Brief Notices
- Brief Notices
This volume begins with a list of illustrations (vii), contributors (viii–x), and an introduction by the editors (1–6). The primary text includes the following essays: Naseem Khan, “British Asian Theatre: The Long Road to Now, and the Barriers in-between” (7–19); Colin Chambers, “Images on Stage: A Historical Survey of South Asians in British Theatre before 1975” (20–40); Susan Croft, “Bridging Divides: The Emergence of Bilingual Theatre in Tower Hamlets in the 1980s” (41–49); Rukhsana Ahmad, “Experiments in Theatre from the Margins: Text, Performance and New Writers” (50–65); Christiane Schlote, “Dramatising Refuge(e)s: Rukhsana Ahmad’s Song for Sanctuary and Tanika Gupta’s Sanctuary” (66–78); Chris Banfield, “Directing Storytelling Performance and Storytelling Theatre” (79–99); Claire Cochrane, “Engaging the Audience: A Comparative Analysis of Developmental Strategies in Birmingham and Leicester since the 1990s” (100–18); Victoria Sams, “Patriarchy and Its Discontents: The ‘Kitchen-Sink Drama’ of Tamasha Theatre Company” (119–32); Suman Bhuchar, “The Marketing of Commercial and Subsidised Theatre to British Asian Audiences: Tamasha’s Fourteen Songs, Two Weddings and a Funeral (1998 and 2001) and Bombay Dreams (2002)” (133–53); Jerri Daboo, “Mixing with the Mainstream: Transgressing the Identity of Place” (154–69); Giovanna Buonanno, “Between Page and Stage: Meera Syal in British Asian Culture” (170–79); Chandrika Patel, “Imagine, Indiaah … on the British Stage: Exploring Tara’s ‘Binglish’ and Tamasha’s Brechtian Approaches” (180–95); Stephen Hodge, “British Asian Live Art: motiroti” (196–206); Rajni Shah, “On the Making of Mr Quiver” (207–21). The text concludes with notes (222–52), a bibliography (253–64), and an index (265–76).
This volume begins with a list of illustrations (vii–xii), notes on contributors (xii), and an introductory essay, “By the Tomb of St Genesius,” by the editors (1–14). The primary text contains essays in four parts. Part I, “A Performative [End Page 573] Study,” includes: Peter Burke, “Varieties of Performance in Seventeenth-Century Italy” (15–24); Martin Olin, “Diplomatic Performativity and the Applied Arts in Seventeenth-Century Europe” (25–46); Camilla Kandare, “CorpoReality: Queen Christina of Sweden and the Embodiment of Sovereignty” (47–64); Mårten Snickare, “How to Do Things with the Piazza San Pietro: Performativity and Baroque Architecture” (65–86). Part II, “Performances and Audiences,” includes: Erika Fischer-Lichte, “Transforming Spectators into Viri Perculsi: Baroque Theatre as Machinery for Producing Affects” (87–98); Lars Berglund, “Angels or Sirens? Questions of Performance and Reception in Roman Church Music around 1650” (99–114); Nils Holger Petersen, “The Quarant’Ore: Early Modern Ritual and Performativity” (115–36). Part III, “Performativity and Interpretation,” includes: Genevieve Warwick, “Allegories of Eros: Caravaggio’s Masque” (137–56); Peter Gillgren, “Una Dolcissima Estasi: Performing The Visitation by Federico Barocci” (157–78); Margaretha Rossholm Lagerlöf, “The Apparition of Faith: The Performative Meaning of Gian Lorenzo Bernini’s Decoration for the Cornaro Chapel” (179–200); Giovanni Careri, “Performativity in Michelangelo’s Last Judgment” (201–18). Part IV, “Postcript,” includes: David Carrier, “Baroque Rhetoric: The Methodology” (219–30). The text concludes with a bibliography (231–48) and an index (249–57).
This volume begins with a list of figures (ix–x), a list of contributors (xixvii), and an introduction, “Unintroduction: Middletonian Dissensus,” by the editors (1–15). The primary text includes the following essays: Julian Yates, “Thomas Middleton’s Shelf Life” (16–31); Paul Yachnin, “Playing with Space: Making a Public in Middleton’s Theatre” (32–46); Gary Taylor, “History, Plays, Genre, Games” (47–63); Tiffany Stern, “Middleton’s Collaborators in Music and Song” (64–79); Raphael Seligman, “Passionate Tunes for Amorous Poems: Middleton’s Way” (80–97); Carol Chillington Rutter, “Playing with Boys on Middleton’s Stage—and Ours” (98–115); Thomas Roebuck, “Middleton’s Historical Imagination” (116–29); Barbara Ravelhofer, “Middleton and Dance” (130...
