Bøker utgitt av London School of Economics and Political Science

All organizations are becoming service organizations. But most weren't built to deliver services successfully end-to-end, and the human, operational and financial impacts are abundantly clear. In the digital era the stakes are even higher, given how rapidly services change. Yet default working practices (governance, planning, funding, leadership, reporting, programme and team structures) inside large organizations haven't changed. Rather than modernize just one service at a time, it's the underlying organizational conditions that need to be transformed - anything less is futile. The Service Organization is the result of years of research and consulting, as well as dozens of interviews with executives. It explores significant challenges that leaders will recognize, and turns them into solvable puzzles by providing practical advice and tools that reimagine what the organization does from the perspective of its customers - and it organizes the activity needed to deliver the best outcomes. This book is for everyone involved, from designers to technologists and from operational staff to policymakers and leaders. It includes surprisingly simple and doable, but non-obvious, steps that don't depend on seniority or pay band and that are typically overlooked by even the most progressive professions, teams and companies. Kate Tarling sets a bold, ambitious and practical agenda for all service organizations. Her book is full of behind-the-scenes examples from the global companies, public sector bodies and non-profits that are now delivering and leading successful services. It shows how to reinvent organizations so they rely not just on 'transforming technology' but on putting the success of their services at the heart of how they operate.

This book provides actors with everything they need to start and build a side-career in corporate role play, utilizing all of the skills they already have in their portfolio.Detailing what corporate role play is, how to do it, how to get the work and how to get re-employed, this book offers up a roadmap of the field, enabling actors to deliver top-quality role plays and evidenced-based developmental feedback time and time again. Like the author's masterclasses, the book includes a range of the types of role play briefs an actor may encounter, each one accompanied by top tips on how to execute them successfully.

What is the relationship between theatre and class? How has this relationship developed over time, from the age of empire to the advent of social democracy and on to contemporary times? What impact has late capitalism had on the theatre industry? What effect has the reduction of government funding for the arts had on career prospects for actors from working-class backgrounds?Theatre and Class is a stark look at the evolution of the political economy in Western society. Exploring the historical development of the notions of 'class', as well as the contemporary debates that still surround this issue, this book reveals how the ascending middle class took centre stage in both the theatre and the public sphere. This concise study traverses the challenging history of 'class' in the 19th, 20th and 21st centuries and, through a number of case studies, examines 'class' as a performance both in the theatre and in wider society.

Through a series of reflections from internationally renowned performance-makers and contextualising essays from leading theatre and performance scholars, this is the first book to map the influence of Roland Barthes on performance. The contributions are framed through Barthes's notion of The Neutral - the suspension of binary choice that offers a welcome antidote to the political deadlock of our present moment. They cover the breadth of Barthes's work from Mythologies (1957) to 'The Death of the Author' (1967), A Lover's Discourse (1977), Camera Lucida (1980), to the more recently available lecture courses at the Collège de France. Together, they capture and rethink a range of Barthes's preoccupations, from his early writing on myths and meaning to personal reflections on love, loss and desire, and interrogate the intersections between Barthes's work and contemporary theatre and performance. This book invites readers to approach Barthes's writing from a breadth of creative-critical perspectives, to become more aware of the importance of his late thought for thinking through a range of dramaturgical forms, and to become more familiar with the work of internationally significant performance practitioners.

Slow Train Coming is both for those who love Bob Dylan and for those who love Broadway. An oral history of the Dylan musical Girl from the North Country, this first-hand behind-the-scenes accounts documents what it takes to build a new commercial musical against the backdrop of a pandemic.

Ophelia's story in a way you've never heard it before, and seven more ways as well.Ophelia is trapped, stuck inside the machinery that has created her consciousness, fighting to be heard. Hamlet, overwhelmed by the ceaseless flood of media, mindlessly watches TV, consuming a mish-mash of beauty and horror; a daily soup of innocence and violence. The two of them hopelessly confined, and separated by the Atlantic Ocean.A polemic response to Heiner Mueller's Hamletmachine, Opheliamachine is a postmodern tale of love, sex and politics in a fragmented world of confused emotions and global, virtual sexuality. Since its premiere in 2013, Magda Romanska's celebrated experimental play has been performed and studied around the world, with each culture and language feeding into and responding to Opheliamachine's collage of modern existence.This edited collection brings together eight different translations of the play, offering English, German, French, Italian, Spanish, Japanese, Korean, Romanian and Polish language interpretations of Romanska's original text. Along with two introductory essays, these different versions of Opheliamachine provide academics, artists and teachers the opportunity to study a fascinating intersection of Shakespeare, translation, adaptation, feminism and avant-garde theatre.

Stephen Sondheim is one of the best-known and most-loved musical theatre composers, but also one of the most misunderstood, often being labelled as 'distant' or 'cynical'. Careful the Spell You Cast instead argues that Sondheim firmly belongs to the Broadway aspirational tradition, in that many of his characters are defined by their dreams: to abandon one's dream (as Ben does in Follies, Frank does in Merrily We Roll Along, and Addison does in Road Show) is to lose one's soul. Rather than take the established view of Sondheim as a cynic, this book contends that throughout Sondheim's work, letting go of one's illusions is a process that his characters need to go through, that they must cast off illusions and false dreams, without becoming cynical and destroying their genuine dreams in the process. In turn this view aligns Sondheim's work as being aspirational and a logical continuation from the work of his mentor, Oscar Hammerstein II. Following the trajectory of Sondheim's career, Careful the Spell You Cast shows how Sondheim has dramatized this process throughout his writing life alongside different collaborators. From his work as a lyricist with the musicals Gypsy and West Side Story through to his later collaborations with Hal Prince (Company, Follies) and James Lapine (Into the Woods, Sunday in the Park with George), this book reframes the established view through lyrical and structural analysis in relation to the characters within each of these celebrated works of musical theatre, arguing that Sondheim is, in the popular sense of the word, a romantic within the tradition of the Broadway musical.

The first book to focus exclusively on playwright Sarah Kane's approach to mind and mental health; it brings together archival material, healthcare contexts and contemporary performances. As such, it offers an important re-evaluation of Kane's oeuvre, revealing the relationship between theatre and mind, which lies at the heart of her theatrical project.Drawing on performance theory, psychoanalysis and neuroscience, this book argues that Kane's innovations generated a 'dramaturgy of psychic life', which re-shape the encounter between stage and audience. It uses previously unseen archival material and contemporary productions to uncover the mechanics of this innovative theatre practice.Through a radically open-ended approach to dramaturgy, Kane's works offer urgent insights into mental suffering that take us beyond traditional discourses of empathy and 'mental health' and into a profound rethinking of theatre as a mode of thought.It makes a case for the relevance of Kane's work to understandings of contemporary diagnostic categories and places it in urgent debates about mental health in the medical humanities.

How do theatre makers in Britain produce immersive, participatory experiences for audiences? How are productions designed and rehearsed, and how can the experience of different companies inform your own practice and understanding of this burgeoning craft?This collection of original discussions with some of Britain's leading immersive and interactive theatre makers explores their processes, methods and practices, offering a behind-the-scenes tour of how they make their work. It provides new material addressing a range of previously undisclosed topics including approaches to casting and rehearsal strategies, through to more concrete concerns such as funding and finance models. They reveal the discrete nuts and bolts of building audience-experience, and candidly discuss their own position to the term 'immersive' and how they perceive their place within the wider experience-centric cultural landscape.This collection combines perspectives from practitioners across the spectrum of immersions and interactivity in performance to showcase working methods across a variety of forms; from one-on-one, to gamified, playable experiences. The diversity of conversations captured in this volume reflects the polyphony of the immersive and interactive landscape in Britain, introducing readers to the work of Les Enfants Terrible, Parabolic, COLAB Theatre, The Lab Collective, Cross Collaborations, and ZU-UK. Makers participate in frank dialogue that reveals the ways in which they employ scenography, design, game and structural mechanics, approaches to stage management tactics, as well as the development of audience relationships, the role of intimacy and agency.

Identity, Culture, and the Science Performance, Volume 1: From the Lab to the Streets is the first of two volumes dedicated to the diverse sociocultural work of science-oriented performance. A dynamic volume of scholarly essays, interviews with scientists and artists, and creative entries, it examines explicitly public-facing science performances that operate within and for specialist and non-specialist populations. The book's chapters trace the theatrical and ethical contours of live science events, re-enact historical stagings of scientific expertise, and demonstrate the pedagogical and activist potentials in performing science in community settings. Alongside the scholarly chapters, From the Lab to the Streets features creative work by contemporary science-integrative artists and interviews with popular science communicators Sahana Srinivasan (host of Netflix's Brainchild) and Raven Baxter ("Raven the Science Maven") and artists from performance ensembles The Olimpias and Superhero Clubhouse. In exploring the science performance as a vital but flawed method of public engagement, it offers a critique of the racist, ableist, sexist, and heteronormative ideologies prevalent across the history of science, as well as highlighting science performances that challenge and redress these ideologies. Along with its complementary volume From the Curious to the Quantum, this book documents the varied ways in which identity categories and cultural constructs are formed and reformed through science performances.

Almost every schoolchild learns that Thomas Edison invented the light bulb.

Raising the Roof addresses one of the key issues of our era - the UK's housing crisis.

This New Mermaids anthology brings together four plays which centre around female characters on stage: A Woman Killed With Kindness (Thomas Heywood); The Tamer Tamed (John Fletcher); The Duchess of Malfi (John Webster) and The Witch of Edmonton (William Rowley, Thomas Dekker and John Ford) with a new introduction by leading scholar Emma Smith.A Woman Killed with Kindness is a domestic tragedy of property and marriage, adultery and revenge, and strips bare two women's lives in one of the first tragedies ever to be written about ordinary people. The Tamer Tamed is a free-wheeling and witty comedy in which the place and status of women, and the nature of marriage, are subjected to sustained attention, demonstrating one way in which early modern writers were able to challenge and invert social convention, and to at least imagine alternative modes of behaviour. The Duchess of Malfi is a classic revenge tragedy and masterpiece of the Jacobean bizarre, featuring a severed hand, a wolf-man, and a poisoned Bible.The Witch of Edmonton is a domestic tragedy in which Elizabeth Sawyer sells her soul to the Devil to revenge her neighbours.These four early modern plays plays upset old certainties about gender ideology: less 'chaste, silent and obedient' and more diverse, eloquent, and complex.