Routledge Dictionary of Performance and Contemporary Theatre

<p><em>The Routledge Dictionary of Contemporary Theatre and Performance </em>provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years. </p><p></p><p>Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic. </p><p></p><p>What we think of as 'performance' and 'drama' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis's <em>Dictionary </em>provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without. </p><p></p> <p>ACTIVISM </p><p></p><p>AERIAL ART </p><p></p><p>AFFECT</p><p></p><p>APPEARANCE AND DISAPPEARANCE</p><p></p><p>APPROPRIATION</p><p></p><p>ARTISTIC COLLECTIVE</p><p></p><p>ART BRUT</p><p></p><p>ASSEMBLAGE</p><p></p><p>ATMOSPHERE</p><p></p><p>AURA</p><p></p><p>AUTHENTICITY</p><p></p><p>AUTHOR</p><p></p><p>AUTOBIOGRAPHY</p><p></p><p>AUTOFICTION</p><p></p><p>AUTOREFLEXIVITY</p><p></p><p>AUTOTHEATRE</p><p></p><p>AVANT-GARDE</p><p></p><p>AWARENESS</p><p></p><p>BIZARRE</p><p></p><p>BODY AND CORPOREALITY </p><p></p><p>BODY ART</p><p></p><p>CARESS</p><p></p><p>CHOREOGRAPHY AND MISE EN SCÈNE</p><p></p><p>COMMUNITY</p><p></p><p>CONTACT IMPROVISATION</p><p></p><p>CONTEMPORARY</p><p></p><p>CREOLIZATION</p><p></p><p>CULTURAL PERFORMANCE</p><p></p><p>CURATOR</p><p></p><p>CUT UP</p><p></p><p>CYBORG</p><p></p><p>DECENTRING</p><p></p><p>DECONSTRUCTION</p><p></p><p>DÉTOURNEMENT</p><p></p><p>DIFFÉRANCE</p><p></p><p>DISFIGURATION</p><p></p><p>DISPOSITION </p><p></p><p>ECCENTRICITY</p><p></p><p>EFFECT PRODUCED</p><p></p><p>EKPHRASIS</p><p></p><p>EMBODIMENT</p><p></p><p>EMPATHY</p><p></p><p>ENDING</p><p></p><p>ENTERTAINMENT</p><p></p><p>ETHICS</p><p></p><p>ETHNIC THEATRE</p><p></p><p>EXCESS</p><p></p><p>EXOTICISM</p><p></p><p>FESTIVALISATION</p><p></p><p>FIGURE</p><p></p><p>FILM PERFORMANCE</p><p></p><p>FLASHMOB</p><p></p><p>FLOWER</p><p></p><p>FOLD</p><p></p><p>FREAK PERFORMANCE</p><p></p><p>GENETICS</p><p></p><p>GLOBALIZATION</p><p></p><p>GLOCALIZATION</p><p></p><p>HABITUS</p><p></p><p>HAPTIC</p><p></p><p>HEIGHTENING/INTENSIFICATION</p><p></p><p>HYBRIDITY</p><p></p><p>IDENTITY</p><p></p><p>IMMERSION THEATRE</p><p></p><p>INDETERMINACY</p><p></p><p>INSTALLATION</p><p></p><p>INTERACTIVITY</p><p></p><p>INTERARTISTIC</p><p></p><p>INTERCULTURAL THEATRE</p><p></p><p>INTERPELLATION</p><p></p><p>INTERSUBJECTIVITY</p><p></p><p>INTERTEXTUALITY</p><p></p><p>INTERVENTION</p><p></p><p>INTIMACY</p><p></p><p>IN-YER-FACE THEATRE</p><p></p><p>KAIROS</p><p></p><p>KINAESTHESIA</p><p></p><p>LANDSCAPE</p><p></p><p>LANGUAGE BODY</p><p></p><p>LAUGH AND SMILE</p><p></p><p>LECTURE-PERFORMANCE </p><p></p><p>LIFE STORY</p><p></p><p>LIMINALITY</p><p></p><p>LIVE ART</p><p></p><p>LIVE BROADCASTING OF PERFORMANCE</p><p></p><p>LIVE PERFORMANCE</p><p></p><p>MA</p><p></p><p>MAGIC</p><p></p><p>MAINSTREAM</p><p></p><p>MATERIALITY</p><p></p><p>MEDIALITY AND INTERMEDIALITY</p><p></p><p>MEDIATION</p><p></p><p>MINORITY</p><p></p><p>MIXED-MEANS PERFORMANCES</p><p></p><p>MODERNIZATION</p><p></p><p>MOVEMENT</p><p></p><p>MULTICULTURAL</p><p></p><p>MULTILINGUAL THEATRE</p><p></p><p>MUSICALIZATION</p><p></p><p>NARRACTOR</p><p></p><p>NEO-DRAMATIC</p><p></p><p>NEW DRAMATURGY</p><p></p><p>NEW SITES</p><p></p><p>ONE-TO-ONE PERFORMANCE</p><p></p><p>PARTICIPATION</p><p></p><p>PATHETIC/PATHIC</p><p></p><p>PERFORMANCE</p><p></p><p>PERFORMANCE STUDIES</p><p></p><p>PERFORMATIVE THEATRE</p><p></p><p>PERFORMATIVE WRITING </p><p></p><p>PERFORMATIVITY</p><p></p><p>PROMENADE PERFORMANCE</p><p></p><p>PHILOSOPHY AND NEW THEATRE</p><p></p><p>POETRY AND THEATRE</p><p></p><p>POLITICS AND THEATRE</p><p></p><p>POPULAR</p><p></p><p>POSTCOLONIAL</p><p></p><p>POSTDRAMATIC</p><p></p><p>POSTMODERN THEATRE</p><p></p><p>POST-PERFORMANCE CONVERSATION</p><p></p><p>PRACTICE AS RESEARCH</p><p></p><p>PREGNANT MOMENT</p><p></p><p>PRESENTATION/REPRESENTATION</p><p></p><p>PROCESS</p><p></p><p>PROGRAMMING</p><p></p><p>PROPRIOCEPTION</p><p></p><p>PROXIMISATION</p><p></p><p>RECONSTRUCTION</p><p></p><p>RECORDING </p><p></p><p>RECYCLING</p><p></p><p>REMEDIATION</p><p></p><p>RHETORICS</p><p></p><p>RISK</p><p></p><p>SATORI</p><p></p><p>S</p>