Bryan Reynolds – författare

Drawing on hands-on experience from workshops and interviews, this innovative book explores the work of eight gender aware theatre and performance artists and companies. The authors offer rare insights into the processes as well as the practice of these artists and employ an 'inside', practical approach to understanding their ground-breaking work

Drawing on hands-on experience from workshops and interviews, this innovative book explores the work of eight gender aware theatre and performance artists and companies. The authors offer rare insights into the processes as well as the practice of these artists and employ an 'inside', practical approach to understanding their ground-breaking work

The field of performance studies analyses the production and impact of on-stage performance, such as in a theatre or circus, and off-stage performance, such as cultural rituals and political protests. Performance Studies: Key Words, Concepts and Theories introduces students to 34 key topics seen as paramount to the future of performance studies in a series of short, engaging essays by an international team of distinguished scholars. Each essay contributes to the wide-ranging, adventurous and conscientious nature that makes performance studies such an innovative, valuable and exciting field.

The field of performance studies analyses the production and impact of on-stage performance, such as in a theatre or circus, and off-stage performance, such as cultural rituals and political protests. Performance Studies: Key Words, Concepts and Theories introduces students to 34 key topics seen as paramount to the future of performance studies in a series of short, engaging essays by an international team of distinguished scholars. Each essay contributes to the wide-ranging, adventurous and conscientious nature that makes performance studies such an innovative, valuable and exciting field.

This classic study is both an introduction to, and an overview of, the relationship between feminism and theatre. The reissued edition features a new Foreword by Elaine Aston who examines the context in which Case's book was written, the influence it has had, subsequent developments in the field and the continued importance of the work.

Performing Transversally expands on Bryan Reynolds' controversial transversal theory in exciting ways while offering groundbreaking analyses of Shakespeare's plays Hamlet, Othello, Macbeth, Taming of the Shrew, Titus Andronicus, Henry V, The Tempest, and Coriolanus and textual, filmic, and theatrical adaptations of them. With his collaborators, Reynolds challenges traditional readings of Shakespeare, re evaluating the critical methodologies that characterize them, in regard to issues of cultural difference, authorship, representation, agency, and iconography. Reynolds demonstrates the value of his 'investigative expansive mode,' outlining a 'transversal poetics' that points toward a critical future that is more aware of its subjective interconnectedness with the topics and audiences it seeks to engage than is reflected in most Shakespeare criticism and literary cultural scholarship.

Art Beyond the Edge is not just a title: it's a designation, a call to action, and a means to achieve enduring impact. Reflecting over a quarter century of collaborative artistic production, research, and activism across five continents, this book is a field-breaking and era-defining exploration of art created during sociopolitical conflict and war, protests and calamities, and their aftermaths. With the goal of generating a critical theory that can meet the challenges of the twenty-first century, Mark LeVine and Bryan Reynolds propose a new and radical vocabulary, epistemological foundation, and praxiological roadmap for engagement with and in performance activism and political art. From Gaza to Chiapas, Baghdad to Kabul, the Niger Delta to the Congo River, the US to Ukraine, the authors establish an innovative matrix to analyze the conditions through which artistic production empowers struggles for freedom, dignity, and survival in a world on fire.

Art Beyond the Edge is not just a title: it's a designation, a call to action, and a means to achieve enduring impact. Reflecting over a quarter century of collaborative artistic production, research, and activism across five continents, this book is a field-breaking and era-defining exploration of art created during sociopolitical conflict and war, protests and calamities, and their aftermaths. With the goal of generating a critical theory that can meet the challenges of the twenty-first century, Mark LeVine and Bryan Reynolds propose a new and radical vocabulary, epistemological foundation, and praxiological roadmap for engagement with and in performance activism and political art. From Gaza to Chiapas, Baghdad to Kabul, the Niger Delta to the Congo River, the US to Ukraine, the authors establish an innovative matrix to analyze the conditions through which artistic production empowers struggles for freedom, dignity, and survival in a world on fire.

In this book Bryan Reynolds argues that early modern England experienced a sociocultural phenomenon, unprecedented in English history, which has been largely overlooked by historians and critics. Beginning in the 1520s, a distinct "criminal culture" of beggars, vagabonds, confidence tricksters, prostitutes, and gypsies emerged and flourished. This community defined itself through its criminal conduct and dissident thought and was, in turn,officially defined by and against the dominant conceptions of English cultural normality. Examining plays, popular pamphlets, laws, poems, and scholarly work from the period, Reynolds demonstrates that this criminal culture, though diverse, was united by its own ideology, language, and aesthetic. Using his transversal theory, he shows how the enduring presence of this criminal culture markedly influenced the mainstream culture's aesthetic sensibilities, socioeconomic organization, and systems of belief.He maps the effects of the public theater's transformative force of transversality, such as through the criminality represented by Shakespeare, Jonson, Middleton, and Dekker, on both Elizabethan and Jacobean society and the scholarship devoted to it.

This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained analysis of the work of Gilles Deleuze, Félix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Socìetas Raffaello Sanzio, Thomas Ostermeier, Rodrigo García and La Carnicería Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today’s audiences.

Performing Transversally expands on Bryan Reynolds' controversial transversal theory in exciting ways while offering groundbreaking analyses of Shakespeare's plays - Hamlet , Othello , Macbeth , Taming of the Shrew , Titus Andronicus , Henry V , The Tempest , and Coriolanus - and textual, filmic, and theatrical adaptations of them.

This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained analysis of the work of Gilles Deleuze, Félix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Socìetas Raffaello Sanzio, Thomas Ostermeier, Rodrigo García and La Carnicería Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today’s audiences.