Theory for theatre studies : emotion / Peta Tait.

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Introduction: Approach and Concepts : The Emotions -- Emotional Feelings -- Affect and its Theory -- Mood -- Cultural Complexities and Empathy -- Section one: Legacies and Case Studies : Aristotle on tragic pity and Euripides' Medea -- Shakespeare's comic lovers: Performing the Passions -- The actor's paradox: eighteenth– and nineteenth-century staging -- Stanislavski's Emotion Memory and realist theatre -- Controversial psychologies in Method Acting -- Brecht's separations: theatre for a scientific age -- Brecht's political emotions: The Caucasian Chalk Circle -- Emotional practice from Forum Theatre to Rasaboxes -- Section two: Affect and Case Studies : Emotional feeling to affect in A Doll's House -- Affect and technology: live art and spectacle -- Real identities and political affect -- Empathy enabled: Empathy Museum to Back to Back -- Suffering in Jane Harrison's Stolen -- Feeling sound and images: Robert Lepages's Needles and Opium and 887 -- Section three: Mood and Case Studies : Mysterious aesthetic -- Audience expectations and The Lion King -- Ambience from Socìetas Raffaello Sanzio -- Music functions and Rimini Protokoll's Brain Projects -- Economic mood dis/orders: Alladeen to Dear Evan Hansen -- Immoral objects and The Wooster Group -- Share economies and Marina Abramovic -- Collaborative eco-moods -- Anticipation -- Conclusion: Intensity -- References -- Index.

"Emotion explores how emotion is communicated in drama, theatre and contemporary performance and therefore in society. From Aristotle and Shakespeare to Stanislavski, from Brecht to Caryl Churchill, drama and theatre are revealed to inform but also to warn about the emotions. The term 'emotion' encompasses the emotions, emotional feelings, affect and mood, and the book explores how these concepts are embodied and experienced within theatrical practice and explained in theory. Since emotion is artistically staged, its composition and impact can be described and analysed and in relation to interdisciplinary approaches. Students and other readers are encouraged to consider how emotion is dramatically, aurally, and visually developed to create innovative performance. Case studies include productions of Medea, Twelfth Night, The Caucasian Chalk Circle, Ibsen's A Doll's House, and performances by Mabou Mines, Robert Lepage, Rimini Protokoll, Anna Deavere Smith, Socìetas Raffaello Sanzio, Marina Abramovic and The Wooster Group. By way of these detailed case studies, readers will appreciate new methodologies and approaches for their own exploration of 'emotion' as a performance component"--