The Edinburgh Companion to Modernism in Contemporary Theatre

Instead of treating modernism principally as a thing of the past, this volume highlights modernism as an impulse that can be carried forward to the present, re-embodied and re-encountered in theatrical performance. It demonstrates how modernist impulses spark contemporary theatre in electric and dynamic ways, continuing the modernist imperative to 'make it new' and to engage meaningfully with the complicated situation of living in the contemporary world. Through a diverse set of contributions from scholars and theatre practitioners, this book examines the legacy of modernism on the world stage in acts of remembrance, restaging, transmission and slippage. It investigates both well-known and less familiar aspects of modernist theatre history, engaging topics such as the revival of the first Black American musical, feminist and disability-led reinterpretations of canonical modernist plays, the use of modernist-inspired performance practice in contemporary university arts education and the continually contested meaning and importance of the avant-garde.

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Contents

Frontmatter
pp i-iv
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Contents
pp v-vii
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List of Illustrations
pp viii-xi
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Acknowledgements
pp xii-xiii
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Dedication
pp xiv-xiv
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(anti-)capitalsism: a manifesto
pp xv-xvi
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Introduction: Sensing Modernism in Theatre
pp 1-16
- By Claire Warden, Nicholas Johnson, Adrian Curtin, Naomi Paxton
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Part I - Remembrance and Reconfiguration
pp 17-18
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1 - Introduction: Playing with the Past, Attending to the ‘Lost’
pp 19-22
- By Claire Warden
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2 - ‘The Right to Revolution’: Ernst Toller’s Legacy on the British Stage
pp 23-38
- By Claire Warden
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3 - Legacy, Embodiment, Activism: Pageant of Agitating Women
pp 39-44
- By Monica Prince, Anna Andes
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4 - Modernist Nostalgia and Contemporary Irish Dance
pp 45-61
- By Christopher Collins
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5 - Reaching Out in Both Directions: Suffrage Theatre in the Twenty-First Century
pp 62-80
- By Naomi Paxton
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6 - Shuffle Along (1921) and the Challenges of Black Modernist Performance on the Contemporary Stage
pp 81-97
- By Carrie J. Preston
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7 - ‘Who Was This Woman?’ A Conversation about Remembering Modernist Figures through the Body
pp 98-103
- By Jessica Walker, Claire Warden
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8 - An Ode to Black Women Modernists
pp 104-108
- By Adjoa Osei
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Part II - Restaging Drama
pp 109-110
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9 - Introduction: Acts of Translation, Reimagining and Creative Destruction
pp 111-117
- By Adrian Curtin
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10 - Restaging Futurism and Joan Brossa: Provocation or Observation with a Glass of Champagne or a Cup of Tea
pp 118-139
- By John London
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11 - Marguerite Duras’s Theatre and the Boundaries of Modernism
pp 140-158
- By Lib Taylor
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12 - The (Dead) Centre Cannot Hold: Ontological Insecurity in Chekhov’s First Play
pp 159-176
- By Adrian Curtin
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13 - En-Staging Nora: Unruly Modernisms in Theodoros Terzopoulos’s Nora
pp 177-197
- By Konstantinos Thomaidis, Maria Vogiatzi
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14 - After and Against Strindberg: A Conversation about Missing Julie
pp 198-205
- By Kaite O’Reilly, Adrian Curtin
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15 - ‘A Voice She Did Not Recognise At First’: Touretteshero’s Neurodiverse Presentation of Samuel Beckett’s Not I
pp 206-209
- By Matthew Pountney
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16 - Pushing the Boundaries: Staging Western Modern(ist) Drama in Contemporary China
pp 210-230
- By Shouhua Qi
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Part III - Transmission
pp 231-232
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17 - Introduction: (Im)material Legacies, Living Traditions
pp 233-242
- By Claire Warden, Adrian Curtin, Nicholas Johnson, Naomi Paxton
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18 - The Theatre of Tadashi Suzuki at the Crossroads of Modernism
pp 243-264
- By Burç İdem Dinçel
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19 - Stanislavski on Skype
pp 265-269
- By Mark Westbrook
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20 - Raising Her Voice: Presenting the Lives and Writings of Virginia Woolf and Dame Ethel Smyth for a Contemporary Theatre Audience
pp 270-273
- By Lucy Stevens
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