in this series, Theater and Human Flourishing uses an interdisciplinary and collaborative approach, which here breaches the divide between science-focused fields that study human flourishing and the artistry of theatrical performance.
Theatre Responds to Social Trauma: Chasing the Demons (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
This book is a collection of chapters by playwrights, directors, devisers, scholars, and educators whose praxis involves representing, theorizing, and performing social trauma.Chapters explore how psychic catastrophes and ruptures are often embedded in social systems of oppression and forged in zones of conflict within and across national borders. Through multiple lenses and diverse approaches, the authors examine the connections between collective trauma, social identity, and personal struggle. We look at the generational transmission of trauma, socially induced pathologies, and societal re-inscriptions of trauma, from mass incarceration to war-induced psychoses, from gendered violence through racist practices. Collective trauma may shape, protect, and preserve group identity, promoting a sense of cohesion and meaning, even as it shakes individuals through pain. Engaging with communities under significant stress through artistic practice offers a path towards reconstructing the meaning(s) of social trauma, making sense of the past, understanding the present, and re-visioning the future.The chapters combine theoretical and practical work, exploring the conceptual foundations and the artists’ processes as they interrogate the intersections of personal grief and communal mourning, through drama, poetry, and embodied performance.
The Theatrical Legacy of Thomas Middleton, 1624–2024 (Routledge Studies in Renaissance Literature and Culture)
This volume celebrates Thomas Middleton’s legacy as a dramatist, marking the 400th anniversary of Middleton’s final and most contentious work for the public theatres, A Game at Chess (1624).The collection is divided into three sections: ‘Critical and Textual Reception’, ‘Afterlives and Legacies’, and ‘Practice and Performance’. This division reflects the book’s holistic approach to Middleton’s canon, and its emphasis on the continuing significance of Middleton’s writing to the study of early modern English drama. Each section offers an assessment of the place of Middleton’s drama in culture, criticism, and education today through a range of critical approaches.Featuring work from a range of voices (from early career, independent, and seasoned academics and practitioners), the collection will be appropriate for both specialists in early modern literature and drama who are interested in both theory and practice, and students or scholars researching Middleton’s historical significance to the study of early theatre.
Three Yiddish Plays by Women: Female Jewish Perspectives, 1880-1920 (Yiddish Voices)
This is an unprecedented collection of three newly translated Yiddish plays written by women in the period from 1880 to 1920. Taken together, these plays provide a fascinating insight into female Jewish perspectives on a range of women's issues prevalent at the time and, in some cases, still prevalent today. The works explore topics such as the Jewish law of the 'chained widow', pregnancy out of wedlock, and birth control, amongst many others.Three Yiddish Plays by Women includes an incisive contextual introduction which provides historical context for each individual work, summaries and discussion of the texts and stage histories for two of the three that have them. The introduction offers biographical information about each playwright and looks at what ambit they were each active in, taking into consideration gender norms. It also engages an array of recent sources and angles on intersecting questions of theater and gender in a landmark volume of vital significance to students of women's history, modern Jewish history, cultural history and theatre history.
Toward A Just Pedagogy Of Performance: Historiography, Narrative, And Equity In Dramatic Practice (Routledge Series in Equity, Diversity, and Inclusion in Theatre and Performance)
This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.
Transnational German Studies (Transnational Modern Languages #5)
This volume consists of a series of essays, written by leading scholars within the field, demonstrating the types of inquiry that can be pursued into the transnational realities underpinning German-language culture and history as these travel right around the globe. Contributions discuss the inherent cross-pollination of different languages, times, places and notions of identity within German-language cultures and the ways in which their construction and circulation cannot be contained by national or linguistic borders. In doing so, it is not the aim of the volume to provide a compendium of existing transnational approaches to German Studies or to offer its readers a series of survey chapters on different fields of study to date. Instead, it offers novel research-led chapters that pose a question, a problem or an issue through which contemporary and historical transcultural and transnational processes can be seen at work. Accordingly, each essay isolates a specific area of study and opens it up for exploration, providing readers, especially student readers, not just with examples of transnational phenomena in German language cultures but also with models of how research in these areas can be configured and pursued. Contributors: Angus Nicholls, Anne Fuchs, Benedict Schofield, Birgit Lang, Charlotte Ryland, Claire Baldwin, Dirk Weissmann, Elizabeth Anderson, James Hodkinson, Nicholas Baer, Paulo Soethe, Rebecca Braun, Sara Jones, Sebastian Heiduschke, Stuart Taberner and Ulrike Draesner.
Trauma and Embodied Healing in Dramatherapy, Theatre and Performance
This edited volume explores the singularity of embodiment and somatic approaches in the healing of trauma from a dramatherapy, theatre and performance perspective.Collating voices from across the fields of dramatherapy, theatre and performance, this book examines how different interdisciplinary and intercultural approaches offer unique and unexplored perspectives on the body as a medium for the exploration, expression and resolution of chronic, acute and complex trauma as well as collective and intergenerational trauma. The diverse chapters highlight how the intersection between dramatherapy and body-based approaches in theatre and performance offers additional opportunities to explore and understand the creative, expressive and imaginative capacity of the body, and its application to the healing of trauma.The book will be of particular interest to dramatherapists and other creative and expressive arts therapists. It will also appeal to counsellors, psychotherapists, psychologists and theatre scholars.
The Valiant Black Man in Flanders / El valiente negro en Flandes: by Andrés de Claramonte (Aris & Phillips Hispanic Classics)
A play about defiance of systemic racism. Juan de Mérida, an Afro-Spanish soldier aspires to social advancement in the Netherlands during the Eighty Years' War (1566-1648). His main enemies are not Dutch rebels but his white countrymen, whom he defeats at every attempt to humiliate him. In this play one encounters military culture, upward mobility, mistaken identities, defying destiny, royal pageantry, swordfights, cross-dressing, revenge, homosexual anxiety, and inter-racial marriage. Andrés de Claramonte’s El valiente negro en Flandes (c.1625) is an Afrodiasporic play that enjoyed great success and multiple stagings in Spain and in Latin America. Its 1938 negrista performance in Havana, Cuba, and Frantz Fanon’s Black Skin, White Masks, attest to the power of this play to illuminate contemporary racial dynamics. This is the first annotated, critical edition and English translation of El valiente negro en Flandes with a comprehensive introduction, three critical essays, the critical apparatus comparing the eleven extant versions of the play, and an appendix with alternative scenes and related historical documents. A tool for scholars of early modern European literature and a pedagogical aid to discuss the early discourses on Blackness in Spain and its trans-Atlantic empire.