A History Of Collective Creation

Collective creation - the practice of collaboratively devising works of performance - rose to prominence not simply as a performance making method, but as an institutional model. By examining theatre practices in Europe and North America, this book explores collective creation's roots in the theatrical experiments of the early twentieth century.

Collective creation - the practice of collaboratively devising works of performance - rose to prominence not simply as a performance making method, but as an institutional model. By examining theatre practices in Europe and North America, this book explores collective creation's roots in the theatrical experiments of the early twentieth century.

This edited volume situates its contemporary practice in the tradition which emerged at the beginning of the twentieth century. Collective Creation in Contemporary Performance examines collective and devised theatre practices internationally and demonstrates the prevalence, breadth, and significance of modern collective creation.

This book explores the role and centrality of women in the development of collaborative theatre practice, alongside the significance of collective creation and devising in the development of the modern theatre. Tracing a web of women theatremakers in Europe and North America, this book explores the connections between early twentieth century collective theatre practices such as workers theatre and the dramatic play movement, and the subsequent spread of theatrical devising. Chapters investigate the work of the Settlement Houses, total theatre in 1920s’ France, the mid-century avant-garde and New Left collectives, the nomadic performances of Europe’s transnational theatre troupes, street-theatre protests, and contemporary devising. In so doing, the book further elucidates a history of modern theatre begun in A History of Collective Creation (2013) and Collective Creation in Contemporary Performance (2013), in which the seemingly marginal and disparate practices of collective creation and devising are revealed as central—and women theatremakers revealed as progenitors of these practices.

This edited volume situates its contemporary practice in the tradition which emerged at the beginning of the twentieth century. Collective Creation in Contemporary Performance examines collective and devised theatre practices internationally and demonstrates the prevalence, breadth, and significance of modern collective creation.

Sets out to make the best critical and scholarly work in the field readily available.

This book explores poems, novels, legends, operas and other genres of writing from the Ming Dynasty. It is composed of two parts: the literary history; and comprehensive reference materials based on the compilation of several chronologies. By studying individual literary works, the book analyzes the basic laws of the development of literature during the Ming Dynasty, and explores the influences of people, time, and place on literature from a sociological perspective. In turn, it conducts a contrastive analysis of Chinese and Western literature, based on similar works from the same literary genre and their creative methods. The book also investigates the relationship between literary theory and literary creation practices, including those used at various poetry schools. In closing, it studies the unique aesthetic traits of related works. Sharing valuable insights and perspectives, the book can serve as a role model for future literary history studies. It offers a unique resource for literary researchers, reference guide for students and educators, and lively read for members of the general public.

To call something modern is to assert something fundamental about the social, cultural, economic and technical sophistication of that thing, over and against what has come before. A Cultural History of Theatre in the Modern Age provides an interdisciplinary overview of theatre and performance in their social and material contexts from the late 19th century through the early 2000s, emphasizing key developments and trends that both exemplify and trouble the various meanings of the term 'modern', and the identity of modernist theatre and performance. Highly illustrated with 40 images, the ten chapters each take a different theme as their focus: institutional frameworks; social functions; sexuality and gender; the environment of theatre; circulation; interpretations; communities of production; repertoire and genres; technologies of performance; and knowledge transmission.