Publisher Description

An annotated collection of more than 300 unusually interesting and detailed passages includes views by observers from ancient Greece to modern times on acting, directing, make-up, costuming, props, much more.

In this wide-ranging study, Ric Knowles demonstrates how the examination and practice of theatre is enhanced by an expanded semiotic approach. Moving from the history and theory of performance analysis to its practical application and paying particular attention to cross-cultural applications, he examines not what a particular piece of theatre means, but how meaning is produced in the process of creating, viewing and analysing theatre. How Theatre Means presents contemporary case studies and explores intersections between a wide range of theories and methods. Clear and accessible, this book brings a key analytical methodology to life for students, practitioners and scholars.

"An Introduction to Technical Theatre draws on the author's experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices. Introduction to Technical Theatre's accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text's modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling" -- From publisher website.

How are hybrid and diasporic identities performed in increasingly diverse societies? How can we begin to think differently about theatrical flow across cultures? Interculturalism is an increasingly urgent topic in the 21st century. As human traffic between nations increases, it becomes imperative to critically re-examine the way cultural exchange is performed. Theatre & Interculturalism surveys established approaches and asks what it would mean to reconsider intercultural performance, not from the points of view of the colonizing cultures, but 'from below'- from the viewpoints of the historically colonized and marginalized.

This book explores Kneehigh Theatre Company’s notions of “Brand Kneehigh”, discussing how their theatrical style enjoyed local and global appeal, in relation to theories of globalisation, localisation and cultural exchange. It defines Kneehigh’s theatrical brand, indicating Cornish cultural identity as a core component in conjunction with international influences. By looking at the history of this company, the book’s analysis of key productions reflects on qualities attributed to “Brand Kneehigh” and considers the ‘local’ and ‘global’ nature of their work. The selection and review of productions examined here reveals the changes and reinventions Kneehigh have undergone to incorporate shifting interests and socioeconomic engagements. This book explores Kneehigh’s ambitions to establish themselves as a company delivering material that is ‘popular’ in appeal, meeting the needs of a Cornish (local) community and an international (global) audience. However, tensions working between local and global interests are also exposed, with an investigation into Kneehigh’s own cited solution: their self-created performance space, the Asylum.