Anthem Studies in Theatre and Performance Series

‘Dialogues on Beckett’ is a collection of 12 conversations about 12 plays by Samuel Beckett, discussions about the meaning of life and the universe between an agnostic and a Christian, based on a close reading of the text. It is also based on the thesis that Beckett’s main concern in his plays is Christian theology or, more broadly, the religious interpretation of the world. All his plays are an argument with that interpretation; in particular, they question the idea of theodicy and the philosophy of consolation. The aim of ‘Dialogues on Beckett’ is to make the reader aware of this essential theme in the playwright’s work, to interpret it in this light and to show his original approach to the subject. Beckett argues that we live in a post-Christian era. But for him this knowledge is no reason for joy; rather, it is a source of sadness, fear and even despair.

“On Beckett: Essays and Criticism” is the first collection of writings about the Nobel Prize–winning author that covers the entire spectrum of his work, and also affords a rare glimpse of the private Beckett. More has been written about Samuel Beckett than about any other writer of this century – countless books and articles dealing with him are in print, and the progression continues geometrically. “On Beckett” brings together some of the most perceptive writings from the vast amount of scrutiny that has been lavished on the man; in addition to widely read essays there are contributions from more obscure sources, viewpoints not frequently seen. Together they allow the reader to enter the world of a writer whose work has left an impact on the consciousness of our time perhaps unmatched by that of any other recent creative imagination.

In the early 1960s the board of governors of the Adelaide Festival of Arts in Australia rejected two Patrick White plays, The Ham Funeral in 1962 and Night on Bald Mountain in 1964. Australian Theatre, Modernism and Patrick White documents the scandal that followed the board’s rejections of White’s plays, especially as it acted against the advice of its own drama committee and artistic director on both occasions. Denise Varney and Sandra D’Urso analyze the two events by drawing on the performative behaviour of the board of governors to focus on the question of governance. They shed new light on the cultural politics that surrounded the rejections, arguing that it represents an instance of executive governance of cultural production, in this case theatre and performance. The central argument of the book is that aesthetic modernism in theatre and drama struggled to achieve visibility and acceptability, and posed a threat to the norms and values of early to mid-twentieth-century Australia. The recent productions indicate that despite the Adelaide Festival’s early hostile rejections, White’s plays endure.

“Staging Memory and Materiality in Eighteenth-Century Theatrical Biography” examines theatrical biography as a nascent genre in eighteenth-century England. This study specifically focuses on Thomas Davies’ 1780 memoir of David Garrick as the first moment of mastery in the genre’s history, the three-way war for the right to tell Charles Macklin’s story at the turn of the century and James Boaden’s theatrical biography spree in the 1820s and 1830s, including the lives of John Philip Kemble, Sarah Siddons, Dorothy Jordan and Elizabeth Inchbald. This project investigates the extent to which biographers envisioned themselves as artists, inheriting the anxiety of impermanence and correlating fear of competition that plagued their thespian subjects. It traces a suggestive, but not determinative, outline of generic development, noting the shifting generic features that emerge in context of a given work’s predecessors. Drawing heavily on primary sources, then-contemporary reviews and archival material in the form of extra-illustrated or “scrapbooked” editions of the biographies, this text is invested in the ways that the increasing emphasis on materiality was designed to consolidate, but often challenged, the biographer’s authority. This turn to materiality also authorized readerly participation, allowing readers to “co-author” biographies through the use of material insertions, asserting their own presence in the texts about beloved thespians.

The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau’s definition of dance in his 1589 dance treatise, Orchesographie. The notion of the intertext as elaborated by Michael Riffaterre is used to understand a series of relationships between dance and other activities within which the historical dancing body emerges to the light of day. Arbeau’s discussion of dance as a mute rhetoric in the demonstrative genre points to the intertext of Quintilian’s The Oratorical Institution where the genus demonstrativum is explained as epideixis, the goal of which is to inspire confidence and charm the audience. The second intertext explored is that of civility as found in courtesy books where the posture of the body and the parameters of movement are outlined, converging in the gesture of the révérence. The categories of pose and movement are then read into the structure of the basse danse, the quintessential courtly social dance of the period. The relation of pose to movement or of stillness to mobility is further theorized through the terms of earlier Italian treatises, specifically in terms of fantasmata as used by Domenico da Piacenza.

It is a book about dying, or, more accurately, about the representation of dying in the theatre. Its chief concern is how actors undertook to translate words and concepts into forms legible and significant to an audience. It deals with the ways in which playwrights wrote about death and attitudes towards death in their cultures. Nevertheless, the emphasis is on the practice of acting. This “death spectacle” runs the gamut. From the Greek tragic stage which was highly selective in determining which deaths it (re)enacted to the elaborately stylized murders and suicides in the Kabuki to the lavish blood-letting of the Elizabethans to the deathbed visitations of the modern era, what was acceptable and/or enjoyable fluctuates wildly.

Kunqu, recognized by UNESCO in 2001 as part of the Intangible Cultural Heritage of Humanity, is among the oldest and most refined traditions of the family of genres known as xiqu (music-drama or “Chinese opera”). Today, the art form’s musical and performance traditions are being passed on by senior artists. This book consists of twelve explanatory narrations in English, selected and translated from among an expansive collective endeavour in Chinese. Each performer narration sheds light on the human processes that create and transmit celebrated pieces of theatre. Annotations place these narratives in historical, literary, discursive, and aesthetic contexts. Close critical attention reveals kunqu as a living and changing art form. Methodologically, this work breaks new ground by centering the performers’ perspective rather than the text, providing a complement and a challenge to performance analysis, and ideological, sociological, or plot-based perspectives on xiqu.

Time Out of Mind is one of the most ambitious, complex, and provocative albums of Bob Dylan’s distinguished artistic career. The present book interprets the songs recorded for Time Out of Mind as a series of dreams by a single singer/dreamer. These dreams overlap and intermingle, but three primary levels of meaning emerge. On one level, the singer/dreamer envisions himself as a killer awaiting execution for killing his lover. On another level, the song-cycle functions as religious allegory, dramatizing the protagonist’s relentless struggles with his lover as a battle between spirit and flesh, earth and heaven, salvation and damnation. On still another level, Time Out of Mind is a meditation on American slavery and racism, Dylan’s most personal encounter with the subject, but one tangled up in associations with the minstrelsy tradition and debates surrounding cultural appropriation. Time Out of Mind marks the culmination of several recurring themes that have preoccupied Dylan for decades, and it serves as a pivotal turning point toward his late renaissance in terms of both subject matter and intertextual approach.

This book argues that theatre and drama help us to understand the concern about ‘fake news’. Moran shows that ‘fake news’ has arisen in the twenty-first century through what are essentially a series of performance contexts. Although the concept of ‘fake news’ has developed to great prominence since 2016, there is a much longer history of theatre makers and thinkers grappling with the ideas that underpin our modern worries about misinformation being distributed in the press, in broadcast news, and via social media.