Theatre and Ghosts brings theatre and performance history into dialogue with the flourishing field of spectrality studies. Essays examine the histories and economies of the material operations of theatre, and the spectrality of performance and performer.

Making spirits visible has been a part of the theatrical experience since at least the sixteenth century. Instead of illusions, however, ghostly doubles in theatre are materially real and pervasive. In Ghosts, Alice Rayner examines theatre as a memorial practice that is haunted by the presence of loss, looking at how aspects of stagecraft turn familiar elements into something uncanny. Citing examples from the works of Shakespeare, Beckett, and Suzan-Lori Parks as well as the films Vertigo, Gaslight, and The Sixth Sense, she begins by describing time as it is employed by theatre with multiple aspects of presence, duration, and passage. Suggesting that objects connect past to present through the sense of touch, she explores how props are suspended backstage between motion and meaning. Her final chapters consider the curtain as theatre's means for attempting to divide real and imaginary worlds. If ghosts hover where secrets--secrets of the past, secrets from oneself, secrets of life and death--are kept, then, according to Rayner, "theatre is where ghosts best make their appearances and let communities and individuals know that we live amid secrets hiding in plain sight." Alice Rayner is associate professor of drama at Stanford University and author of, most recently, To Act, To Do, To Perform: Drama and the Phenomenology of Action.

It’s not hard to find restless spirits in the Big Easy. Let the popular paranormal investigator guide you through its winding streets and history. Newly revised and updated, this installment in the much-acclaimed Ghost Hunter’s Guide Series is designed for locals, new residents, and travelers seeking the haunted history of the Crescent City and nearby locations. Detailed descriptions and historical background for more than two hundred locations guide readers to sites where they might encounter ghostly apparitions. Sites and spirits in the Garden District and French Quarter include the ghosts of voodoo priestesses, victims of yellow-fever epidemics, several well-known French Quarter restaurants, and the famous Lalaurie Mansion, thought to be the most haunted house in New Orleans. A section on City Park, the Faubourg Marigny, and nearby Chalmette, the site of the Battle of New Orleans, is also provided. A chapter dedicated to day trips suggests the paranormal possibilities awaiting travelers destined for the famous River Road plantations and Baton Rouge. Praise for Jeff Dwyer’s Ghost Hunter’s Guide to the San Francisco Bay Area “While sometimes scary, [the ghost stories] more often serve as reminders of the sometimes quirky, and oftentimes tragically haunting, history of the people of California.” —The Reporter (Vacaville, CA) “I thought I knew everything about the wine country, but I apparently overlooked the protoplasmic ‘walk by night’ world.” —Mick Winter, author of The Napa Valley Book

Making spirits visible has been a part of the theatrical experience since at least the sixteenth century. Instead of illusions, however, ghostly doubles in theatre are materially real and pervasive. In Ghosts, Alice Rayner examines theatre as a memorial practice that is haunted by the presence of loss, looking at how aspects of stagecraft turn familiar elements into something uncanny. Citing examples from the works of Shakespeare, Beckett, and Suzan-Lori Parks as well as the films Vertigo, Gaslight, and The Sixth Sense, she begins by describing time as it is employed by theatre with multiple aspects of presence, duration, and passage. Suggesting that objects connect past to present through the sense of touch, she explores how props are suspended backstage between motion and meaning. Her final chapters consider the curtain as theatre’s means for attempting to divide real and imaginary worlds. If ghosts hover where secrets—secrets of the past, secrets from oneself, secrets of life and death—are kept, then, according to Rayner, “theatre is where ghosts best make their appearances and let communities and individuals know that we live amid secrets hiding in plain sight.” Alice Rayner is associate professor of drama at Stanford University and author of, most recently, To Act, To Do, To Perform: Drama and the Phenomenology of Action.

Edgar Award Winner Dori Hillestad Butler gives us the ninth title in her not-too-scary chapter book mystery series, The Haunted Library. Kaz are Claire are on the case again—this time, they're looking for Kaz's long-lost uncle! Their search takes them to a bakery and a movie theater. Along the way, they meet another kid ghost detective. Will Kaz and Claire be able to figure out what's going on?

Uncovers the ways in which the spectator's memory informs theatrical reception

Pizzato focuses on the staging of Self and Other as phantom characters inside the brain (in the 'mind's eye', as Hamlet says). He explores the brain's anatomical evolution from animal drives to human consciousness to divine aspirations, through distinctive cultural expressions in stage and screen technologies.