Artistic media seem to be in a permanent condition of mutation and transformation. Contemporary artists often investigate the limits and possibilities of the media they use and experiment with their crossing, upgrading and mutilation. Others explicitly explore the unknown space between existing media, searching for the hybrid beings that occupy these in-betweens. This fascinating volume explores the theme of mutating and adapting media in its relation to theatre and performance. How did different aspects of theatre evolve in a digital era? How did historical traditions in theatre adapt to new cultural contexts? How are other media remediated in contemporary performances? Does this eventually lead to a contamination or even a disintegration of what we call theatre, or on the contrary, to a revaluation? Bringing together international scholars and artists, the editors offer a comprehensive overview of the subject sensitive to the cross-disciplinary use of key concepts such as remediation, digitization, interactivity, corporeality, liveness, surveillance, spectacle, performativity and theatricality. The book guides readers new to the area of intermediality, as well as experienced researchers into one of the most dynamic fields of scholarship.

Artistic media seem to be in a permanent condition of mutation and transformation. Contemporary artists often investigate the limits and possibilities of the media they use and experiment with the crossing, upgrading and mutilation of media. Others explicitly explore the unknown intermedial space between existing media, searching for the hybrid beings that occupy these in-betweens. This issue of Theater Topics explores the theme of mutating and adapting media in its relation with theatre and performance. Bringing together international scholars and artists, this book provides a comprehensive overview of the subject. Throughout, Bastard or Playmate? is responsive to the cross-disciplinary use of key concepts such as remediation, digitization, interactivity, corporeality, liveness, surveillance, spectacle, performativity and theatricality. The book guides readers new to the area of intermediality, as well as experienced researchers into one of the most dynamic fields of scholarship. Bastard or Playmate? Adapting Theatre, Mutating Media and the Contemporary Performing Arts is the fifth issue of the series Theater Topics. This series contains publications about research in and about theatre, each issue giving a comprehensive overview of research concerning a specific topic. This issue contains contributions by Katia Arfara, Edwin Carels, Jeroen Coppens, Nancy Delhalle, Tom Engels, Christophe Van Gerrewey, Eva Heisler, Evelien Jonckheere, Sarah Kenderdine and Jeffrey Shaw, Elise Morrison, Marco Pustianaz, Frederik Le Roy, Anna Teresa Scheer, Klaas Tindemans, and Nele Wynants.

HUMANS SHALL BE FREE compares how the gods peck at humans as they scramble for human souls with how men trample upon women as women compete for men’s attention : a physical model evincing spirituality in action. The main characters, Rose and Rhahaab, in spite of their beauty suffer at the hands of men and are victims of prejudice towards women – an instantiation of the subjection of humanity to cosmic forcesby men treading on and crushing women. Rose, a sixteen-year-old of uncommon beauty, turns out to be, as fate would have it, the seventh wife of a rich old man. Frustrated and unhappy with her life as she faces sexual starvation and strife, she turns to infidelity, suffers blackmail and ends up divorced. At this point, she resorts to paying men back in their own coins. Another pawn of fate, Rhahaab, as is her portion becomes the mother of a child without a father. She faces the problems of Paternity fraud, single motherhood, and litigations – all to make known the deeds (pre-arrangement), and evince the manipulations of the spirit-kind. Down the line, it dawns on Rose and Rhahaab that, like the inevitability of death, their exploitation by men is their fate, that women are made for men, they desire men and the protection that comes from serving a husband as testimony witnessing humans’ need for protection that stems from serving God. Nnamso Okon Ekpenyong is an author of Nigerian origins. He is a a family physician and has studied and trained at the university of Ibadan. He is a father and a husband. He is also the Director of clinical services at Golden Care Hospital, Lagos, Nigeria. His previous work is ‘Women shall be free’.

Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally human domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans be they technology, objects, animals, or other forms of being works on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.

Om René I (1409-1480), titulær konge af Neapel, hertug af Lorraine, konge af Sicilien, Katalonien m.v.

The Playmates of Harvest View is an absorbing story of deception, romance, forbidden desires, murder, and greed. In a small, secluded close-knit community in the state of Missouri, three sisters—Rebecca, Neaverna, and Samantha Palermo—like most, enjoyed the security and tranquility, until that late afternoon in June. Their peaceful lives were splintered when Rebecca went missing, and later found raped and murdered. Her friends and male playmates, Thaddeus Kennedy, Jeremy Browriskyzcoff-Mancina, Joel Earl Baptista, and Joseph Mancina, vowed to avenge her death in later years, at any cost. The suspects, Peter Cruzada and his friends, Timothy Monacelli, Sampson Durgard, and Travis Harvey, were the teenage sons of super rich and powerful parents, who lived the lives of luxury in the suburbs. They were the elites of society and deemed the pillars of their community. At an early age, the little band of boys' child play turned into something far greater than anything one could've ever imagined. Their cruel behaviors landed them in juvenile detention facilities. This was just the beginning of a life that placed the group of boys on the wrong side of the law. In later years, a rash of murders and heavy drug trafficking throughout the United States, Canada, South and Central America, and the Caribbean islands came to the attention of the United States government. Their investigation of these crime sprees led them to the tight closed doors of Peter, and his gang. The gang had grown into a well-organized drug cartel. The world was their playground, and they had become the untouchables. The Central Intelligence Agency Special Task Force was formed, and Thaddeus was the CIA agent who was appointed to oversee the operation. His job was to apprehend Peter and his gang, by any means necessary. He recruited his friends, who were also his childhood playmates, to assist him in apprehending the gang. They never thought that their innocent child play of crooks and robbers would manifest into real-life drama. The relentless manhunt led them to the other side of the world, and back again. Things intensified when they learned that their former classmate, Karen Shaw, was part of the gang. She was dubbed the Gutsy Missouri Bad Girl. Fearless and bold beyond the meaning of the word, she craved bloodshed, which was evidenced in the string of murder victims that she left in every path that she chose to travel. Already faced with unimaginable danger, even death, the Central Intelligence Agency Special Task Force discovered that Peter and his gang had joined forces with a few dirty CIA agents. Driven by greed and the desire to control the underground world, the gang clashed with the mighty playmates of Harvest View. In a bloody showdown in Las Vegas, Nevada, their reign of terror came to an end. Through the years, dating all the way back to their childhood, the playmates of Harvest View's relationships with the sisters of the murdered girl progressed to matrimony, and a lifestyle of class and distinction. Easily said, but not so easily done. This superbly crafted novel has near-perfect balance of action and will attract readers from multiple genres. It's filled with vivid characters whom you would fall in love with, and some you would love to hate. The dramatic actions of these characters pull the readers into incredible sequences of jaw-dropping, spellbinding, and page-turning suspense.