This series publishes monographs in theater and performance studies, focused in particular on the material conditions in which performance acts are staged, and to which performance itself might contribute. We define “performance” in the broadest sense, including traditional theatrical productions and performance art, but also cultural ritual, political demonstration, social practice, and other forms of interpersonal, social, and political interaction which may fruitfully be understood in terms of performance.
Series editors: Patrick Anderson and Nicholas Ridout
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.
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.
Taking Bangalore in southern India as its point of departure, this book explores the ways in which artists across India and beyond foreground neoliberalism as an inescapable market logic that permeates aesthetics, selfhood, and everyday life.
Developing a new theory of choreographic space, the author shows how embodied forms of hope promised in ballet and progressive dance modernisms conceal and depend on spatial operations of imperial, colonial, and racial subjection.
Senegalese Stagecraft explores the theatrical stage in Senegal as a site of poetic expression, political activism, and community engagement. This book addresses a gap in scholarship about performance, theater, and popular culture in Senegal and West Africa.
Since the fall of the Berlin Wall, political and economic agendas in the reunified German capital have worked to dismantle the state‑subsidized stage. Institutional Theatrics charts the ways artists have reimagined the theater in response to these crises.
This book focuses on independent popular and avant-garde Egyptian theater in transition from 2004 to 2014, analyzing live performing arts as a means of cultural and political representation.
Transgenerational Remembrance examines the legacy of the Asia-Pacific War in Japan (1931–1945) through contemporary output in theater and performance art. This book explicates art and theatrical productions dealing with kamikaze pilots, Japanese imperialism, comfort women, the Battle of Okinawa, and Japanese American internment.
This series publishes monographs in theater and performance studies, focused in particular on the material conditions in which performance acts are staged, and to which performance itself might contribute. We define “performance” in the broadest sense, including traditional theatrical productions and performance art, but also cultural ritual, political demonstration, social practice, and other forms of interpersonal, social, and political interaction which may fruitfully be understood in terms of performance.
Series editors: Patrick Anderson and Nicholas Ridout 
