Amy Skinner – författare

Designing Eurovision is the first book-length study of the visual and design elements of the Eurovision Song Contest (ESC).As a unique visual phenomenon and commonly associated with spectacle performances, the scenography of Eurovision is in reality far more nuanced and layered, balancing acts of national identity-building with host country branding, visual tourism and cross-cultural aesthetics. The event demonstrates how ideological spaces are built across Europe and the wider world, highlighting the function of performance scenography in socio-political nation-building. Although the importance of the visual elements of Eurovision is widely acknowledged, this is the first volume to put ESC design front and centre, discussing the critical and practical aspects of creating performance scenography for this international stage. In addition, the volume highlights the significance of Eurovision in the development of performance technologies, frequently functioning as a test-bed for technological innovations in stage design for broadcast arena events. It also explores the visual design-led elements of the contest (set, costume, lighting and projection) and addresses the broader spatial dynamics of the ESC, exploring the socio-political elements of Eurovision performance space. The fluid relationship between the ESC as live performance and as Europe’s largest televised cultural event opens up additional discussions in the book related to the role of liveness in scenographic practice.This volume brings a unique focus on the materiality of the Eurovision stage, addressing multipronged topics including the history of ESC technologies, ESC scenography and national identity, ESC aesthetics and design, and the ESC host city as stage. It also incorporates interviews with practitioners who have worked on design elements for the ESC, giving practical perspectives on design at the contest. It will be of interest to researchers and scholars of theatre and performance, scenography, the Eurovision Song Contest, popular performance, and media and cultural studies, among others.

Designing Eurovision is the first book-length study of the visual and design elements of the Eurovision Song Contest (ESC).As a unique visual phenomenon and commonly associated with spectacle performances, the scenography of Eurovision is in reality far more nuanced and layered, balancing acts of national identity-building with host country branding, visual tourism and cross-cultural aesthetics. The event demonstrates how ideological spaces are built across Europe and the wider world, highlighting the function of performance scenography in socio-political nation-building. Although the importance of the visual elements of Eurovision is widely acknowledged, this is the first volume to put ESC design front and centre, discussing the critical and practical aspects of creating performance scenography for this international stage. In addition, the volume highlights the significance of Eurovision in the development of performance technologies, frequently functioning as a test-bed for technological innovations in stage design for broadcast arena events. It also explores the visual design-led elements of the contest (set, costume, lighting and projection) and addresses the broader spatial dynamics of the ESC, exploring the socio-political elements of Eurovision performance space. The fluid relationship between the ESC as live performance and as Europe’s largest televised cultural event opens up additional discussions in the book related to the role of liveness in scenographic practice.This volume brings a unique focus on the materiality of the Eurovision stage, addressing multipronged topics including the history of ESC technologies, ESC scenography and national identity, ESC aesthetics and design, and the ESC host city as stage. It also incorporates interviews with practitioners who have worked on design elements for the ESC, giving practical perspectives on design at the contest. It will be of interest to researchers and scholars of theatre and performance, scenography, the Eurovision Song Contest, popular performance, and media and cultural studies, among others.

Whilst education has been widely recognised as a key tool for development, this has tended to be limited to the incremental changes that education can bring about within a given development paradigm, as opposed to its role in challenging dominant conceptions and practices of development and creating alternatives. Through a collection of insightful and provocative chapters, this book will examine the role of learning in shaping new discourses and practices of development. By drawing on contributions from activists, researchers, education and development practitioners from around the world, this book situates learning within the wider political and cultural economies of development. It critically explores if and how learning can shape processes of societal transformation, and consequently a new language and practice of development. This includes offering critical accounts of popular, informal and non-formal learning processes, as well as the contribution of indigenous knowledges, in providing spaces for the co-production of knowledge, thinking and action on development, and in terms of shaping the ways in which citizens engage with and create new understandings of ‘development’ itself. This book makes an important and original contribution by reframing educational practices and processes in relation to broader global struggles for justice, voice and development in a rapidly changing development landscape.

Whilst education has been widely recognised as a key tool for development, this has tended to be limited to the incremental changes that education can bring about within a given development paradigm, as opposed to its role in challenging dominant conceptions and practices of development and creating alternatives. Through a collection of insightful and provocative chapters, this book will examine the role of learning in shaping new discourses and practices of development. By drawing on contributions from activists, researchers, education and development practitioners from around the world, this book situates learning within the wider political and cultural economies of development. It critically explores if and how learning can shape processes of societal transformation, and consequently a new language and practice of development. This includes offering critical accounts of popular, informal and non-formal learning processes, as well as the contribution of indigenous knowledges, in providing spaces for the co-production of knowledge, thinking and action on development, and in terms of shaping the ways in which citizens engage with and create new understandings of ‘development’ itself. This book makes an important and original contribution by reframing educational practices and processes in relation to broader global struggles for justice, voice and development in a rapidly changing development landscape.

What are neurodiverse aesthetics? How and where do neurodiverse aesthetics appear, and how do they positively affect the wider theatrical culture? How can we all contribute to a neurodiversity-affirming theatre industry?This brief study celebrates neurodiversity and deconstructs neuronormativity, reminding us that the most interesting, creative, and powerful things occur when we embrace different ways of thinking and understanding.Exploring the social, political, and creative histories of neurodivergent theatre-makers, Theatre and Neurodiversity not only delves into the intersections of theatre and the Neurodiversity Movement (with actionable advice for supporting neurodiversity and accessibility included), but also looks to the future of theatre making, highlighting the importance of neurodiversity-affirming creative practices.

Amidst the turmoil of political revolution, the stage directors of twentieth-century Russia rewrote the rules of theatre making. From realism to the avant-garde, politics to postmodernism, and revolution to repression, these practitioners shaped perceptions of theatre direction across the world. This edited volume introduces students and practitioners alike to the innovations of Russia’s directors, from Konstantin Stanislavsky and Vsevolod Meyerhold to Anatoly Efros, Oleg Efremov and Genrietta Ianovskaia. Strongly practical in its approach, Russian Theatre in Practice: The Director’s Guide equips readers with an understanding of the varying approaches of each director, as well as the opportunity to participate and explore their ideas in practice. The full range of the director’s role is covered, including work on text, rehearsal technique, space and proxemics, audience theory and characterization. Each chapter focuses on one director, exploring their historical context, and combining an examination of their directing theory and technique with practical exercises for use in classroom or rehearsal settings. Through their ground-breaking ideas and techniques, Russia’s directors still demand our attention, and in this volume they come to life as a powerful resource for today’s theatre makers.

Amidst the turmoil of political revolution, the stage directors of twentieth-century Russia rewrote the rules of theatre making. From realism to the avant-garde, politics to postmodernism, and revolution to repression, these practitioners shaped perceptions of theatre direction across the world. This edited volume introduces students and practitioners alike to the innovations of Russia’s directors, from Konstantin Stanislavsky and Vsevolod Meyerhold to Anatoly Efros, Oleg Efremov and Genrietta Ianovskaia. Strongly practical in its approach, Russian Theatre in Practice: The Director’s Guide equips readers with an understanding of the varying approaches of each director, as well as the opportunity to participate and explore their ideas in practice. The full range of the director’s role is covered, including work on text, rehearsal technique, space and proxemics, audience theory and characterization. Each chapter focuses on one director, exploring their historical context, and combining an examination of their directing theory and technique with practical exercises for use in classroom or rehearsal settings. Through their ground-breaking ideas and techniques, Russia’s directors still demand our attention, and in this volume they come to life as a powerful resource for today’s theatre makers.

This book offers a rich analysis of collage practices in the theatre of Vsevolod Meyerhold. Focusing on the philosophical and formal tenets of the form, and supporting her analysis with wide-ranging examples from both theatre and fine art, Amy Skinner develops collage as a framework for reading the whole of the theatrical experience, from scenography and mise-en-scène to text and spectatorship. An innovative exploration of the influence of collage on twentieth- and twenty-first-century theatre, Meyerhold and the Cubists will be essential reading for theatre scholars and practitioners alike.