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Rethinking verbatim dramaturgies

Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.

Kate McLuskie and Kate Rumbold

controversial topic of the historical provenance of the precious items from overseas that now constitute the global collections in British museums. Among the arts researchers, curators and educators in that gathering, controversies about high and low culture, pushpin or poetry, the ancients and the moderns, were forgotten or unmentionable in the demonstration of an open-minded celebration of cultural engagement

in Cultural value in twenty-first-century England
The role of the Centro de Formación Literaria Onelio Jorge Cardoso and the movement of talleres literarios
Par Kumaraswami, Antoni Kapcia, and Meesha Nehru

the large, non-selective municipal system encouraging grassroots cultural engagement and the selective Centro and talleres de vanguardia offering more vocational educational courses. Beyond the post-1990s’ change in policy priorities, this diverse landscape of talleres was the culmination of over forty years of concerted literary development; it also reflected an internal hierarchy that had always existed within the talleres movement, between the drive to provide literary opportunity accessible to all and a growing demand for the provision of more intellectually

in Literary culture in Cuba
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Cora Fox, Bradley J. Irish, and Cassie M. Miura

‘How We Laugh and Cry at the Same Thing’, offer windows onto the philosophical and cultural engagements with precisely these questions of mixed or contradictory feelings. 41 This collection honors the messy interplay of positive and negative emotions—one which, it will become clear, was no less vital to early modern culture than it is to our own. Shaping early modern positivity The volume is divided into three parts that grew organically from the interests of our contributors

in Positive emotions in early modern literature and culture
Kate McLuskie and Kate Rumbold

engagement has shifted from broadcasting and delivering culture to all, to encouraging more active engagement, yet some troubling issues persist. When the The Madonna of the Pinks went on national tour, it was surrounded by a host of cultural engagement activities, including working with young people from less privileged areas. As we showed in Chapter 4 , invoking a direct experience of work of art

in Cultural value in twenty-first-century England
Damian Walford Davies

, especially in comparison to that shown in the case of Indian and Persian literature. Sir William Jones’s famous translations from Sanskrit and Persian were celebrated throughout Europe and were highly influential texts for the Romantic poets, notably Coleridge and Shelley. China, however, did not make the same kind of cultural impression and did not attract the kinds of cultural engagement that one might have predicted. This chapter explores the vexed relation of Romantic-period writing and China by developing an imagined, counterfactual account of what might have been had

in Counterfactual Romanticism
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Sarah C.E. Ross and Elizabeth Scott-Baumann

-ranging European travel of any writer, let alone woman writer, in the mid-seventeenth century. Her works both bear the marks of these people and places and also reject these as Cavendish claims to prioritise unlearnedness and natural wit over social interaction and cultural engagement. This is as much a carefully constructed identity as Philips’s ‘Orinda’, though, as we will see from the evidence of her actual participation in intellectual culture. Margaret Cavendish was born to the Lucas family in Essex. She moved to Oxford with her sister and there became a maid of honour to

in Women poets of the English Civil War
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Kate McLuskie and Kate Rumbold

benefit of Shakespeare workshops as opposed to other forms of prison rec-reation; questions about the most effective ways of overcoming the ‘poverty of aspiration’ cannot be independently addressed because, when they enter the narrative, they spoil the story and break the spell. Discussion of the enabling conditions of cultural engagement undermines the agency of the central characters on which the

in Cultural value in twenty-first-century England
Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

Creature. Shelley, upon seeing Presumption , noted the productive attention to the Creature’s body: ‘[The Creature] presents his unearthly and monstrous person on the stage … I was much amused, and it appeared to excite a breathless eagerness in the audience’ ( The Life and Letters 95). And, as with any change, the adaptation’s increased focus on the body refocuses its textual/cultural engagements. For its part, the novel offers a creation scene without a manic moment of triumph. ‘[M]y candle was nearly burnt out, when, by the glimmer of the

in Adapting Frankenstein
Andrew Smith

between these states raises questions about the scientific taxonomies of the time, an analysis of which enables a reconsideration of the cultural engagements of the Gothic and how it relates to the wider fin de siècle world. Theories of evolution are key here, but in a precise way. Darwin may seem to be the obvious figure but Virginia Richter has noted how Aristotle’s notion of a great chain of being influenced theories of species development from the eighteenth century. A central concern in such theories

in Interventions