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Author:   Dr James Reynolds (Formerly Kingston University London, UK) ,  Prof. Enoch Brater (University of Michigan, USA) ,  Mark Taylor-Batty (University of Leeds, UK)
Publisher:   Bloomsbury Publishing PLC
Imprint:   Methuen Drama
Weight:   0.440kg
ISBN:  

9781474276092

ISBN 10:   1474276091
Pages:   256
Publication Date:   07 February 2019
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

Acknowledgements Introduction: Genesis Ex Machina in brief Revolutions in theatrical space Architectural aesthetics The road to Ex Machina Learning curves Foundations: la Caserne and the patenteux Part One: Foundations and Stepping Stones (1994–1999) Introduction Chapter One: Lepagean Aesthetics Discovering Japan’s geo-poetry: Seven Streams of the River Ota Turning the power of space into theatre Contradiction as aesthetic key Flagships Counterpoint: A Dream Play Chapter Two: Making Concrete Narratives Ground work: The Geometry of Miracles Concrete poetry Making Narrative Concrete: Elsinore Scenographic acting and the body politic Concrete narratives - sublime effects Critical condition Form as cultural expression Chapter Three: Critical Themes Evolution Turning point: the importance of Celestine Class, contradiction and the antihero The Damnation of Faust in Japan Process, collaboration, authorship and directing Cultural difference, cultural specificity Part Two: Choosing All Directions (2000–2008) Introduction Chapter Four: Upgrades Zulu Time: Q for Québec Upgrading the Trilogy The importance of Métissages Making The Far Side of the Moon Dramatic devices and the architecture of convergence Chapter Five: Québec Stories Art and politics: La Casa Azul and The Busker’s Opera Dance with three hands: Eonnagata Narrative terms: the story of the story of the storyteller KÀ: entertainment architecture Writing the myth Reading the circus Chapter Six: New Ways The Image Mill: all roads lead to home Opera on tour: 1984 and The Rake’s Progress Ex Machina at the Metropolitan Opera The Blue Dragon: character, culture and concrete narrative Lipsynch: staging the scream Process in process Part Three: Starting Points (2008–2018) Introduction Chapter Seven: Critical Relationships The Nightingale and Other Short Fables Totem: evolving through the gift shop Collaboration: Ex Machina and the Metropolitan Opera Wagner, architectural aesthetics, and Der Ring des Nibelungen Reviewing the Ring The Tempest and L’Amour de Loin Paying for art Chapter Eight: Brave New Worlds Virtual reality: The Library at Night The Tempest: collaborating the nation Hearts design Writing Hearts Concrete Hearts Writing Bet on red Chapter Nine: Beginning Frame by Frame Upgrades Making 887 Taking the narrative turn Le Diamant Coda Notes Bibliography Index

Reviews

Robert Lepage is one of theatre's greatest living artists. This book shows why. Engaging comprehensively and intimately with Lepage's huge range of work, it reveals his extraordinary theatrical inventiveness and deep political commitment. -- Jen Harvie, Queen Mary University of London In this provocative volume James Reynolds offers new ways of understanding Robert Lepage's approach to theatre-making, arguing persuasively that this approach must be understood in spatial and architectural terms. Making skillful use of interview material and behind-the-scenes access to several Ex Machina productions and co-productions, this book offers Lepage studies a much-needed kick in the pants. -- Karen Fricker, Brock University, Canada

Author Information

Dr James Reynolds is a Senior Lecturer in Drama at Kingston University, London, UK. His Ph.D. research at Queen Mary, University of London investigated performance practices in Robert Lepage's devised theatre. His publications include Howard Barker’s Theatre: Wrestling with Catastrophe (Bloomsbury Methuen Drama, 2015) co-edited with Andy W. Smith, and Addiction and Performance (2014), co-edited with Zoe Zontou.

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