Eero Laine – författare

Sports Plays is a volume about sports in the theatre and what it means to stage sports. The chapters in this volume examine sports plays through a range of critical and theoretical approaches that highlight central concerns and questions both for sports and for theatre. The plays cut across boundaries and genres, from Broadway-style musicals to dramas to experimental and developmental work. The chapters examine and trouble the conventions of staging sports as they open possibilities for considering larger social and cultural issues and debates. This broad range of perspectives make the volume a compelling resource for students and scholars of sport, theatre, and performance studies whose interests span feminism, sexuality, politics, and race.

Sports Plays is a volume about sports in the theatre and what it means to stage sports. The chapters in this volume examine sports plays through a range of critical and theoretical approaches that highlight central concerns and questions both for sports and for theatre. The plays cut across boundaries and genres, from Broadway-style musicals to dramas to experimental and developmental work. The chapters examine and trouble the conventions of staging sports as they open possibilities for considering larger social and cultural issues and debates. This broad range of perspectives make the volume a compelling resource for students and scholars of sport, theatre, and performance studies whose interests span feminism, sexuality, politics, and race.

Theatre Things: Material Theories and Histories considers key theatrical objects through a comparative approach, examining the uses and histories of different parts of the theatre throughout time and across culture and geography. The ten “theatre things” at the heart of the book are: entrances, tickets, programs, concessions, seats, lights, curtains, stages, trapdoors, and exits. For every object, three different scholars offer short chapters that examine it from different angles—across eras, places, and performance traditions to result in a set of diverse and provocative accounts of the many ways objects have functioned throughout theatre history. Written in an accessible style, the book draws on real examples from theatre history around the world to reveal that even the smallest details—where you sit, how the lights shift, what the program says—carry meaning. Whether you’re a regular theatregoer or a curious fan, Theatre Things offers a fresh way to look at the spaces and objects that shape every night at the theatre—and makes them feel newly interesting long after the curtain call.

Theatre Things: Material Theories and Histories considers key theatrical objects through a comparative approach, examining the uses and histories of different parts of the theatre throughout time and across culture and geography. The ten “theatre things” at the heart of the book are: entrances, tickets, programs, concessions, seats, lights, curtains, stages, trapdoors, and exits. For every object, three different scholars offer short chapters that examine it from different angles—across eras, places, and performance traditions to result in a set of diverse and provocative accounts of the many ways objects have functioned throughout theatre history. Written in an accessible style, the book draws on real examples from theatre history around the world to reveal that even the smallest details—where you sit, how the lights shift, what the program says—carry meaning. Whether you’re a regular theatregoer or a curious fan, Theatre Things offers a fresh way to look at the spaces and objects that shape every night at the theatre—and makes them feel newly interesting long after the curtain call.

Professional Wrestling and the Commercial Stage examines professional wrestling as a century-old, theatrical form that spans from its local places of performance to circulate as a popular, global product.Professional wrestling has all the trappings of sport, but is, at its core, a theatrical event. This book acknowledges that professional wrestling shares many theatrical elements such as plot, character, scenic design, props, and spectacle. By assessing professional wrestling as a neglected but prototypical case study in the global business of theatre, Laine argues that it is an exemplary form of globalizing, commercial theatre. He asks what theatre scholars might learn from pro wrestling and how pro wrestling might contribute to conversations beyond the ring, by considering the laboring bodies of the wrestlers, and analyzing wrestling’s form and content.Of interest to scholars and students of theatre and performance, cultural studies, and sports studies, Professional Wrestling and the Commercial Stage delimits the edges of wrestling’s theatrical frame, critiques established understandings of corporate theatre, and offers key wrestling concepts as models for future study in other fields.

A wildly popular form of mass media and live entertainment, professional wrestling makes a spectacle of violent acts. With its long history of working contemporary events into storylines and commenting upon cultural and military conflicts, professional wrestling is also intrinsically political. Its performance—theatricalities, machinations and conditions of production, figurations, and audiences—arises from and engages with the world around. Whether flowing with the mainstream of popular culture or fighting at the fringes, professional wrestling shows us how we are fighting, what we are fighting about, and what we are fighting for.This edited volume asks how professional wrestling is implicated in the current resurgence of populist politics, whether right-wing and Trump–inflected, or leftist and socialist. How might it do more than reflect and, in so doing, reaffirm the status quo? While provoked by the disruptive performances of Trump as candidate and president, and mindful of his longstanding ties to the WWE, this timely volume looks more broadly and internationally at the infusion of professional wrestling’s worldview into the twinned discourses of politics and populism. The contributors are scholars from a wide range of disciplines: theater and performance studies; cultural, media, and communication studies; anthropology and sociology; and gender and sexuality studies. Together they argue that the game’s popularity and its populist tendencies open it to the left as well as to the right, to contestation as well as to conformity, making it an ideal site for working on feminist and activist projects and ideas.

Professional Wrestling and the Commercial Stage examines professional wrestling as a century-old, theatrical form that spans from its local places of performance to circulate as a popular, global product.Professional wrestling has all the trappings of sport, but is, at its core, a theatrical event. This book acknowledges that professional wrestling shares many theatrical elements such as plot, character, scenic design, props, and spectacle. By assessing professional wrestling as a neglected but prototypical case study in the global business of theatre, Laine argues that it is an exemplary form of globalizing, commercial theatre. He asks what theatre scholars might learn from pro wrestling and how pro wrestling might contribute to conversations beyond the ring, by considering the laboring bodies of the wrestlers, and analyzing wrestling’s form and content.Of interest to scholars and students of theatre and performance, cultural studies, and sports studies, Professional Wrestling and the Commercial Stage delimits the edges of wrestling’s theatrical frame, critiques established understandings of corporate theatre, and offers key wrestling concepts as models for future study in other fields.

Performance and Professional Wrestling is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport.Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections: AudienceCirculationLuchaGenderQueernessBodiesRaceA significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.

Performance and Professional Wrestling is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport.Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections: AudienceCirculationLuchaGenderQueernessBodiesRaceA significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.

What is the relation between performance and pedagogy? What does the teaching of performance offer to other kinds of knowledge encounters and exchanges in our pluriversal world?These questions are urgent in the light of profound changes in higher education and the place performance has in that setting and its peripheries. This open access book spanning diverse educational and research contexts takes up the task of engaging performance pedagogy in the precarities of the now, by tending anew to the relation between learning, doing, and thinking. The collection unfolds as a collaborative inquiry into performance pedagogy encompassing both the study of aesthetic events called ‘performances’, and an expanded notion of performance as pedagogy. In this dual approach, to teach and learn performance is to teach and learn how to do things with our words and actions, and also to teach and learn what things do to others and to the world. Performance pedagogy opens performance to the world, and invites the world to performance. The ebook editions of this book are available open access under a CC BY NC-ND-4.0 licence on bloomsburycollections.com.

The editors and contributors to Cultural Studies in the Interregnum mobilize transnational cultural studies as a tool for politically engaged intellectual critique. Alongside the work of emerging and established scholars and activists, they think through massive cultural shifts and explore the possibilities of the in-between.Covering queer and feminist studies, critical disability studies, and critical race and ethnic studies, the essays in Cultural Studies in the Interregnum reflect on our shared political pasts and futures. Using examples ranging from media and literature to sex work, policing, and university systems, this exciting volume probes what cultural studies means in moments of social transformation.Contributors include: Sean Johnson Andrews, C.M. Kaliko Baker, Mary Tuti Baker, James Bliss, Jorge E. CuÉllar, John R. Decker, Brian Dolber, Candace Fujikane, Evyn LÊ Espiritu Gandhi, Chris Hall, Rachel Lim, Alexis Pauline Gumbs, Anna Karthika, Manu Karuka, Najwa Mayer, Kyle Mays, Andrew Ó Baoill, Yumi Pak, TherÍ A. Pickens, Sami Schalk, Leanne Betasamosake Simpson, Tia Trafford, and the editors