Susan Bennett & Christie Carson 
Shakespeare beyond English [PDF ebook] 
A Global Experiment

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 …

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 – …

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 …

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 …

Fresh perspectives on teaching and evaluating music performance in higher education are offered in this book. One-to-one pedagogy and Western art music, once default positions of instrumental teachin …

Ninette de Valois was an extraordinary woman. Not only did she create The Royal Ballet, The Royal Ballet School and the company that has become Birmingham Royal Ballet – in themselves great achieveme …

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 …

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 …