Robert Lepage has imposed himself in the past three decades as a Wunderkind of contemporary theatre, with eagerly awaited and widely acclaimed productions at the most prestigious theatre festivals and venues around the world. Soon after his international breakthrough with The Dragon’s Trilogy (1984), Lepage’s work became an object of particular scrutiny for critics and scholars, and continues to be subject to media exposure, inspiring cultural critique, academic study and the admiration of audiences across the world. A recurrent fascination with the formal novelty of his theatrical approach imbues most, if not all, critical considerations. However, in spite of the wide interest provoked, little space has been devoted to the quintessential impact of his work on spectatorship, and, most importantly, to connecting the dots between his creative practice and its substantial impact on audiences. Intermediality and Spectatorship in the Theatre Work of Robert Lepage bridges this gap by exploring the notion that intermediality – observed both as a mise-en-scene strategy and a perceptual effect in performance – is situated at the core of the director’s approach. This approach is situated in direct relation to the evolving expectations and medial competencies of spectators, demonstrating an in-depth understanding of the ways in which different media can be engaged in the creative process in a holistic way in order to alter the regime of spectatorship, to enhance its creative and cognitive potential. Lepage’s work and theatre making process are analysed here from an interdisciplinary perspective that combines theatre, media and cultural studies, and which is applied to his solo shows, namely Vinci (1986), Needles and Opium (1991), Elsinore (1995), Far Side of the Moon (2000) and Project Andersen (2005). In bringing to the forefront interconnecting notions of intermediality and contemporary spectatorship, the book highlights the director’s preoccupation with an ongoing dialogue with audiences across the world, and their particular involvement in the development of one of the most innovative practices of the Western theatre landscape.

Robert Lepage/Ex Machina: Revolutions in Theatrical Space provides an ideal introduction to one of our most innovative companies – and a much-needed and timely reappraisal of Lepage's oeuvre. International, interdisciplinary and intercultural to the core, Ex Machina have negotiated some of the most complex creative and cultural challenges of our time. This book maps the story of that journey by analysing the full spectrum of their richly varied work. Through a comprehensive historiography of productions since 1994, Robert Lepage/Ex Machina offers a detailed picture of the relationship between director and company, while connecting Ex Machina to culturally specific features of Québec, and its theatre. This book reveals for the first time how overlooked aspects of creativity and culture shaped the company's early work, while installing a dynamic interplay between director and company that would spark a unique and ongoing evolution of praxis. Central to this re-evaluation of practice is the book's identification of an architectural aesthetic at the heart of Ex Machina's work, an aesthetic which provides its artistic and political centres of gravity. Moreover, this architectural aesthetic powers the emergence of concrete narrative as a new and distinctive mode of theatrical storytelling – uniting story and space, body and technology, content and form – and demanding that we discover the politics of these performances in the energetic gestures of theatre design, and space itself. Drawing on extensive interviews with Lepage, Ex Machina personnel and collaborative partners, Robert Lepage/Ex Machina calls upon us to revise both our creative and critical perceptions of this vital and distinctive practice.

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. Productions discussed include The Dragon’s Trilogy, Needles and Opium, and The Far Side of the Moon. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century.

This volume focuses on three artists who embrace media and technology as essential elements of their theatrical expression: Elizabeth LeCompte, Ping Chong, and Robert Lepage. Diverse in their aesthetic interests, they nevertheless share an approach to directing that includes technological media on stage as central to a rigorously crafted production concept. Technological elements live alongside and negotiate with the theatre's human players, disclosing, shaping, and even intruding on the dramas they enact. The essays in this volume explore how all three directors have provided decisive responses to a question that has dogged the theatre for at least the last century: what relationship can theatre, an art form grounded in live, ephemeral, expression, have to technology? The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

This book looks at the connection between contemporary theatre practices and cosmopolitanism, a philosophical condition of social behaviour based on our responsibility, respect, and healthy curiosity to the other. Advocating for cosmopolitanism has become a necessity in a world defined by global wars, mass migration, and rise of nationalism. Using empathy, affect, and telling personal stories of displacement through embodied encounter between the actor and their audience, performance arts can serve as a training ground for this social behavior. In the centre of this encounter is a new cosmopolitan: a person of divided origins and cultural heritage, someone who speaks many languages and claims different countries as their place of belonging. The book examines how European and North American theatres stage this divided subjectivity: both from within, the way we tell stories about ourselves to others, and from without, through the stories the others tell about us.

Theatricality and the Arts presents a series of investigations of the notion of 'theatricality'. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.

Ist Theater eine Kunst? Ein Medium? Eine Institution? Ein wenig von allem, ließe sich sagen. Es verfügt, gegenwärtig wie historisch, über einen Facettenreichtum wie kaum eine andere Kunst, Institution, wie kaum ein anderes Medium. Theater ist ein Verhandlungsspielraum: ein Ort und Raum des Spiels, der Gleichzeitiges mit Ungleichzeitigem konfrontiert, Gegenwärtiges mit Historischem, ästhetische Konvention und Subversion sowie Konflikte – subjektive, politische, globale – in den Raum stellt. Spätestens seit den Theatralitätsdebatten, den Studien zu Interkulturalität und Intermedialität und dem Aufkommen der Performance Studies in den 1990er und 2000er Jahren ist deutlich geworden, dass nicht nur Theater vielschichtig ist, sondern auch die Lesarten des Begriffs selbst. Diese Vielgesichtigkeit und Weite ihres Gegenstands hält die Theaterwissenschaft stets lebendig. Die Beiträge in Theater-Wissen quer denken beleuchten Facetten szenischer Künste und gewähren einen Einblick in Arbeitsfelder, die den theaterwissenschaftlichen Diskurs in den vergangenen drei Jahrzehnten mitbestimmt haben: Theater und Medien, Theater-Ökonomie, Theater und/als Institution, Theater-Praxis und -Probe, Theater und urbane Kulturen, transnationale Theatergeschichte sowie Theater als 'Interdisziplin'. Der vorliegende Band ist eine Festschrift für den Theaterwissenschaftler Christopher B. Balme. Die Autor*innen – allesamt Theaterwissenschaftler* innen und ehemalige Doktorand*innen und Habilitand*innen Balmes – sind in Forschung und Lehre sowie in theater-, kultur- und mediennahen Berufen tätig.

This study explores the ways in which playtexts have evolved in relation to the sociocultural and cognitive conditions of a mediatized age, and how they, in form and content, respond to this environment and open up new critical possibilities in text and performance. The study combines theatre and media theory through the innovative concept of 'mediatized dramaturgy' and offers conceptual reflections on the ways in which a playtext negotiates the new reality of contemporary culture. The book scrutinizes the form of playtexts and works through the exchange between text and performance by exploring contemporary works such as Simon Stephens's Pornography, Caryl Churchill's Love and Information, and David Greig's The Yes/No Plays, and their selected productions. Offering a pioneering intervention that expands discussions about the mediatization of theatre, and new playwriting, Mediatized Dramaturgyproposes areas for discussion that appeal to researchers, audiences and practitioners with an interest in the sub-field of media and performance, and British and North American drama and theatre. Media technologies and their socio-cultural repercussions have increasingly influenced theatre, particularly since the ubiquitous prevalence of digital technologies from the 1990s onwards. Consequently, new modes such as digital and intermedial theatre have come to populate and transform the theatre practice and scholarship. In this changing theatrical landscape, what has happened to plays in the historically text-oriented British theatre? How has playtext changed in an age of theatre marked by mediatization and its possibilities?

This insightful book explores the relationship between theater and digital culture. The authors show that the marriage of traditional performance with new technologies leads to an upheaval of the implicit “live” quality of theatre by introducing media interfaces and Internet protocols, all the while blurring the barriers between theater-makers and their audience.

Over the past 20 years European theatre underwent fundamental changes in terms of aesthetic focus, institutional structure and in its position in society. The impetus for these changes was provided by a new generation in the independent theatre scene. This book brings together studies on the state of independent theatre in different European countries, focusing on the fields of dance and performance, children and youth theatre, theatre and migration and post-migrant theatre. Additionally, it includes essays on experimental musical theatre and different cultural policies for independent theatre scenes in a range of European countries.