Crafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge.
Alisa Zhulina shows how canonical fin-de-siècle playwrights interrogated the meaning of capitalism, staging economic questions as moral and political concerns and challenging contemporary socioeconomic theories within the boundaries of bourgeois theater.
An examination of neoliberal ideology's ascendance in 1990s and 2000s British politics and society through its effect on state-supported performance practices.
Michelle Liu Carriger examines fashion and clothing controversies of the nineteenth century, drawing on performance theory to reveal how the apparently superficial or frivolous deeply affects the creation of identity.
This anthology brings together key plays from the Crooked Mirror, a leading Silver Age Russian cabaret, with short biographies of their authors and robust commentary and annotations to trace the theater’s artistic and ideological evolution.
Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the thesis underlying So What, a collection of essays on filmmakers and artists, including Luchino Visconti, Orson Welles, Marguerite Duras, Hollis Frampton, and Agnes Martin.
Through interviews, close readings, and archival research, Bettina Judd draws on the fields of affect studies and Black studies to analyze the creative processes and contributions of Black women artists.
Four of the Three Musketeers is the definitive history of the Marx Brothers’ hardscrabble early years honing their act in front of live audiences on the vaudeville circuit.
Black Theater, City Life examines how contemporary African American theater institutions reflect and shape the histories and cultural realities of their cities, with a focus on the arts ecologies in four American cities: Cleveland, Pittsburgh, San Francisco, and Atlanta.
Shannon Jackson explores a range of disciplinary, institutional, and political puzzles that impinge on the social and aesthetic practice of performance by bringing together twenty essential essays from across her career.
