Michael Mangan

Edward Bond has been, since his controversial arrival on the theatrical scene in 1965, one of Britain's most distinctive and important theatre writers. This study examines his work, from The Pope's Wedding (1962) to Coffee (1995). It gives an overview of the development of his distinctive dramatic language and style, and looks at his experiments with various theatrical forms and genres. It examines, too, the ways in which Bond's insistence upon the necessity of the drama as an agent of social evolution have determined his development as a dramatist. There are sections which situate Bond's work within its wider theatrical and political contexts, and which explore his concerns with issues such as violence, technology and social evolution, as they are expressed in plays such as Saved (1965), and Lear (1971). The study also deals with Bond's continual dialogue with our cultural history - with the ways in which he rewrites classic plays and plunders familiar theatrical genres in order to demythologize the past.

Edward Bond

This complete companion to the study of drama, theatre and performance studies is an essential reference point for students undertaking or preparing to undertake a course either at university or at drama school. Designed as a single reference resource, it introduces the main components of the subject, the key theories and thinkers, as well as vital study skills. Written by a highly regarded academic and practitioner with a wealth of expertise and experience in teaching, Mangan takes students from studio to stage, from lecture theatre to workshop, covering practice as well as theory and history. Reliable and comprehensive, this guide is invaluable throughout a degree or course at various levels. It is essential reading for undergraduate students of Drama, Theatre and Performance Studies at universities, drama schools and conservatoires, as well as AS and A Level students studying Drama and Theatre who are considering studying the subject at degree level.

The Drama, Theatre and Performance Companion

Paul F.M.J. Verschure

Anna Mura

Minoru Asada

Tony J. Prescott

Uriel Martinez-Hernandez

Vasiliki Vouloutsi

This book constitutes the proceedings of the 8th International Conference on Biomimetic and Biohybrid Systems, Living Machines 2019, held in Nara, Japan, in July 2019. The 26 full and 16 short papers presented in this volume were carefully reviewed and selected from 45 submissions. They deal with research on novel life-like technologies inspired by the scientific investigation of biological systems, biomimetics, and research that seeks to interface biological and artificial systems to create biohybrid systems.

8th International Conference, Living Machines 2019, Nara, Japan, July 9–12, 2019, Proceedings

Biomimetic and Biohybrid Systems

Mark Cutkosky

Tony Prescott

Nathan Lepora

This book constitutes the proceedings of the 6th International Conference on Biomimetic and Biohybrid Systems, Living Machines 2017, held in Stanford, CA, USA, in July 2017.The 42 full and 19 short papers presented in this volume were carefully reviewed and selected from 63 submissions. The theme of the conference encompasses biomimetic methods for manufacture, repair and recycling inspired by natural processes such as reproduction, digestion, morphogenesis and metamorphosis.

6th International Conference, Living Machines 2017, Stanford, CA, USA, July 26–28, 2017, Proceedings

Annotation Magic and conjuring inhabit the boundaries and the borderlands of performance. The conjuror s act of demonstrating the apparently impossible, the uncanny, the marvellous, or the grotesque challenges the spectator's sense of reality. It brings him or her up against their own assumptions about how the world works; at its most extreme, it asks the spectator to re-evaluate his or her sense of the limits of the human. Performing Dark Arts is an exploration of the paradox of the conjuror, the actor who pretends to be a magician. It aims to illuminate the history of conjuring by examining it in the context of performance studies, and to throw light on aspects of performance studies by testing them against the art of conjuring. The book examines not only the performances of individual magicians from Dedi to David Blaine, but also the broader cultural contexts in which their performances were received, and the meanings which they have attracted.

Michael Mangan

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