Boyle Michael Shane - Postdramatic Theatre and Form

Methuen Drama Engage offers original reflections about key practitioners, movements and genres in the fields of modern theatre and performance. Each volume in the series seeks to challenge mainstream critical thought through original and interdisciplinary perspectives on the body of work under examination. By questioning existing critical paradigms, it is hoped that each volume will open up fresh approaches and suggest avenues for further exploration.

Series Editors

Mark Taylor-Batty

University of Leeds, UK

Enoch Brater

University of Michigan, USA

Titles

Fiery Temporalities: in Theatre and Performance: The Initiation of History,

Maurya Wickstrom

ISBN 978-1-4742-8169-0

Robert Lepage/Ex Machina: Revolutions in Theatrical Space,

James Reynolds

ISBN 978-1-4742-7609-2

Social Housing in Performance: The English Council Estate on and off Stage,

Katie Beswick

ISBN 978-1-4742-8521-6

Social and Political Theatre in 21st-Century Britain: Staging Crisis,

Vicky Angelaki

ISBN 978-1-474-21316-5

Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre,

edited by Adam Alston and Martin Welton

ISBN 978-1-4742-5118-1

Watching War on The Twenty-First-Century Stage: Spectacles of Conflict,

Clare Finburgh

ISBN 978-1-472-59866-0

Page from Romeo Castelluccis Inferno notebook.

A photo of one of the pages from Guy Cassiers theatre script for his performance Hamlet vs. Hamlet (2014).

The set of BarleyGirl, staged by Implied Violence in 2008 in a former trolley repair warehouse located in Seattles South Lake Union neighbourhood.

Ryan Mitchell and Mandie OConnell of Implied Violence in Come to My Center You Enter the Winter, part of Motel #1 curated by D. K. Pan in 2007 at the now-demolished Bridge Motel in Seattle.

Installation view of David Levine, Habit, Essex Street Market, New York City.

Detail, David Levine, Habit, Essex Street Market, New York City.

The four actors of Halory Goerger and Antoine Defoorts Germinal (2013) bask in a glow of light beneath a wall of words.

A poster for the Maxim Gorkis 2017 autumn arts festival, commanding: Desintegriert euch! (De-Integrate Yourselves!).

The poster for Winterreise (Winter Journey), created by Yael Ronen with Exil Ensemble at the Maxim Gorki Theater in 2017.

Kirk Murphy and puppet Rose in Sandglass Theatres D-Generation: An Exaltation of Larks, 2012.

Michael Shane Boyle works in the Drama Department at Queen Mary University of London as Lecturer in Drama, Theatre and Performance. He is currently working on two books, a history of postwar West German performance and a study of how contemporary artists use key technologies that undergird the logistics infrastructure of global capital, like shipping containers, drones and GPS.

Kate Bredeson is a theatre historian, a director and a dramaturg. Her books include Occupying the Stage: the Theater of May 68 (Northwestern 2018) and a forthcoming edited collection of the lifetime diaries of Judith Malina (Routledge). Kate is a recipient of fellowships from the NEH and Fulbright Commission, and residencies at the Camargo Foundation in Cassis, France and the Rockefeller Center in Bellagio, Italy. She works as a dramaturg in theatre and dance. Kate is Associate Professor of Theatre at Reed College.

Edith Cassiers studied Dutch, Theatre, Film and Literary Studies at the University of Antwerp. In 2018 she completed her PhD dissertation PROMPT! From Page to Stage. A Theatrical Study of the Postdramatic Directors Notebook as part of the project The Didascalic Imagination (University of Antwerp and Vrije Universiteit Brussel). She has published several articles on directors theatre, creative processes and postdramatic theatre in journals such as Performance Research; Digital Scholarship in the Humanities; and Theatre, Dance and Performance Training. She furthermore works as a dramaturge for different theatre companies.

Matt Cornish is Assistant Professor of Theatre History at Ohio University. He is the author of Performing Unification: History and Nation in Germany after 1989 and the editor of Everything and Other Performance Texts from Contemporary Germany; his essays have appeared in Modern Drama, Theatre Journal, PAJ, and elsewhere. A recipient of Fulbright and DAAD fellowships, Matt holds a Doctor of Fine Arts degree from Yale School of Drama.

Luk Van den Dries is Full Professor of Theatre Studies at the University of Antwerp. His research deals with contemporary postdramatic theatre, representations of the body, and the dynamics between directors notebooks and rehearsal processes. He is supervisor of the research project The Didascalic Imagination (funded by FWO Research Foundation Flanders).

Andrew Friedman is an Assistant Professor of Theatre History at Ball State University in Indiana and received his PhD in Theatre from the CUNY Graduate Center. His essays and reviews on contemporary performance appear in Theatre Journal, Theater, European Stages and Ibsen News and Comment. He is currently completing a manuscript on Vegard Vinge and Ida Mllers Ibsen-Saga. Andrew works as a dramaturg and is a founding member of the theatre collective Riot Group.

Elinor Fuchs is the author or editor of five books, including The Death of Character, winner of the George Jean Nathan Award in Dramatic Criticism, and the family memoir Making an Exit. Her documentary play, Year One of the Empire, co-authored with historian Joyce Antler, has been produced in New York and Los Angeles, where it won the Drama-Logue award for playwriting. Known for her numerous scholarly articles in dramatic structure and theory, as well as theatre criticism in The Village Voice, she has taught at Emory, Columbia and Harvard universities, and at the Institut fr Theaterwissenschaft of the Free University of Berlin. She is presently Professor Emerita of Dramaturgy and Dramatic Criticism at the Yale School of Drama, where she taught for twenty-three years.

Stanton B. Garner, Jr. is Professor of English and Adjunct Professor of Theatre at the University of Tennessee. Author of The Absent Voice: Narrative Comprehension in the Theater, Bodied Spaces: Phenomenology and Performance in Contemporary Drama and Trevor Griffith: Politics, Drama, History, he has written extensively on theatre and performance. His book Kinesthetic Spectatorship in the Theater: Phenomenology, Cognition, Movement was recently published by Palgrave Macmillan.

Yvonne Hardt is a dancer, choreographer and Professor of Applied Dance Studies and Choreography at the Hochschule fr Musik und Tanz in Cologne, Germany. Her books include Politische Krper: Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung in der Weimarer Republik and Choreographie und Institution: Zeitgenssischer Tanz zwischen sthetik, Produktion und Vermittlung (with Martin Stern).

Ryan Anthony Hatch is an Assistant Professor of English at California Polytechnic State University, where he teaches modern and contemporary drama, experimental writing, contemporary theory and psychoanalysis. He received his PhD from the Center for the Study of Psychoanalysis and Culture at SUNY, Buffalo. He is currently working on two book projects: