Joanne Tompkins - Böcker

Post-Colonial Drama is the first full-length study to address the ways in which performance has been instrumental in resisting the continuing effects of imperialism. It brings to bear the latest theoretical approaches from post-colonial and performance studies to a range of plays from Australia, Africa, Canada, New Zealand, the Caribbean and other former colonial regions. Some of the major topics discussed in Post-Colonial Drama include:* the interactions of post-colonial and performance theories* the post-colonial re-stagings of language and history* the specific enactments of ritual and carnival* the theatrical citations of the post-colonial bodyPost-Colonial Drama combines a rich intersection of theoretical approaches with close attention to a wide range of performance texts.

Post-Colonial Drama is the first full-length study to address the ways in which performance has been instrumental in resisting the continuing effects of imperialism. It brings to bear the latest theoretical approaches from post-colonial and performance studies to a range of plays from Australia, Africa, Canada, New Zealand, the Caribbean and other former colonial regions. Some of the major topics discussed in Post-Colonial Drama include:* the interactions of post-colonial and performance theories* the post-colonial re-stagings of language and history* the specific enactments of ritual and carnival* the theatrical citations of the post-colonial bodyPost-Colonial Drama combines a rich intersection of theoretical approaches with close attention to a wide range of performance texts.

This is the first in-depth examination of contemporary intercultural performance by women around the world. Contemporary feminist performance is explored in the contexts of current intercultural practices, theories and debates.Holledge and Tompkins provide ways of thinking about and analysing contemporary performance and representations of the performing, female, culturally-marked body. The book includes discussions of:* ritual performance by women from Central Australia and Korea* the cultural exchange of A Doll's House and Antigone* plays from Algeria, South Africa and Ghana* the work of the Takarazuka revue company* the market forces that govern the distribution of women and women's performance.This is an essential read for anyone studying or interested in women's performance.

This pioneering study harnesses virtual reality to uncover the history of five venues that have been 'lost' to us: London's 1590s Rose Theatre; Bergen's mid-nineteenth-century Komediehuset; Adelaide's Queen's Theatre of 1841; circus tents hosting Cantonese opera performances in Australia's goldfields in the 1850s; and the Stardust showroom in 1950s Las Vegas. Shaping some of the most enduring genres of world theatre and cultural production, each venue marks a significant cultural transformation, charted here through detailed discussion of theatrical praxis and socio-political history. Using virtual models as performance laboratories for research, Visualising Lost Theatres recreates the immersive feel of venues and reveals performance logistics for actors and audiences. Proposing a new methodology for using visualisations as a tool in theatre history, and providing 3D visualisations for the reader to consult alongside the text, this is a landmark contribution to the digital humanities.

This book addresses a deceptively simple question: what accounts for the global success of A Doll’s House, Henrik Ibsen’s most popular play? Using maps, networks, and images to explore the world history of the play’s production, this question is considered from two angles: cultural transmission and adaptation.

This is the first in-depth examination of contemporary intercultural performance by women around the world. Contemporary feminist performance is explored in the contexts of current intercultural practices, theories and debates.Holledge and Tompkins provide ways of thinking about and analysing contemporary performance and representations of the performing, female, culturally-marked body. The book includes discussions of:* ritual performance by women from Central Australia and Korea* the cultural exchange of A Doll's House and Antigone* plays from Algeria, South Africa and Ghana* the work of the Takarazuka revue company* the market forces that govern the distribution of women and women's performance.This is an essential read for anyone studying or interested in women's performance.

This book addresses a deceptively simple question: what accounts for the global success of A Doll’s House, Henrik Ibsen’s most popular play? Using maps, networks, and images to explore the world history of the play’s production, this question is considered from two angles: cultural transmission and adaptation.