Witness Onstage is a detailed study of the remarkable growth of documentary theatre forms in Russian since the early 2000s. It draws on the author’s work as a performer, producer, and researcher of documentary theatre both in Russia and internationally to provide new perspective on the mechanics of theatre as a venue for civic engagement.

The act of bearing witness can reveal much, but what about the figure of the witness itself? As contemporary culture is increasingly dominated by surveillance, the witness--whether artist, historian, scientist, government official, or ordinary citizen--has become empowered in realms from art to politics. In Seeing Witness, Jane Blocker challenges the implicit authority of witnessing through the examination of a series of contemporary artworks, all of which make the act of witnessing visible, open to inspection and critique.

The Wound and the Witness offers a historically grounded approach to an urgent contemporary problem: the persistence of torture in Western culture. Drawing upon ancient Greek and Roman texts, as well as contemporary media events, Jennifer R. Ballengee explores the spectacle of torture as a persuasive device. She suggests that both torture and the witnessing of torture are forms of polemical writing, carried out on the body. The analysis combines close reading and philological study with a materialist cultural approach to ancient Greek theater, early Christian accounts of martyrdom, and recent political controversies over the interrogation tactics in the U.S. government-run Guantánamo and Abu Ghraib prisons. By incorporating key classical texts by Sophocles, Achilles Tatius, and Prudentius, the author demonstrates how deeply the ancient literature resonates with contemporary issues of the body, rhetoric, and the spectacle of pain.

What happens when cultural memory becomes a commodity? Who owns the memory? In The Memory Marketplace, Emilie Pine explores how memory is performed both in Ireland and abroad by considering the significant body of contemporary Irish theatre that contends with its own culture and history. Analyzing examples from this realm of theatre, Pine focuses on the idea of witnesses, both as performers on stage and as members of the audience. Whose memories are observed in these transactions, and how and why do performances prioritize some memories over others? What does it mean to create, rehearse, perform, and purchase the theatricalization of memory? The Memory Marketplace shows this transaction to be particularly fraught in the theatricalization of traumatic moments of cultural upheaval, such as the child sexual abuse scandal in Ireland. In these performances, the role of empathy becomes key within the marketplace dynamic, and Pine argues that this empathy shapes the kinds of witnesses created. The complexities and nuances of this exchange—subject and witness, spectator and performer, consumer and commodified—provide a deeper understanding of the crucial role theatre plays in shaping public understanding of trauma, memory, and history.

Lagartijas Tiradas al Sol (Lizards Lounging in the Sun) is a Mexican theater company that performs what is known as theater of the real.By taking reality as its subject, this genre claims a special relationship to reality, truth, and authenticity. In A Shared Truth, Julie Ann Ward traces the development of this contemporary and cutting-edge collective’s unique aesthetic. Based on performances, play texts, videos, and interviews, this in-depth look at a single theatrical troupe argues that the company’s work represents a larger trend in which Latin American theater positions itself as a source of and repository for truth in the face of unreliable official narratives. A Shared Truth critically examines the work of an influential company whose collaborative methods and engagement with the real challenge the bounds of theater.

“For too long we have been encouraged to see culture as an affair of intellect, and reading as a solitary exercise. But the truth is different: literature and art are pathways of feeling, and our encounter with them is social, inscribing us in a larger community.... Through art we discover that we are not alone.” So writes the esteemed Brown University professor Arnold Weinstein in this brilliant, radical exploration of Western literature. In the tradition of Harold Bloom and Jacques Barzun, Weinstein guides us through great works of art, to reveal how literature constitutes nothing less than a feast for the heart. Our encounter with literature and art can be a unique form of human connection, an entry into the storehouse of feeling. Writing about works by Sophocles, Shakespeare, Dickens, Charlotte Brontë, Munch, Proust, O’Neill, Burroughs, DeLillo, Tony Kushner, Toni Morrison, and others, Weinstein explores how writers and artists give us a vision of what human life is really all about. Reading is an affair of the heart as well as of the mind, deepening our sense of the fundamental forces and emotions that govern our lives, including fear, pain, illness, loss, depression, death, and love. Provocative, beautifully written, essential, A Scream Goes Through the House traces the human cry that echoes in literature through the ages, demonstrating how intense feelings are heard and shared. With intellectual insight and emotional acumen, Weinstein reveals how the scream that resounds through the house of literature, history, the body, and the family shows us who we really are and joins us together in a vast and timeless community.

An essential guide for not only fostering genuine personal expression, but also the courage to share our most meaningful work with others—all without pretense or artifice. Author, filmmaker, educator, cultural commentator, and Variety Mentor of the Year recipient Craig Detweiler has taught thousands how to launch creative projects with intention, awareness, and confidence. As a result, his students have founded festivals, started companies and schools, written acclaimed graphic novels, and directed movies for Marvel. Now, at a time when generative AI can aggregate text and images in seconds, Detweiler shows why “honest creativity” is one of the core tenets that separates humans from machines. Readers will learn, not only how to prioritize ideas, but also how to develop their own method for producing cohesive, whole, and enduring works; escaping comfort zones; and cultivating a like-minded community that both motivates and challenges. This groundbreaking approach promises to help creators turn problems into possibilities by first honing their ability to innovate and then preparing them to handle the feedback—both positive and negative—that is inevitable when private work is displayed in the public sphere. For Detweiler, creating honestly is a way of honoring the gift of life, and his transcendent guide shows us how we can excel in an act that is, fundamentally, both uniquely human and magnificently divine.