This provocative book meets the supposedly 'live' practices of performance and the 'no-longer-live' historical past at their own dangerous crossroads. Focussing on the 'and' of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot - but often oppositional - arts and acts of time.
About the Author
Rebecca Schneider is Professor of Theatre Arts and Performance Studies at Brown University, USA. She is the author of The Explicit Body in Performance and Performing Remains: Art and War in Times of Theatrical Reenactment, as well as numerous essays. She is the Consortium Editor for The Drama Review: A Journal of Performance Studies, edited by Richard Schechner, and is co-editor with David Krasner of the book series Theater: Theory/Text/Performance.
Table of Contents
Series Editors' Preface.- 1. Theatre And History.- 2. 'And'.- .- 3. 'History'.- 4. 'Theatre'.- 5. History and the Theatre Artist.- 6. The Anti-theatrical Prejudice.- 7. The Anti-intellectual Prejudice.- 8. Theatre and the Historian.- 9. The Problem with Passions.- 10. The Problem with Archives.- 11. Whose History is Theatre's History?.- 12. Of Knives and Blood.- Bibliography.- Index.
What People are Saying About This
'Coherent and clear, each of the sections illuminates the relationship between theatre and history in a different but always convincing and engaging manner. An attractive text for anyone interested in putting this relationship into perspective, ideal for beginning or more advanced students.' – Marvin Carlson, Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies, City University of New York, USA
'The clear, playful authority of the volume leaves readers simultaneously eager for Schneider's next book and inspired to expand the interdisciplinary dimensions of their own work.' – Glenn Odom, Roehampton University, UK