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Barry K: The Cave

The Cave

A Novel

How to Write a Love Story

Methuen Drama Play Collections

Leading scholars collect, introduce, and contextualize a diverse array of previously unpublished contemporary Native American and First Nations plays. Native American Plays: Indigenous Spaces features works that engage with the major themes, artists, and plays of Native American and First Nations theatre, with a special emphasis on the aesthetics, cultural meanings, and political goals of the genre of indigenous theatre as it interacts with the changing needs of Native North American peoples. The first collection of plays from multiple Native American and First Nations playwrights to be published in over a decade, this anthology presents new plays by leading indigenous theatre-makers across Native North America who are currently writing and producing a range of theatrical works. From a reimagining of Peter Pan in Madeline Sayet's The Neverland, to the incredible true story of a 900-mile odyssey in And So We Walked by DeLanna Studi, these plays pay homage to the wide breadth of Native Theatre being made. Each chapter opens with an artist's statement, written by its playwright, and critical commentary written by the editors, who weave the play's dramaturgy into broader discussions of Native storytelling and performative movements. Individually, these pieces offer exciting opportunities for performance and study; when collected together, these works elicit an even more nuanced socio-historical, philosophical understanding of Native Theatre across the 20th and 21st centuries. This volume acts as a direct companion to Methuen Drama's Critical Companion to Native American and First Nations Theatre and Performance.

Indigenous Spaces

The Methuen Drama Anthology of Native American Plays

Revels Plays

By Thomas Norton and Thomas Sackville

Gorboduc

This book tells the relatively unknown story of Mura Dehn (1902- 1987) a white, Jewish dancer from Russia, once deemed among the most beautiful classical dancers in Europe, who emigrated to the United States in the 1930s. For the first time the efforts of Dehn to record, analyse and champion the development of jazz dance in America during the 1930s, 40s and 50s are brought to life. The book celebrates and explores her long-term commitment to supporting and nurturing Black American jazz dancers, and devoting her life to heralding and chronicling its innovators and creators through performance, teaching and film-making. This work includes both first-hand accounts with people who knew and worked with Dehn, including her company manager Allen Blitz, friend Eiko Otake, and notable urban dance scholars such as Sally Sommer; and material from Dehn's archival collection in the New York Public Library. The book offers a flavour of the dance halls, the first places of social-racial integration in America, where jazz was born out of African-American social dances, and gives credence to the growing acceptance of this form of art as equivalent to classical dance and music.

Champion of Black Social Dance and the Traditional Jazz Dance Company

Mura Dehn

Critical Companions

Modern and Contemporary Experiments with Verse Drama

Staging the Lyric

Clara and Christina

Classical Literature and Society

"Presenting a new approach to Euripides' plays, this book explores the playwright's ancient tragedies in relation to quotation culture. Treating extant works and lost works side-by-side, Matthew Wright presents a selective survey of ways in which Euripidean tragedy was quoted within antiquity, both in social contexts (on the comic stage, at symposia, in law courts, in education) and in different literary genres (drama, biography, oratory, philosophy, literary scholarship, history and anthologies). There is also a discussion of the connection between quotability and classic status, where Wright asks what quotations can tell us about ancient reading habits. The implication is that Euripides actively participated in quotation culture by deliberately making certain portions of his plays stand out as especially quotable"--

Euripides and Quotation Culture

Thinking Through Theatre

What does it mean to teach an ephemeral object like 'performance'? And what might the teaching of performance have to offer to other kinds of teaching and learning in a changing world? Through posing and seeking to answer these questions, this open-access book urges a reconsideration of the relationship between performance and pedagogy. These questions are urgent in the light of profound changes, both institutional and historical, in the larger scope of higher education and the place performance may have in that setting and its peripheries. Each of the chapters considers an object and its role in performance pedagogy. The objects range from the concrete to the conceptual and open new ways of considering how to teach performance and how performance teaches. The book features a unique construction - "interstitial exchanges" - wherein the authors of each chapter pose provocations and responses to each other through short essays between the main chapters, connecting the disparate objects of performance pedagogy and offering dialogues. In this way, the volume opens conversations beyond performance studies, asking what performance might have to say about the objects all around us that shape our lives in the 21st century. The ebook editions of this book are available open access under a CC BY NC-ND-4.0 licence on bloomsburycollections.com.

The Cave

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