New Theatre Quarterly 61 Volume 16 Part 1

Provides an international forum where theatrical scholarship and practice can meet.

What does it mean to "fail" in performance? How might staging failure reveal theatre’s potential to expand our understanding of social, political and everyday reality? What can we learn from performances that expose and then celebrate their ability to fail? In Performance Theatre and the Poetics of Failure, Sara Jane Bailes begins with Samuel Beckett and considers failure in performance as a hopeful strategy. She examines the work of internationally acclaimed UK and US experimental theatre companies Forced Entertainment, Goat Island and Elevator Repair Service, addressing accepted narratives about artistic and cultural value in contemporary theatre-making. Her discussion draws on examples where misfire, the accidental and the intentionally amateur challenge our perception of skill and virtuosity in such diverse modes of performance as slapstick and punk. Detailed rehearsal and performance analysis are used to engage theory and contextualise practice, extending the dialogue between theatre arts, live art and postmodern dance. The result is a critical account of performance theatre that offers essential reading for practitioners, scholars and students of Performance, Theatre and Dance Studies.

Provides an international forum where theatrical scholarship and practice can meet to question dramatic assumptions.

New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance, that theatre studies need a methodology, and that theatre criticism needs a language. The journal publishes news, analysis and debate within the field of theatre studies. Articles in volume 62 include: Staging and Storytelling, Theatre and Film: Richard III at Stratford; The Theatrical Biosphere and Ecologies of Performance; The Afro-Caribbean Identity and the English Stage; A Riposte to David Mamet: Heresy and Common Sense in True and False; Form as Weapon: the Political Function of Song in Urban Zimbabwean Theatre; 'Aphrodite Speaks': on the recent Performance Art of Carolee Schneemann; Theatre and Urban Space: the Case of Birmingham Rep; Across Two Eras: Slovak Theatre from Communism to Independence; Whatever Happened to Gay Theatre?

New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance, that theatre studies need a methodology, and that theatre criticism needs a language. Articles in volume 73 include: Performance, Embodiment, Voice: the Theatre/Dance Cross-overs of Dodin, Bausch, and Forsythe; The Performative Self: Improvisation for Self and Other; The Events of June 1848: the 'Monte Cristo' Riots and the Politics of Protest; Culture, Memory, and American Performer Training; 'The Maker and the Tool': Charles Parker, Documentary Performance, and the Search for a Popular Culture; Simple Pleasures: the Ten-Minute Play, Overnight Theatre, and the Decline of the Art of Storytelling; Archive or Memory? The Detritus of Live Performance; NTQ Reports and Announcements; NTQ Book Reviews.

New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance, that theatre studies needs a methodology, and that theatre criticism needs a language. The journal publishes news, analysis and debate within the field of theatre studies. Articles in volume 63 include: Ventriloquism: the Voices of the Dead; Bodies, Rest and Motion: from Shiva's Cosmic Dance to Chaos Theory's Biodance; Computer Intelligence in the Theatre; Burmese Nights: Myanmar's Pagoda Festival in the Age of the Hollywood Titanic; Censoring the Uncensored: the Case of Children in Uniform; Henry Irving and the Staging of Spiritualism; Boal and the Shifting Sands: Unpolitical Master Swimmer.

New Theatre Quarterly provides a valuable international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.

New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.