Monographs and Edited Books
(2018) Shakespeare and Realism:
On the politics of style.
ed. with J. Miller. Fairleigh Dickensen.
(2016) Sentient Performativities of Embodiment:
Thinking alongside the Human.
eds. with L. Hunter, E. Krimmer. Lexington.
What does it mean to feel? Sentient Performativities of Embodiment considers both the social resonance and the political stakes of this question by concentrating the study of affect more closely upon the site of the inexorably mortal human body. By convening an impressive group of scholars whose research sites challenge simplistic distinctions between 'the aesthetic' and 'the real,' Hunter, Krimmer, and Lichtenfels have crafted an anthology that compels us to return our attention to the lived complexity of feeling as a material register of human experience. This beautifully curated book will expand critical conversations between affect studies and performance studies, restoring in our consideration of feeling the fleshy, corporeal timbre of the felt.
Patrick Anderson, University of California, San Diego
Sentient Performativities of Embodiment: Thinking alongside the Human is an immense effort; broad in scope and comprehensive in its attempt to foreground practice-based research in the Arts. This type of scholarship has been gaining ground within a number of prominent institutions and the authors should be congratulated for bringing the views of so many excellent artists/scholars together in one volume.
Henry Daniel, Simon Fraser University
(2013) Performance, Politics and Activism:
Scales of Production.
ed. with J. Rouse. Palgrave.
This collection of essays on politics, the performing arts, and various forms of activist performance uses the framework of performance studies to explore the engagements of political resistance, public practice and performance media. It places these engagements on various scales of performance production within local, national and transnational structures of neoliberal and liberal government and power. Performance has always been a way of articulating the conditions of contemporary society, and of pointing through the body of the performance to ways of defining, understanding and changing those conditions. Throughout these essays performance takes place in the environments of heightened everyday action, the aesthetic and cultural activity of the performing arts, and in the activist performance of political commitment. These trajectories in performance studies delineate the way people identify themselves and communicate with one another, both in attempts to change the structures of governance they experience, and vitally, whilst running subversively alongside those structures.
This collection of essays whose title points down well-trodden paths delivers so many fresh perspectives on what it means to make performance politically.
Michael Shane Boyle (2014) Performance, Politics and Activism edited by Peter Lichtenfels and John Rouse, Contemporary Theatre Review, 24:4, 520-521
(2009) Negotiating Shakespeare's Language in 'Romeo and Juliet': Reading Strategies from Criticism, Editing and the Theatre
with L. Hunter. Ashgate
Through exciting and unconventional approaches, including critical/historical, printing/publishing and performance studies, this study mines Shakespeare's Romeo and Juliet to produce new insights into the early modern family, the individual, and society in the context of early modern capitalism. Inspired by recent work in cultural materialism and the material book, it also foregrounds the ways in which the contexts and the text itself become available to the reader today.
This will become essential reading for students, teachers, scholars and all theatre professionals interested in Shakespeare's great romantic tragedy.
Jay L. Halio, University of Delaware USA
(2009) Romeo and Juliet (Scholarly Edition)
with L. Hunter. Ashgate.
An exemplary piece of contemporary textual scholarship... Here is perhaps the most careful and thorough account yet of the play's textual history, in a very wide sense.
Michael Caines, Times Literary Review
(2005) Shakespeare, Language and the Stage:
The Fifth Wall, Issues in Practice and Criticism.
eds with L. Hunter. The Arden Shakespeare.
Resulting from workshops at Shakespeare's Globe between leading critics, performance theorists and theatre practitioners such as Greg Doran of the RSC, Nicholas Hytner of the Royal National Theatre, Ann Thompson of the Arden Shakespeare and W.B. Worthen of the University of California, Berkeley, Shakespeare, Language and the Stage breaks down the invisible barrier between scholars and practitioner. Topics discussed include text and voice, playing and criticism, gesture, language and the body, gesture and audience and multilingualism and marginality. The book provides fresh ways of thinking about the impact of Shakespeare's language on an audience's understanding and interpretation of the action, and examines how a variety of performances engage with Shakespeare's text, verse and language. As such it is a unique and invaluable resource for students, scholars and theatre practitioners alike.
(2001) The Merchant of Venice
eds with R. Martin. The Applause Shakespeare Library
This new Applause editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Readers and students are faced with real theatrical choices in each speech as the editors point out the challenges and opportunities to the actor and director at each juncturė. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.
Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. In the same way that only actors and directors can bring Shakespeare to life on stage, actors and directors now bring Shakespeare truly to life on the page.
Series Editor Books
SERIES CO-EDITOR for Manchester University Press
Theatre: Theory – Practice – Performance
(Maria M. Delgado, Maggie Gale, Peter Lichtenfels, series editors)
Series Editor:
| 2015 | Directing scenes and senses: The thinking of Regie | Peter M. Boenisch |
| 2013 | The politics of Jean Genet’s late theatre: Spaces of revolution | Carl Lavery |
| 2012 | Not Magic but work: An ethnographic account of a rehearsal process | Gay McAuley |
| 2012 | Performance in a time of terror: Critical mimesis and the age of uncertainty | Jenny Hughes |
| 2012 | South African performance and archives of memory | Yvette Hutchinson |
| 2011 | Performing Presence: Between the live and the simulated | Gabriella Giannachi and Nick Kaye |
| 2010 | World stages, local audiences: Essays on performance, place and Politics | Peter Dickinson |
| 2009 | Making contemporary theatre: International rehearsal processes | eds. Jen Hervie and Andy Lavender |
| 2004 | Trans-global readings: Crossing theatrical boundaries | ed. Caridad Svich |
| 2002 | ‘Love me or kill me’: Sarah Kane and the theatre of extremes | Graham Saunders |
| 2002 | Negotiating cultures: Eugenio Barba and the intercultural debate | Ian Watson |
| 2002 | The Paris Jigsaw: Internationalism and the city’s stages | eds. David Bradby and Maria M Delgado |
| 2002 | Theatre in Crisis?: Performance manifestoes for a new century | eds. Maria M. Delgado and Caridad Svich |