Bücher der Reihe Exeter Performance Studies

The Futurist opera Victory over the Sun, first staged in 1913 in St Petersburg, was a key event of the Russian avant-garde, notorious for its libretto, its unconventional score and its pioneering abstract sets and costumes designed by Kazimir Malevich. The iconic importance of Victory over the Sun as a theatrical event is universally acknowledged.This volume brings together the first fully annotated translation of the libretto of this ';anti-opera' and other important primary source materials, including the score, the set and costume designs and contemporary newspaper reviews. The second part of the volume provides a wide-ranging collection of interpretive essays which explore the artistic, literary and musical dimensions of the staging, its theatrical and historical context, its relationship to Italian Futurism, and its position within the Russian modernist movement.You can read more about the Pushkin House event on 22 November 2012 on the Russian Art and Culture website by following this link http:// www.russianartandculture.com/victory-over-sun-book-launch-pushkin-house/ (will open in a new window).And you can see and hear more in Alexander Kan's report on the BBC Russian site by following this link http://www.bbc.co.uk/russian/multimedia/2012/11/121127_futuristic_dinner.shtml (will open in a new window).In 1913, the year in which the Romanovs celebrated their tercentenary, the premieres of two revolutionary theatrical events brought Russian artists to the forefront of the European avant-garde. With its nonsensical ';trans-sense' libretto by Aleksei Kruchenykh andVelimirKhlebnikov, experimental score by Mikhail Matiushin and pioneering abstract sets and costumes by Kazimir Malevich, the Futurist opera Victory over the Sun may be compared in terms of its radical assault on artistic convention to Igor Stravinsky's ballet The Rite of Spring.This interdisciplinary volume brings together a distinguished team of international scholars to discuss the artistic significance of this epoch-making ';anti-opera', which is now recognised as a key event of avant-garde cultural production, and a turning point in stage history.The book offers new insight into the theatre practice and history of Russian Futurist performance, which, to date, has received little attention from theatre scholars despite its influence on the development of European drama in the twentieth century.As well as an annotated translation of the libretto, the book includes reproductions of the score and contemporary newspaper reviews.Illustrated throughout, and with a colour plate section containing twenty-seven colour images of costume designs, posters and other work by the abstract artist Kazimir Malevich

Eighteenth-Century Brechtians is a collection of essays by a well-known author on comic and radical political theatre. It looks at stage satires by John Gay, Henry Fielding, George Farquhar, Charlotte Charke, David Garrick and their contemporaries through the lens of Brecht's theory and practice. 15 b&w illustrations.

A companion to UEP's Grand-Guignol: The French Theatre of Horror (now in its third reprint). London's Grand Guignol was established in the early 1920s at the Little Theatre in the West End. It was a high-profile venture that enjoyed popular success as much as critical controversy.

Theatre Workshop: Joan Littlewood and the Making of Modern British Theatre is the first in-depth study of perhaps Britain's most influential twentieth-century theatre company. The book sets the company's aims and achievements in their social, political and theatrical contexts, and explores the elements which made its success so important.

From Mimesis to Interculturalism offers a series of critical readings of key texts in the history of European and American theatrical and performance theory. It answers the need for a detailed critique of theatrical theory from its origins in Greek antiquity to the present day.

A popular crowd-pleaser in the late 16th and mid-17th century, the dramatic jig was a short, comic, bawdy musical-drama which included elements of dance, slapstick and disguise. With a cast of ageing cuckolds and young head-strong wives, knavish clowns, roaring soldiers and country bumpkins, jigs often followed as afterpieces at London's playhouses, and were performed at fairs, in villages and in private houses. Troublesome to the authorities, they drew the crowds by offering a lively antidote to more sober theatrical fare.This performance edition presents for the first time nine examples of English dramatic jigs from the late sixteenth century through to the Restoration; the scripts are re-united as far as possible with their original tunes. It gives a comprehensive history, discusses sources, plots, instrumentation and dancing, and offers practical information on staging jigs today.Includes:Transcriptions of the original textsContextual notes: plot synopses and discussion of sources, themes and audience receptionMusical notation for each tune, with suggestions for underlay and chords, and notes on instrumention and styleAppendix of dance instructions and reconstructions

';In Comes I' explores performance and land, biography and locality, memory and place. The book reflects on performances past and present, taking the form of a series of excursions into the agricultural landscape of eastern England, and drawing from archaeology, geomorphology, folklore, and local and family history.Mike Pearson, a leading theatre artist and solo-performer, returns to the landscape of his childhood off the beaten track in Lincolnshire and uses it as a mnemonic to reflect widely upon performance theory and practice. Rather than focusing on author, period and genre as is conventional in the study of drama, the book takes region as its optic, acknowledging the affective ties between people and place.Offering new approaches to the study of performance, he integrates intensely personal narrative with analytical reflection, juxtaposing anecdote with theoretical insight, dramatic text with interdisciplinary perception. The performances, ranging from folk drama to contemporary site-specific work, are seen in the light of their relationship to their cultural and physical environment.

The Theatre du Grand-Guignol in Paris (1897 - 1962) achieved a legendary reputation as the 'Theatre of Horror' a venue displaying such explicit violence and blood-curdling terror that a resident doctor was employed to treat the numerous spectators who fainted each night. Indeed, the phrase 'grand guignol' has entered the language to describe any display of sensational horror.Since the theatre closed its doors forty years ago, the genre has been overlooked by critics and theatre historians. This book reconsiders the importance and influence of the Grand-Guignol within its social, cultural and historical contexts, and is the first attempt at a major evaluation of the genre as performance. It gives full consideration to practical applications and to the challenges presented to the actor and director.The book also includes outstanding new translations by the authors of ten Grand-Guignol plays, none of which have been previously available in English. The presentation of these plays in English for the first time is an implicit demand for a total reappraisal of the grand-guignol genre, not least for the unexpected inclusion of two very funny comedies.