Georges Banu* Résumé: La scène se fixe parfois sur des motifs qui sont repris un certain temps pour être ensuite abandonnés : ils s’apparentent à ce que Roland Barthes appelait les « mythologies » de la société, mais cette fois-ci appliquées au théâtre. Il
Evi Prousali* Abstract: Various theoretical approaches have been proposed in order to verify the way by which the spectator perceives a performance. Nowadays, neurophysiology along with cognitive neuroscience offer new tools which enable performance theorists to embark on research into the
Mechele Leon* Abstract: Focusing on the author’s solo theatre piece Bladder Interrupted: A Self-Story About Cancer, the article examines cancer performance as a ceremony of recovery for the artist facing catastrophic disease. If narrative psychology teaches that the self is constructed
Alex Mermikides* Abstract: This paper explores the capacity of theatre to complicate, multiply and extend the dynamic of looking and caring, as this is reflected in two recent productions, devised by the author. Bloodlines (2012-16) follows a patient undergoing treatment for life-threatening blood
Amy Chan* and Natalie Cheung** Abstract: The concept of postdramatic theatre has raised discussions, inspired creative explorations and led to research in theatre in recent years. Through the review and reflections on two original medicine-themed site-specific performances created by the authors,
Swati Simha* Abstract: Theatre has often dealt with the question of Modernity: What constitutes modern theatre? How should one practice “The Modern” in theatre? Should the post-colonial writer get back to their “Traditional” roots? In this paper, I will look at
Marcia Zanelatto* Translated by Marcela Miller Abstract: This article discusses the creative process of the play The Birth Machine, one of the seven plays for The Birth Project, Royal Exchange Theatre, Manchester, UK. Through depicting five generations of chilbirth in my
Sunday Edum* Abstract: The therapeutic role of theatre and drama has remained useful to health experts as a preventive measure and for patients as a fast recovery antidote. This paper examines the medical dimension of the play Cauldron of Death
Tracy E. Bersley* Abstract: This article explores a radical new approach to actor training through the lens of neurological body maps—specifically how touch receptors dominate and shape what is mapped in the brain. Putting touch at the center of character exploration
Elisabeth Hostetter* and Melanie Stewart** Abstract: The US Medical Licensing Examination requires future doctors to examine actors in simulated, improvisational scenarios to test students’ ability to empathetically collect medical histories, perform basic examinations and diagnose an illness. To better prepare for this