The papers of the present volume investigate the potential of the metaphor of life as theater for literary, philosophical, juridical and epistemological discourses from the Middle Ages through modernity, and focusing on traditions as manifold as French, Spanish, Italian, German, Russian and Latin-American.

Theatrical Design: An Introduction is a guide for designers, creatives, and artists to create a design idea for a project and then audio/visually interpret and communicate that idea. Emphasizing story analysis, creation, and interpretation specifically for designers and artists, the narrative describes a method to release meaning and design inspiration from story. After interpretation, the artistic elements and principles of design - the skills necessary to create the design - are laid out in clear terms. Concepts are illustrated with examples from theatre, film, art, architecture, and fashion that explore professional and historic use of conceptualization and metaphor. Theatrical Design: An Introduction imparts the tools all designers, in all pursuits, need to innovate off the page. A textbook suitable for Art, Architecture, Exhibitions, Interior Spaces, Culinary Presentation, Design, Film, and Theatre university courses, general readers and hobbyists will also find the methodology can be applied to any creative pursuits.

"[Wilshire] establishes a phenomenology of theatre, a theory of enactment, and a theory of appearance, none of which American theatre... has ever had." —Performing Arts Journal "... Wilshire makes unique contributions to understanding major aspects of the human condition in its necessary search for selfhood." —Process Studies "It is one of the American classics." —Human Studies

As the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study of musicality in the theatre, David Roesner offers a revised view of the nature of the relationship. The new perspective results from two shifts in focus: on the one hand, Roesner concentrates in particular on theatre-making - that is the creation processes of theatre - and on the other, he traces a notion of ‘musicality’ in the historical and contemporary discourses as driver of theatrical innovation and aesthetic dispositif, focusing on musical qualities, metaphors and principles derived from a wide range of genres. Roesner looks in particular at the ways in which those who attempted to experiment with, advance or even revolutionize theatre often sought to use and integrate a sense of musicality in training and directing processes and in performances. His study reveals both the continuous changes in the understanding of music as model, method and metaphor for the theatre and how different notions of music had a vital impact on theatrical innovation in the past 150 years. Musicality thus becomes a complementary concept to theatricality, helping to highlight what is germane to an art form as well as to explain its traction in other art forms and areas of life. The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed practitioners such as Joe Chaikin, Thomas Bernhard, Elfriede Jelinek, Michael Thalheimer and Karin Beier.

The early settlers in America had a special relationship to the theater. Though largely without a theater of their own, they developed an ideology of theater that expressed their sense of history, as well as their version of life in the New World. Theater Enough provides an innovative analysis of early American culture by examining the rhetorical shaping of the experience of settlement in the new land through the metaphor of theater. The rhetoric, or discourse, of early American theater emerged out of the figures of speech that permeated the colonists' lives and literary productions. Jeffrey H. Richards examines a variety of texts--histories, diaries, letters, journals, poems, sermons, political tracts, trial transcripts, orations, and plays--and looks at the writings of such authors as John Winthrop and Mercy Otis Warren. Richards places the American usage of theatrum mundi--the world depicted as a stage--in the context of classical and Renaissance traditions, but shows how the trope functions in American rhetoric as a register for religious, political, and historical attitudes.

What is artistic resonance and how can it be linked to one's life and one's art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word 'resonance' comes from the Latin meaning to 're-sound' or 'sound together'. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable. For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart's own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections, this is a book that will be of interest to any theatre artist and anyone who reflects on the power of the arts, of theatre-making and what it means to be engaged in the artistic process.

Anne Bogart is an award-winning theatre maker, and a best-selling writer of books about theatre, art, and cultural politics. In this her latest collection of essays she explores the story-telling impulse, and asks how she, as a ‘product of postmodernism’, can reconnect to the primal act of making meaning and telling stories. She also asks how theatre practitioners can think of themselves not as stagers of plays but ‘orchestrators of social interactions’ and participants in an on-going dialogue about the future. We dream. And then occasionally we attempt to share our dreams with others. In recounting our dreams we try to construct a narrative... We also make stories out of our daytime existence. The human brain is a narrative creating machine that takes whatever happens and imposes chronology, meaning, cause and effect... We choose. We can choose to relate to our circumstances with bitterness or with openness. The stories that we tell determine nothing less than personal destiny. (From the introduction) This compelling new book is characteristically made up of chapters with one-word titles: Spaciousness, Narrative, Heat, Limits, Error, Politics, Arrest, Empathy, Opposition, Collaboration and Sustenance. In addition to dipping into neuroscience, performance theory and sociology, Bogart also recounts vivid stories from her own life. But as neuroscience indicates, the event of remembering what happened is in fact the creation of something new.