Play and Performance offers hope to those lamenting the loss of play in the twenty-first century and aims to broaden the understanding of what play is. This volume showcases the work of programs from early childhood through adulthood, in a variety of educational and therapeutic settings, and from a range of theoretical and practical perspectives. The chapters cover an array of practices that can be seen across the play to performance continuum. Taken together, the myriad ways that play is performance and performance is play become clear, sometimes blurring the need for distinction. The volume provides play advocates, researchers and practitioners a wealth of practical and theoretical ideas for expanding the use of performance as a tool for creating playful environments where children and adults can create and develop.

Play is one of humanity's straightforward yet deceitful ideas: though the notion is unanimously agreed upon to be universal, used for man and animal alike, nothing defines what all its manifestations share, from childish playtime to on stage drama, from sporting events to market speculation. Within the author's anthropological field of work (Mongolia and Siberia), playing holds a core position: national holidays are called "Games," echoing in that way the circus games in Ancient Rome and today's Olympics. These games convey ethical values and local identity. Roberte Hamayon bases her analysis of the playing spectrum on their scrutiny. Starting from fighting and dancing, encompassing learning, interaction, emotion and strategy, this study heads towards luck and belief as well as the ambiguity of the relation to fiction and reality. It closes by indicating two features of play: its margin and its metaphorical structure. Ultimately revealing its consistency and coherence, the author displays play as a modality of action of its own. "Playing is no 'doing' in the ordinary sense" once wrote Johan Huizinga. Isn't playing doing something else, elswhere and otherwise ?

An examination of subversive games like The Sims—games designed for political, aesthetic, and social critique. For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative games—games that challenge the accepted norms embedded within the gaming industry—and argues that games designed by artists and activists are reshaping everyday game culture. Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of “playing house” include Dadaist puppet shows and The Sims. She looks at artists’ alternative computer-based games and explores games for change, considering the way activist concerns—including worldwide poverty and AIDS—can be incorporated into game design. Arguing that this kind of conscious practice—which now constitutes the avant-garde of the computer game medium—can inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.

Play helps define who we are as human beings. However, many of the leisurely/ludic activities people participate in are created and governed by corporate entities with social, political, and business agendas. As such, it is critical that scholars understand and explicate the ideological underpinnings of played-through experiences and how they affect the player/performers who engage in them. This book explores how people play and why their play matters, with a particular interest in how ludic experiences are often constructed and controlled by the interests of institutions, including corporations, non-profit organizations, government agencies, religious organizations, and non-governmental organizations (NGOs). Each chapter explores diverse sites of play. From theme parks to comic conventions to massively-multiplayer online games, they probe what roles the designers of these experiences construct for players, and how such play might affect participants' identities and ideologies. Scholars of performance studies, leisure studies, media studies and sociology will find this book an essential reference when studying facets of play.

In Liveness Philip Auslander addresses what may be the single most important question facing all kinds of performance today: What is the status of live performance in a culture dominated by mass media? By looking at specific instances of live performance such as theatre, rock music, sport and courtroom testimony, Liveness offers penetrating insights into media culture. This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

The Handbook of the Study of Play brings together in two volumes thinkers whose diverse interests at the leading edge of scholarship and practice define the current field. Because play is an activity that humans have shared across time, place, and culture and in their personal developmental timelines—and because this behavior stretches deep into the evolutionary past—no single discipline can lay claim to exclusive rights to study the subject. Thus this handbook features the thinking of evolutionary psychologists; ethologists and biologists; neuroscientists; developmental psychologists; psychotherapists and play therapists; historians; sociologists and anthropologists; cultural psychologists; philosophers; theorists of music, performance, and dance; specialists in learning and language acquisition; and playground designers. Together, but out of their varied understandings, the incisive contributions to The Handbook take on vital questions of educational policy, of literacy, of fitness, of the role of play in brain development, of spontaneity and pleasure, of well-being and happiness, of fairness, and of the fuller realization of the self. These volumes also comprise an intellectual history, retrospective looks at the great thinkers who have made possible the modern study of play.

Play & Culture Studies is a bi-annual, peer-reviewed series published by the Association for the Study of Play. For forty years The Association for the Anthropological Study of Play (TAASP), now The Association for the Study of Play (TASP) has served as the premier professional organization in academia dedicated to interdisciplinary research and theory construction concerning play. During that time TASP has promoted the study of play, forged alliances with various organizations advancing the cause for play, organized yearly meetings to disseminate play research, and produced an impressive catalog of play research through a variety of publications. Volume 13 of the Play and Culture Studies Series highlights contributions that reflect upon the rich forty-year history of TASP, that explore current research examining the field of play, and that advance future directions for play research.

The role of play in human development has long been the subject of controversy. Despite being championed by many of the foremost scholars of the twentieth century, play has been dogged by underrepresentation and marginalization in literature across the scientific disciplines. The Oxford Handbook of the Development of Play marks the first attempt to examine the development of children's play through a rigorous and multidisciplinary approach. Comprising chapters from the foremost scholars in psychology, anthropology, and evolutionary biology, this handbook resets the landscape of developmental science and makes a compelling case for the benefits of play. Edited by respected play researcher Anthony D. Pellegrini, The Oxford Handbook of the Development of Play is both a scientific accomplishment and a shot across the bow for parents, educators, and policymakers regarding the importance of children's play in both development and learning.

What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism—tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins—from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus—have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today.

In Play and the Human Condition, Thomas Henricks brings together ways of considering play to probe its essential relationship to work, ritual, and communitas. Focusing on five contexts for play--the psyche, the body, the environment, society, and culture--Henricks identifies conditions that instigate play, and comments on its implications for those settings. Offering a general theory of play as behavior promoting self-realization, Henricks articulates a conception of self that includes individual and social identity, particular and transcendent connection, and multiple fields of involvement. Henricks also evaluates play styles from history and contemporary life to analyze the relationship between play and human freedom. Imaginative and stimulating, Play and the Human Condition shows how play allows us to learn about our qualities and those of the world around us--and in so doing make sense of ourselves.