Forms of Emotion analyses how drama, theatre and contemporary performance present emotion and its human and nonhuman diversity. This book explores the emotions, emotional feelings, mood, and affect, which make up a spectrum of ‘emotion’, to illuminate theatrical knowledge and practice and reflect the distinctions and debates in philosophy, neuroscience, psychology, and other disciplines. This study asserts that specific forms of emotion are intentionally unified in drama, theatre, and performance to convey meaning, counteract separation and subversively champion emotional freedom. The book progressively shows that the dramatic and theatrical representation of the nonhuman reveals how human dominance is offset by emotional connection with birds, animals, and the natural environment. This book will be of great interest to students and researchers interested in the emotions and affect in dramatic literature, theatre studies, performance studies, psychology, and philosophy as well as artists working with emotionally expressive performance.
Throughout the 19th century animals were integrated into staged scenarios of confrontation, ranging from lion acts in small cages to large-scale re-enactments of war. Initially presenting a handful of exotic animals, travelling menageries grew to contain multiple species in their thousands. These 19th-century menageries entrenched beliefs about the human right to exploit nature through war-like practices against other animal species. Animal shows became a stimulus for antisocial behaviour as locals taunted animals, caused fights, and even turned into violent mobs. Human societal problems were difficult to separate from issues of cruelty to animals. Apart from reflecting human capacity for fighting and aggression, and the belief in human dominance over nature, these animal performances also echoed cultural fascination with conflict, war and colonial expansion, as the grand spectacles of imperial power reinforced state authority and enhanced public displays of nationhood and nationalistic evocations of colonial empires. Fighting nature is an insightful analysis of the historical legacy of 19th-century colonialism, war, animal acquisition and transportation. This legacy of entrenched beliefs about the human right to exploit other animal species is yet to be defeated. "Peta Tait brings to the book an impressive scholarly command of the documentary material, from which she draws a range of vivid examples and revealing analyses of human–animal confrontation in popular entertainments ... The book is written with verve and clarity, and will be of interest to a wide readership in performance studies and cultural history." Professor Jane R. Goodall, Western Sydney University Peta Tait FAHA is Professor of Theatre and Drama at La Trobe University and Visiting Professor at the University of Wollongong, and author of Wild and dangerous performances: animals, emotions, circus (2012).
Examining photographs, illustrations, films and live performances, Peta Tait presents an extraordinary survey of 140 years of trapeze acts and the cultural identities that are presented by bodies in fast, physical aerial movement.
Theory for Theatre Studies: Emotion explores how emotion is communicated in drama, theatre, and contemporary performance and therefore in society. From Aristotle and Shakespeare to Stanislavski, Brecht and Caryl Churchill, theatre reveals and, informs but also warns about the emotions. The term 'emotion' encompasses the emotions, emotional feelings, affect and mood, and the book explores how these concepts are embodied and experienced within theatrical practice and explained in theory. Since emotion is artistically staged, its composition and impact can be described and analysed in relation to interdisciplinary approaches. Readers are encouraged to consider how emotion is dramatically, aurally, and visually developed to create innovative performance. Case studies include: Medea, Twelfth Night, The Caucasian Chalk Circle, Ibsen's A Doll's House, and performances by Mabou Mines, Robert Lepage, Rimini Protokoll, Anna Deavere Smith, Socìetas Raffaello Sanzio, Marina Abramovic, and The Wooster Group. By way of these detailed case studies, readers will appreciate new methodologies and approaches for their own exploration of 'emotion' as a performance component. Online resources to accompany this book are available at https://www.bloomsbury.com/theory-for-theatre-studies-emotion-9781350030848/.
Examining photographs, illustrations, films and live performances, Peta Tait presents an extraordinary survey of 140 years of trapeze acts and the cultural identities that are presented by bodies in fast, physical aerial movement.
An analysis of the depiction of Australia’s landscape in its films and literature. Imagined Landscapes teams geocritical analysis with digital visualization techniques to map and interrogate films, novels, and plays in which space and place figure prominently. Drawing upon A Cultural Atlas of Australia, a database-driven interactive digital map that can be used to identify patterns of representation in Australia’s cultural landscape, the book presents an integrated perspective on the translation of space across narrative forms and pioneers new ways of seeing and understanding landscape. It offers fresh insights on cultural topography and spatial history by examining the technical and conceptual challenges of georeferencing fictional and fictionalized places in narratives. Among the items discussed are Wake in Fright, a novel by Kenneth Cook, adapted iconically to the screen and recently onto the stage; the Australian North as a mythic space; spatial and temporal narrative shifts in retellings of the story of Alexander Pearce, a convict who gained notoriety for resorting to cannibalism after escaping from a remote Tasmanian penal colony; travel narratives and road movies set in Western Australia; and the challenges and spatial politics of mapping spaces for which there are no coordinates. “It will likely be the indispensable touchstone for any future work in these areas with respect to Australian cultural studies.” —Robert T. Tally, Texas State University “Definitely original in its approach, since it combines a conceptual approach with a more applied one. The book is a serious contribution to the field of mapping spatial narratives and to a better understanding of the production and spatial structure of fictional places.” —Sébastien Caquard, Concordia University
Dorothy Buxton led a remarkable life. In an era when women struggled to make their voices heard in the public arena, she spoke out effectively for the refugee, the destitute and particularly for children. An advocate of honest reporting during the First World War, in the aftermath she refused to accept the widespread famine that followed. In the face of scepticism and hostility, she campaigned to provide food for starving children in post-1918 Europe and pioneered the charity Save the Children. Her efforts saved thousands of lives. In later years, she was one of the first to raise awareness of anti-Semitism in Nazi Germany, courageously confronting Herman Goring himself in Berlin in early 1935. She was tireless in her fight for those suffering from prejudice and discrimination. Her story is unusual, from her unconventional upbringing in rural Shropshire, to studying at Cambridge to emerging as an indefatigable campaigner. Dorothy was a complex and compelling character, somewhat of an enigma even to her family. Campaigning for Life is the first biography of this remarkable woman, which examines both her public and private life in detail, and crucially acknowledges her considerable achievements in one of the most turbulent periods of European history.
Mental Health in Emergency Care takes a practical, scenario-based approach to help students and recent graduates hone their knowledge and skills to address the mental health needs of people presenting to emergency care settings. Featuring typical presentations across community, pre-hospital and hospital contexts, the scenarios demonstrate how clinicians can identify underlying mental health issues that can often go undetected and contribute to poor health outcomes. Mental Health in Emergency Care provides a framework for thinking about mental health in emergency settings, and how to develop mental health knowledge and skills that can be applied in order to provide more holistic care to all patients. - Emphasis on mental health core principles for practice - recovery, person-centered, trauma informed care, collaborative practice, cultural safety - Focus on essential mental health nursing skills and the importance of mental health triage and assessment as part of a comprehensive approach - 18 scenarios written for clinicians, by clinicians, based on typical presentations across community, pre-hospital and hospital contexts - Red flags for possible mental health issues provide practical support - Includes lived experience perspectives for in-depth understanding - Provides relevant information on what to say and what to do in an emergency setting - A focus on self-care within emergency care settings - An eBook included with print purchase
Funny, passionate, outrageous and honest, this is a memoir about travel, house renovations, food, music, men and change. ‘I’ve escaped more houses than I’ve said Hail Marys.’ Peta Mathias has been making major moves since leaving home to train as a nurse, before living in Canada, London and later France, where she set up her own restaurant. Although she returned to New Zealand, writing food books and making television series, she continued to yoyo back to Europe and started culinary tours to Spain, Italy, Morocco, India, Vietnam, and the recurring attraction: France. In this ‘memoir of sorts’, Peta looks back at the patterns of her life while she embarks on the next big stage in it: selling her beloved cottage in Auckland to buy a dilapidated old house in Uzès in the south of France and transforming the old wreck into a stylish home and cooking school. This new domesticity is set against her nomadic instincts and past history of running away from all conventional expectations of settling down. Spiced with recipes, the thrills and tribulations of reinventing yourself and her trademark humour, this book is really about never putting all your eggs in one bastard.
Henry Salt was one of the most important figures in early 19th century travel, archaeology and diplomacy. This study is an appreciation of this significant figure and brings to life a fascinating period in the history of Egypt and Abyssinia.
In Performing Emotions, Peta Tait's central argument is that performing emotions in realism is also performing gender identity. Emotions are phenomena that are performable by bodies, which have cultural identities. In turn, these create cultural spaces of emotions. This study integrates scholarship on realist drama, theatre and approaches to acting, with interdisciplinary theories of emotion, phenomenology and gender theory. With chapters devoted to masculinity and femininity specifically, as well as to emotions generally, it investigates social beliefs about emotions through Chekhov's four major plays in translation, and English language commentaries on Constantin Stanislavski's direction (of the play's first productions) and his approaches to acting, and Olga Knipper's acting of the central women characters. Emotions exists as social relationships; they are imagined and embodied as gendered. Tait demonstrates how theatrical emotions are predicated on social performances and vice versa. In Chekhov's plays, which came to dominate a twentieth century theatre of emotions, characters interpret their emotions intertextually in relation to other theatrical and fictional narratives of emotions. Tait here interrogates these plays as sustained explorations of the inherent theatricality of characters expressing emotions from their phenomenological awareness. A theatrical language of gendered interiority is produced in the acting of emotions in Stanislavski's early realistic theatre. Alternatively, remapping the performances of emotional bodies can destabilise the culturally constructed boundary separating an inner, private self and an outer, social self in culturally produced geographies of emotions. As Tait shows, emotions can be performed as indivisible spatialities. Performing Emotions integrates theories of theatre, gender identity and emotion to investigate how sexual difference impacts on the representations of emotions. The book develops an accumulative analysis of the meanings of emotions in twentieth century realist drama, theatre and acting.
Throughout the 19th century animals were integrated into staged scenarios of confrontation, ranging from lion acts in small cages to large-scale re-enactments of war. Initially presenting a handful of exotic animals, travelling menageries grew to contain multiple species in their thousands. These 19th-century menageries entrenched beliefs about the human right to exploit nature through war-like practices against other animal species. Animal shows became a stimulus for antisocial behaviour as locals taunted animals, caused fights, and even turned into violent mobs. Human societal problems were difficult to separate from issues of cruelty to animals. Apart from reflecting human capacity for fighting and aggression, and the belief in human dominance over nature, these animal performances also echoed cultural fascination with conflict, war and colonial expansion, as the grand spectacles of imperial power reinforced state authority and enhanced public displays of nationhood and nationalistic evocations of colonial empires. Fighting nature is an insightful analysis of the historical legacy of 19th-century colonialism, war, animal acquisition and transportation. This legacy of entrenched beliefs about the human right to exploit other animal species is yet to be defeated. "Peta Tait brings to the book an impressive scholarly command of the documentary material, from which she draws a range of vivid examples and revealing analyses of human–animal confrontation in popular entertainments ... The book is written with verve and clarity, and will be of interest to a wide readership in performance studies and cultural history." Professor Jane R. Goodall, Western Sydney University Peta Tait FAHA is Professor of Theatre and Drama at La Trobe University and Visiting Professor at the University of Wollongong, and author of Wild and dangerous performances: animals, emotions, circus (2012).
Forms of Emotion analyses how drama, theatre and contemporary performance present emotion and its human and nonhuman diversity. This book explores the emotions, emotional feelings, mood, and affect, which make up a spectrum of ‘emotion’, to illuminate theatrical knowledge and practice and reflect the distinctions and debates in philosophy, neuroscience, psychology, and other disciplines. This study asserts that specific forms of emotion are intentionally unified in drama, theatre, and performance to convey meaning, counteract separation and subversively champion emotional freedom. The book progressively shows that the dramatic and theatrical representation of the nonhuman reveals how human dominance is offset by emotional connection with birds, animals, and the natural environment. This book will be of great interest to students and researchers interested in the emotions and affect in dramatic literature, theatre studies, performance studies, psychology, and philosophy as well as artists working with emotionally expressive performance.
Looks at the work of women theatre practitioners who express feminist ideas through their use of form. Peta Tait identifies how women's work in comic and physical styles, performed in unusual spaces, necessitates a redefinition of feminist theatres. Addressing both theoretical and practical issues, this volume contains contributions from Venetia Gillot, Julie Holledge, Anna Messariti, Lydia Miller and Mary Moore.
Analysis of the work and achievements of the Melbourne Women's Theatre Group which was described as an unconventional and radical experiment in feminism and theatre. It involved many of the leading women intellectuals, artists and activists of the early 1970s. Indexed. The author is a playwright and drama lecturer at the School of Applied and Performing Arts, University of New South Wales.
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