Bøker i Enactments-serien

Examines the previously unresearched formative years of Polish director Jerzy Grotowski's career.   Polish director Jerzy Grotowski (1933-1999) was an international leader in experimental theater who became famous in the late 1960s for his revolutionary approach to audience involvement. This volume is devoted to Grotowski's early work-the performances he directed in the Theatre of 13 Rows (later Laboratory Theatre of 13 Rows) between 1959 and 1964 when the theater was working in the provincial town Opole in south-western Poland. Having decided to work in his own independent theater, Grotowski moved to Opole in September 1956 and developed his ideas with young, inexperienced actors, creating important performances that foreshadowed his renowned masterpieces of the late 1960s.   In The Unknown Theatre of Jerzy Grotowski, Dariusz Kosinski and Wanda Swiatkowska reconstruct, analyze, and interpret each of the nine performances directed by Grotowski over this period: from Orpheus based onJean Cocteau (1959) to Hamlet Study based on Stanislaw Wyspianski (1964). Previously mentioned mainly in the context of the development of Grotowski's method, these performances dealt with important social, political, and philosophical problems of postwar and post-Holocaust Poland. Grotowski also used these performances to experiment with the forces and problems that he later tried to be discreet about, such as sexuality.   Revealing unnoticed and forgotten aspects of Grotowski's theater, this landmark book presents new materials and perspectives that give fresh life to the study of a genius of twentieth-century theater.

Includes dialogues with theorists, curators, activists, and fellow artists - such as Lisa Wolford Wylam, Tim Miller, Felipe Ehrenberg, Orlando Britoo Jinorio, Silvana Straw, and Rafael Lozano-Hemmer that explore the terrain between art and theory.

IN

Molissa Fenley, one of the most influential artists of postmodern dance, has had a lasting impact on performance. This is a vivid and probing portrait of Fenley's four-decade career, written by her fellow artists. It offers several scholarly analyses of the choreographer's work, and is, above all, a vibrant record from the field.

The devil is a defiant, nefarious figure, the emblem of evil, and harbinger of the damned. However, the festive devil, turns the most hideous acts into playful transgressions. This volume presents a transnational and performance-centered approach to this character of fiestas, street festivals, and carnivals in North, Central, and South America.

Over the centuries, observances of Muharram, the first month of the Islamic calendar, have traveled far from their origins at Karbala. This title describes many of the Muharram rituals that were exported to other lands over time. It explores the social, political, cultural, artistic, and religious significance of Muharram rituals.

Since 1986, the Burning Man Festival has evolved from founder Larry Harvey's personal healing ritual into a cultural movement where ceremony, religion, visual art, and performance converge on an epic scale. This work explores the spectrum of performance and ritual practices within Black Rock City from the everyday to wild spectacle.

From the Greeks and Shakespeare to the "Ramayana" and the "Mahabharata", war has often been a major theme of dramatic performances. This work looks at theater and performances that often occur quite literally as bombs are falling, as well as during times of ceasefire and in the aftermath of hostilities.

The first comprehensive study of dizi, a television genre unique to Turkey akin to soap opera or telenovela.  Standing at the crossroads of folklore, media, and performance studies, Arzu ÿztÿrkmen explores the rise of the dizi genre in Turkey since the 1970s, when national television broadcasting began in the country. The Delight of Turkish Dizi approaches this unique genre‿not quite soap opera or telenovela‿as an art form that developed with the collective creative input of writers, producers, directors, actors, editors, musicians, and, lately, international distributors. ÿztÿrkmen shows how dizi-making is a marathon run by sprinters, where production and broadcasting processes have been tightly interwoven, offering a mode of communication and consumption that is distinct to the Turkish television industry. The research consists of oral history with key figures in dizi production and ethnographic surveys of film sets, international content markets, and award ceremonies. This first-ever monograph on Turkish dizi will be a valuable addition to the field of performance and media studies while delighting the general reader as well.

First published in 2014 by Transcript with title, Performing Stories: Erzèahlen in Theater und Performance.

Analyzes the different strands in theater studies over the past three decades.