The Edinburgh Companion to Modernism in Contemporary Theatre / / ed. by Claire Warden, Nicholas Johnson, Adrian Curtin, Naomi Paxton.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE COMPLETE 2023 English
• MitwirkendeR: Ananisarab, Soudabeh,; Andes, Anna,; Bell, Kevin,; Bru, Sascha,; Collins, Christopher,; Cosgrove, Aedín,; Curtin, Adrian,; Dinçel, Burç İdem,
• HerausgeberIn: Curtin, Adrian,; Johnson, Nicholas,; Paxton, Naomi,; Warden, Claire,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2023]; ©2023
• Year of Publication: 2023
• Language: English
• Series: Edinburgh Companions to Literature and the Humanities
• Physical Description: 1 online resource (488 p.) :; 22 B/W illustrations

Explores modernism’s complex relationship with contemporary theatreIncludes consideration of canonical as well as lesser-known theatre artistsOffers an expansive range of case studies, featuring examples of theatre from around the worldConnects modernist studies with theatre and performance studiesMethodologically varied, including historiography, performance analysis, textual analysis, and practice as researchIncludes essays by leading theatre scholars, modernist specialists, and theatre practitioners, providing an eclectic mix of essay formats and approaches, including creative contributionsThis volume highlights modernism as an impulse that can be carried forward to the present, re-embodied and re-encountered in theatrical performance. It demonstrates how modernist impulses spark contemporary theatre in dynamic ways, continuing the modernist imperative to ‘make it new’ and to engage meaningfully with the complicated situation of living in the contemporary world. A diverse set of contributions from scholars and theatre practitioners examines the legacy of modernism on the world stage in acts of remembrance, restaging, transmission and slippage. It investigates both well-known and less familiar aspects of modernist theatre history, engaging topics such as the revival of the first Black American musical, feminist and disability-led reinterpretations of canonical modernist plays, the use of modernist-inspired performance practice in contemporary university arts education and the continually contested meaning and importance of the avant-garde.

Table of Contents

Frontmatter -- Contents -- List of Illustrations -- Acknowledgements -- (anti-)capitalsism: a manifesto -- Introduction: Sensing Modernism in Theatre -- Part I: Remembrance and Reconfiguration -- 1. Introduction: Playing with the Past, Attending to the ‘Lost’ -- 2. ‘The Right to Revolution’: Ernst Toller’s Legacy on the British Stage -- 3. Legacy, Embodiment, Activism: Pageant of Agitating Women -- 4. Modernist Nostalgia and Contemporary Irish Dance -- 5. Reaching Out in Both Directions: Suffrage Theatre in the Twenty-First Century -- 6. Shuffle Along (1921) and the Challenges of Black Modernist Performance on the Contemporary Stage -- 7. ‘Who Was This Woman?’ A Conversation about Remembering Modernist Figures through the Body -- 8. An Ode to Black Women Modernists -- Part II: Restaging Drama -- 9. Introduction: Acts of Translation, Reimagining and Creative Destruction -- 10. Restaging Futurism and Joan Brossa: Provocation or Observation with a Glass of Champagne or a Cup of Tea -- 11. Marguerite Duras’s Theatre and the Boundaries of Modernism -- 12. The (Dead) Centre Cannot Hold: Ontological Insecurity in Chekhov’s First Play -- 13. En-Staging Nora: Unruly Modernisms in Theodoros Terzopoulos’s Nora -- 14. After and Against Strindberg: A Conversation about Missing Julie -- 15. ‘A Voice She Did Not Recognise At First’: Touretteshero’s Neurodiverse Presentation of Samuel Beckett’s Not I -- 16. Pushing the Boundaries: Staging Western Modern(ist) Drama in Contemporary China -- Part III: Transmission -- 17. Introduction: (Im)material Legacies, Living Traditions -- 18. The Theatre of Tadashi Suzuki at the Crossroads of Modernism -- 19. Stanislavski on Skype -- 20. Raising Her Voice: Presenting the Lives and Writings of Virginia Woolf and Dame Ethel Smyth for a Contemporary Theatre Audience -- 21. Embodied Knowledge: A Brechtian Approach to Making Theatre with Young People -- 22. Appropriation, Abstraction and Appraisal: Modernist Legacies of Contemporary Dance -- 23. Shaw and the Early-Twentieth-Century British Regional Repertory Movement -- 24. ‘Aquí no estamos en el teatro’: Impossible Plays, Queer Ghosts and Haunted Practices -- Part IV: Slippages -- 25. Introduction: How Movements Might Move -- 26. Ages of Arousal -- 27. ‘Make the New Legible through Experimentation’: A Conversation on the (Ongoing) Avant-Garde -- 28. Brecht as Slippage: Interrobang’s Dialogues with Modernist Theatre Machines -- 29. ‘What Could Be the Theatre of Contemporary Life?’ A Conversation about the Work of Studio Oyuncuları, Istanbul -- 30. ‘How Do We Make a Room in the Theatre?’ A Conversation about Design for Pan Pan Theatre, Dublin -- 31. Samuel Beckett and Border Thinking -- 32. The Writing on the Wall Isn’t There to Be Read: Unworking the Theatrical in the Figures of Adrienne Kennedy -- Afterword -- Event Scores (after fluxus) -- Notes on Contributors -- Index