Performing Magic on the Western Stage examines magic as a performing art and as a meaningful social practice, linking magic to cultural arenas such as religion, finance, gender, and nationality and profiling magicians from Robert-Houdin to Pen& Teller.

Conjuring Science explores the history of magic shows and scientific entertainment. It follows the frictions and connections of magic and science as they occurred in the world of popular entertainment in France from the mid-eighteenth to the early twentieth century. It situates conjurers within the broader culture of science and argues that stage magic formed an important popular conduit for science and scientific enthusiasm during this period. From the scientific recreations of the fairs to the grand illusions of the theatre stage and the development of early cinema, conjurers used and were inspired by scientific and technological innovations to create illusions, provoke a sense of wonder, and often even instruct their audience. In their hands, science took on many meanings and served different purposes: it was a set of pleasant facts and recreational demonstrations upon which to draw; it was the knowledge presented in various scientific lectures accompanied by optical projections at magic shows; it was the techniques necessary to create illusions and effects on stage and later on at the cinema; and it was a way to separate conjuring from the deceit of mediums, mystical showmen and quacks in order to gain a better standing within an increasingly scientifically-minded society.

This volume explores illusionism as a much larger phenomenon than optical illusion, magic shows, or special effects, as a vital part of how we perceive, process, and shape the world in which we live. Considering different cultural practices characterized by illusionism, this book suggests a new approach to illusion via media theory. Each of the chapters analyses a specific kind of illusionistic practice and the concept of illusionism it entails in a given context, including philosophy, perception and cognitive theory, performance magic, occultism, optics, physiology, early cinema, cartomancy, spiritualism, architecture, shamanic rituals, and theoretical physics, to show the diversity of shapes that illusionism and illusions can take. The book provides detailed analyses of illusions within performance and ritual magic, philosophy, art history and psychology as well as a first approach to the study of illusions outside of these established fields. It aims to find ways of identifying and analysing a wider range of illusions in the humanities. This multidisciplinary and comprehensive volume will appeal to scholars and students with an interest in media and culture, theatre and performance, philosophy, sociology, politics and religion. This publication was supported by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie of the Bauhaus-Universität Weimar with funds from the German Federal Ministry of Education and Research. IKKM Books Volume 47 An overview of the whole series can be found at www.ikkm-weimar.de/schriften Chapter 5 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-Share Alike 4.0 license https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003188278-8/vanishing-lady-railway-illusions-movement-1-katharina-rein?context=ubx&refId=fe124e6e-8290-43e9-9d48-753bad162c50 Chapter 9 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003188278-13/talking-rocks-illusory-sounds-projections-otherworld-julia-shpinitskaya-riitta-rainio?context=ubx&refId=3aa829a8-8c0b-4103-870a-6fe5a4393e71

No play in the history of the American Stage has been as ubiquitous and as widely viewed as Uncle Tom's Cabin . This book traces the major dramatizations of Stowe's classic from its inception in 1852 through modern versions on film. Frick introduce the reader to the artists who created the plays and productions that created theatre history.

"How Indian magic descended from the realm of the gods to become a popular amusement for the masses around the globe"--Provided by publisher.

In Shanghai in the early twentieth century, a hybrid theatrical form, wenmingxi, emerged that was based on Western spoken theatre, classical Chinese theatre, and a Japanese hybrid form known as shinpa. This book places it in the context of its hybridized literary and performance elements, giving it a definitive place in modern Chinese theatre.

Spanish Golden Age drama has resurfaced in recent years, however scholarly analysis has not kept pace with its popularity. This book problematizes and analyzes the approaches to staging reconstruction taken over the past few decades, including historical, semiotic, anthropological, cultural, structural, cognitive and phenomenological methods.