This book acts as a forum for investigating how African Theatre works and what its place is in this postmodern society. It provides the subject with a degree of detail unmatched in previous books, reflecting a new approach to the study of the performing arts in this region.

The Gateway Theatre Company between 1953 and 1965 was a major force in developing modern Scottish theatre, moving in 1965 to become the Royal Lyceum Theatre Company. The Gateway Theatre and its company were therefore highly influential in the development of theatre in Scotland. They encouraged new writing and young performers to establish a vibrant contemporary tradition of Scottish theatre in a manner complementary to, and at times more important than, that of its sister theatre, the Citizens in Glasgow. Both theatre building and company are regarded with enormous affection and respect.

Addressing issues of feminism and representation, this book provides a fresh and thorough consideration of the status and potential of Women's theatre today. The authors explore a range of different approaches to the languages of theatre, including translation and interpretation of the art form, along with languages, performance work, body language and gesture.

Live performance continues to be created every time it is performed. This book explores the dynamic relationship between creative process, presentation and spectator response to provide students and scholars in Drama with new insights on performance from poetry to pantomime.

The first comparative study on the history and practice of popular theatre in Britain and overseas. The fragmentation of social groups in the face of the global mass media has begun to threaten the survival of popular theatre companies. This study traces the development of various types of community theatre, from the '70s to the present day.

New Directions in Drama and Performance Volume 1. This new series of cutting edge critical essays and articles in issues concerning Drama and Performance opens with Volume I, which will focus on issues of Interventionist Drama and related examples of Drama as Community.

Always the focal point in modern times for momentous political, social and cultural upheaval, Berlin has continued, since the fall of the Wall in 1989, to be a city in transition. As the new capital of a reunified Germany it has embarked on a journey of rapid reconfiguration, involving issues of memory, nationhood and ownership.

Numerous plays have professionals as major characters, but academia has ignored them to a large extent. The Professions in Contemporary British Drama fills this extraordinary gap with a series of nine papers discussing the educational professions (Bennett, Mangan), the medical profession (Shields, Buse, ), priests (Kurdi), archaeologists (Forsyth) and artists (Di Benedetto, Meyer-Dinkgräfe, Edwards). The book is of relevance to theatre academics and students at both undergraduate and postgraduate levels. It is based on a conference organised in conjunction with the Centre for English Studies, School of Advanced Studies, University of London, 6 March 1998.

For the last ten to fifteen years, many disciplines of scholarship have been involved in the study of consciousness, often on an interdisciplinary basis. They include philosophy, neurosciences, psychology, physics and biology, and approaches focusing on human experience. The Centre for Consciousness Studies at the University of Arizona in Tucson spearheaded this development with its bi-annual conferences since 1994, and a wide range of associations, journals and book publications bear witness to its importance. Over the same number of years, scholarly interest in the relationship of consciousness to theatre has equally grown.

While there are a number of books on specific aspects of European theatre during this period, this book goes further by relating theatre history to the development of the European Community as a whole. The volume covers 1957-1973, 1973-1986 and 1986-1995. The first two parts pay particular attention to those aspects of theatre that sought to shape, define, challenge of celebrate the ideals of a united Europe. The third part considers the implications for theatre of events before and after the fall of the Berlin Wall.

From role-plays with street gangs in the USA to Beckett in Brixton; from opera productions with sex offenders to psychodrama with psychopaths, the book will discuss, analyse and reflect on theoretical notions and practical applications of theatre for and with the incarcerated. Theatre in Prison is a collection of thirteen international essays exploring the rich diversity of innovative drama works in prisons. The book includes an introduction that will present a contextualisation of the prison theatre field. Thereafter, leading practitioners and academics will explore key aspects of practice &endash; problemitising, theorising and describing specific approaches to working with offenders. The book also includes extracts from prison plays, poetry and prisoners writings that offer illustrations and insights into the experience of prison life.

Women in European Theatre is both a study of women as writers and performers in Britain, France, Germany and Italy, and a study of conditions in the theatre as they affect women from the century to the 1970s. It also draws attention to a number of plays by women which have never appeared in print and some which have only just been republished after centuries of neglect.