This Element proposes a novel way of defining, understanding, and approaching theatricality. It argues that four foundational, material processes of theatre-making manifest themselves in all playtexts in both overt and covert forms.  Meer

This Element proposes a novel way of defining, understanding, and approaching theatricality. It argues that four foundational, material processes of theatre-making manifest themselves in all playtexts in both overt and covert forms.  Meer

This Element presents the work of Caryl Churchill, Naomi Iizuka, and Sarah Ruhl as exemplary of the way text-based theatre, both its scripts and productions, now creates and expects a spatialized imaginary and demonstrates the potentials of text-based theatre in an increasingly visual and spatial field of cultural production.  Meer

This Element presents the work of Caryl Churchill, Naomi Iizuka, and Sarah Ruhl as exemplary of the way text-based theatre, both its scripts and productions, now creates and expects a spatialized imaginary and demonstrates the potentials of text-based theatre in an increasingly visual and spatial field of cultural production.  Meer

This Element is the first study of the institutionalising of English play development practices in the twenty-first century. It identifies how support for playwrights and text increased during the 1990s and 2000s, and draws attention to a liberatory horizon for play development.  Meer

This Element discusses general features of controlled experimentation, epistemic and practical aspects, and historical perspectives. It argues that controlled experimentation has a material-technical and a conceptual side.  Meer

This Element discusses how theatre grieved for itself, for the dead, for lost ways of living, while also imagining and enacting new modes of being together.  Meer

This Element discusses how theatre grieved for itself, for the dead, for lost ways of living, while also imagining and enacting new modes of being together.  Meer

This Element considers the concept of performance diagrams and shows their historical, epistemic and aesthetic functions in theatre and dance. The Element reviews the relevance of diagrams for performance-making, analysis and documentation, and also elucidates the significance of diagrammatic thinking for performance studies.  Meer

This Element considers the concept of performance diagrams and shows their historical, epistemic and aesthetic functions in theatre and dance. The Element reviews the relevance of diagrams for performance-making, analysis and documentation, and also elucidates the significance of diagrammatic thinking for performance studies.  Meer

This Element is the first study of the institutionalising of English play development practices in the twenty-first century. It identifies how support for playwrights and text increased during the 1990s and 2000s, and draws attention to a liberatory horizon for play development.  Meer

This Element discusses general features of controlled experimentation, epistemic and practical aspects, and historical perspectives. It argues that controlled experimentation has a material-technical and a conceptual side.  Meer

This Element argues that movement, overseen by a movement director, is vital for theatre-making. It can support actors with characterisation and playing others responsibly and ethically, for scripted and non-scripted tasks.  Meer