Ian Jarvie 
Philosophy of the Film [PDF ebook] 
Epistemology, Ontology, Aesthetics

First published in 2006. Kabuki is the most popular form of Japanese traditional theatre. More fast-moving than Noh, it is a colourful and exciting spectacle based around traditional, historical and …

Actor Julie Hesmondhalgh»s working diary begins in November 2016 at the end of a full and exciting year of theatre-making with her company, Take Back. The company is a northern-based collective crea …

In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed …

Sadler’s Wells is the world’s leading Dance House. Sadler’s Wells has developed new audiences for dance, this powerful and emotive art, for performances shown within its theatre spaces and outside – …

Robert Icke»s thrilling and radical adaptations of some of the great texts of Western theatre have enthralled theatregoers in London, in New York and around the world. This is the first collection o …

‘ A book which has remained seminal in its field as one of the key texts in dance education . Jacqueline Smith-Autard delves into the creative arena of dance with a logic unmatched by any other creat …

Shakespearean Temporalities addresses a critical neglect in Early Modern Performance and Shakespeare Studies, revising widely prevailing and long-standing assumptions about the performance and recept …

The British musical in its formative years has appeared in strikingly different guises: from the lasting hits of Oliver!, and Me and My Girl , to the successes of The Dancing Years, Bless the Bride a …

Recent shifts in the theatrical landscape have had corresponding implications for dramaturgy. The way we think about theatre and performance today has changed our approaches to theatre making and com …

Romeo and Juliet always use »thou» to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as »thou», but no man ever does …