A far-reaching and engaging overview of the role of narrative in dance and theatre performance, bringing together chapters written by an international range of scholars and subsequently creating a critical dialogue for approaching this fundamental topic within performance studies. Drawing on historical and contemporary examples of a variety of different performance genres, the book will provide a method for exploring the context of a particular form or artist and enhance students' ability to critically reflect on performance.

This text uses machine data of poetry readings to discover features of rhythm and intonation and to clear away methodological problems that hamper the teaching of poetic melody. The discussion is linked to the theory of literary form, throwing light on the role of emotion in poetry and fiction.

This book explores the present-day Irish Diaspora in Argentina, using oral narrative and a sociolinguistic theoretical framework to draw out the features that define contemporary Hiberno-Argentine identity. The author analyzes the spoken memories and discourses of Irish-Argentine descendants to trace the socio-political evolution of a bilingual, bicultural community from World War II to the present day. In so doing, O’Brien reveals a legacy of emigration that is without precedent in the global Irish Diaspora, and which is deeply relevant to today’s global Irish citizenry in its challenging of preconceived notions of what it is to be Irish in the New World. As well as contributing to understandings of an immigrant linguistic journey over three generations, the book also provides a vital ethnographic portrait of an Irish descendant community that is acutely aware of its vulnerability and invisibility in an increasingly pluralistic South American society. This book will appeal to an interdisciplinary audience including scholars of migration, oral history, folklore, bilingualism, memory, sociolinguistics, narrative performance and Irish Diaspora studies.

Focusing mainly on case studies from Australia and the United States of America, this book considers how people with dementia represent themselves and are represented in ‘theatre of the real’ productions and care home interventions, assessing the extent to which the ‘right kind’ of dementia story is being affirmed or challenged. It argues that this type of story — one of tragedy, loss of personhood, biomedical deficit, and socio-economic ‘crisis — produces dementia and the people living with it, as much as biology does. It proposes two novel ideas. One is that the ‘gaze’ of theatre and performance offers a reframing of some of the behaviours and actions of people with dementia, through which deficit views can be changed to ones of possibility. The other is that, conversely, dementia offers productive perspectives on ’theatre of the real’. Scanning contemporary critical studies about and practices of ‘theatre of the real’ performances and applied theatre interventions, the book probes what it means when certain ‘theatre of the real’ practices (specifically verbatim and autobiographical) interact with storytellers considered, culturally, to be ‘unreliable narrators’. It also explores whether autobiographical theatre is useful in reinforcing a sense of ‘self’ for those deemed no longer to have one. With a focus on the relationship between stories and selves, the book investigates how selves might be rethought so that they are not contingent on the production of lucid self-narratives, consistent language, and truthful memories.

Personal Narrative Performance and Storytelling: A Method of Composition from Action to Text offers a practical method for composing and performing personal narrative stories for artistic and academic purposes. It is designed to make storytelling accessible to seasoned performers and people who are engaging with the artform for the first time. The author’s unique method of composing stories from action to text privileges oral composition over writing. It draws on anecdotes from the author’s many years of coaching storytellers to illustrate concepts throughout the book, making it entertaining and user-friendly. The methods contained in this book can help students and scholars communicate theoretical and scholarly arguments about culture, gender, race, and the environment. Anyone looking to harness the power of personal storytelling to speak about the political and the personal—in a classroom or on a stage—will find Personal Narrative Performance and Storytelling: A Method of Composition from Action to Text of great use. Additionally, the book will be of interest to qualitative researchers and those applying autoethnographic and storytelling methods in communication studies and other related social science and arts disciplines.

An examination of the relationship between narrative structure and narrative performance in Fort Chipewyan, Alberta.

This collection adopts an inclusive approach to reflect the current diversity of perspectives across the different social sciences.

“A rich and welcome addition to the surge of scholarly interest in the Berlin School.” —Studies in European Cinema Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of “slow cinema,” Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.

The highly performative categories of 'Irish culture' and 'Irishness' are in need of critical address, prompted by recent changes in Irish society, the arts industry and modes of critical inquiry. This book broaches this task by considering Irish expressive culture through some of the paradigms and vocabularies offered by performance studies.

The Methuen Drama Companion to Performance Art offers a comprehensive guide to the major issues and interdisciplinary debates concerning performance in art contexts that have developed over the last decade. It understands performance art as an institutional, cultural, and economic phenomenon rather than as a label or object. Following the ever-increasing institutionalization and mainstreaming of performance, the book's chapters identify a marked change in the economies and labor practices surrounding performance art, and explore how this development is reflective of capitalist approaches to art and event production. Embracing what we perceive to be the 'oxymoronic status' of performance art-where it is simultaneously precarious and highly profitable-the essays in this book map the myriad gestures and radical possibilities of this extreme contradiction. This Companion adopts an interdisciplinary perspective to present performance art's legacies and its current practices. It brings together specially commissioned essays from leading innovative scholars from a wide range of approaches including art history, visual and performance studies, dance and theatre scholarship in order to provide a comprehensive and multifocal overview of the emerging research trends and methodologies devoted to performance art.