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This book shows through criticism the richness, the complexity, and the far-reaching significance of the writings of Anne Hebert, the Quebequain novelsit and poet who first achieved recognition in he 1940s and '50s. The writings, by such notables as Gaetan, Brulotte, Neil Bishop, Annabelle Rea, Lori Saint-Martin, Roseanna Dufault, and many others, are variously in English and in French. Prefaced by renowned Hebertian scholar Janet Pallister, and introduced by Pallister's essay on the life and accomlishment of Anne Henert, the work is accompanied by a large bibliography of the works of Anne Hebert.

This pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siècle.

"Whether in the pages of a trashy novel, in the glow of gaslights, in a dance hall, or on the walls of art galleries, the figure of the female dancer haunts nineteenth-century French culture. Artists and writers of all kinds took on la danseuse as an emblem of their own artistic prowess. They represented her alternately as an elusive ideal, a saucy prostitute, or a dangerous seductress. Dancers, in turn, produced their own images, novels and autobiographies, thereby contributing to an ongoing cultural debate around performance, spectatorship, desire, and art. In this interdisciplinary study of la danseuse, Julie Townsend examines the rise and fall of classical ballet, the phenomenon of the music hall, and the birth of modern dance. She highlights moments of representational crisis and emergent aesthetics in her consideration of poetry, novels, painting, early film, and women's autobiography."

Collects essays devoted to the critical exploration of the presence and impact of bodies in contemporary Italian cultural production, and in the light of developments in thinking about bodies and their locations within cultures. This book includes essays that assume a plurality of conceptions of culture and of the body.

Performance in the Texts of Mallarmé offers a new theory of performance in the poetic and critical texts of Stephane Mallarmé, a theory challenging the prevailing interpretation of his work as epitomizing literary purism and art for art's sake. Following an analytical presentation of the concepts of ritual and performance generally applied, Mary Shaw shows that Mallarmé perceived music, dance, and theater as ideal languages of the body and therefore as ideal forms of ritual through which to supplement and celebrate poetic texts. She focuses on previously unexplored references to supplementary, extratextual performances in four of Mallarmé's major poetic texts—Herodiade, L'après-midi d'un faune, Igitur, and Un coup de des—revealing the consistent formal expression of his original conception of literature's relationship to the performing arts. Shaw then discusses Mallarmé's monumental project, Le Livre, a metaphysical book designed to be performed in a series of ritual celebrations. She analyzes and describes the intrinsic structure and contents of this unfinished work as the fullest realization of the text-performance relationship elaborated throughout Mallarmé's corpus. Shaw offers Le Livre as a prototype of avant-garde performance, drawing important parallels between Mallarmé's literary experimentation and crucial developments in twentieth-century arts.

"The text of the book is supported by more than fifty illustrations. Some are Jarry's own and some are those of contemporaries, such as Aubrey Beardsley, Emile Bernard, Pierre Bonnard, Max Elskamp, Charles Filiger, Paul Gauguin, Gerhard Munthe, Henri Rousseau, and Felix Vallotton. Others relate to an iconic intertext, hitherto unexplored. Alfred Jarry: An Imagination in Revolt sheds light on an underresearched area of fin-de-siecle French culture and art history, establishing Jarry's role as a major figure in the origins of modernism."--Jacket.

Antonia Mercé, stage-named La Argentina, was the most celebrated Spanish dancer of the early 20th century. Her intensive musical and theatrical collaborations with members of the Spanish vanguard — Manuel de Falla, Frederico García Lorca, Enrique Granados, Néstor de la Torre, Joaquín Nín, and with renowned Andalusian Gypsy dancers — reflect her importance as an artistic symbol for contemporary Spain and its cultural history. When she died in 1936, newspapers around the world mourned the passing of the "Flamenco Pavlova."

From spoken word to ballet, ancient Greek and Roman epics regularly provide both the subjects and the form for emergent and seasoned theatre makers. This volume examines the 'why' of this epic turn, exploring not only the translation and scholarly histories of the epics, but also earlier performance traditions and recent theoretical debates.