Theatre

Qualitative inquiry is not merely a research method or a series of analytic steps, but a holistic process that challenges the age-old qualitative/quantitative dichotomy. This book provides students and researchers with an approachable guide to a range of interpretive perspectives, including thematic, narrative, and arts-based types of inquiry. Fully revised and updated, the Second Editionfeatures: A brand new introduction firmly placing qualitative inquiry in context New further reading sections to guide you deeper into the relevant literature Expanded sections on auto-ethnography and technology A range of examples to demonstrate the application of research techniques Presenting a clear overview of the theory, method and interpretation involved in qualitative inquiry, this book is the ideal starting point for those engaging in arts-based qualitative research.

In Performance Ethnography, one of the world′s most distinguished authorities on qualitative research establishes the connection of performance narratives with performance ethnography and autoethnography, the linkage of these formations to critical pedagogy and critical race theory, and the histories of these formations. He then shows how they may be connected. Performance Ethnography is divided into three parts. Part I covers pedagogy, ethnography, performance, and theory as the foundation for a performative social science. Part II addresses the worlds of family, nature, praxis, and action, employing a structure that is equal parts memoir, essay, short story, and literary autoethnography. Part III examines the ethics and practical politics of performance autoethnography, anchored in the post-9/11 discourse in the United States. The amalgam serves as an invitation for social scientists and ethnographers to confront the politics of cultural studies and explore the multiple ways in which performance and ethnography can be both better understood and used as mechanisms for social change and economic justice.

Winner, 2017 American Theater and Drama Society John W. Frick Book Award Winner, 2017 ASTR Barnard Hewitt Award for Outstanding Research in Theater History  Hillary Miller's Drop Dead: Performance in Crisis, 1970s New York offers a fascinating and comprehensive exploration of how the city's financial crisis shaped theater and performance practices in this turbulent decade and beyond. New York City's performing arts community suffered greatly from a severe reduction in grants in the mid-1970s. A scholar and playwright, Miller skillfully synthesizes economics, urban planning, tourism, and immigration to create a map of the interconnected urban landscape and to contextualize the struggle for resources. She reviews how numerous theater professionals, including Ellen Stewart of La MaMa E.T.C. and Julie Bovasso, Vinnette Carroll, and Joseph Papp of The Public Theater, developed innovative responses to survive the crisis. Combining theater history and close readings of productions, each of Miller's chapters is a case study focusing on a company, a production, or an element of New York's theater infrastructure. Her expansive survey visits Broadway, Off-, Off-Off-, Coney Island, the Brooklyn Academy of Music, community theater, and other locations to bring into focus the large-scale changes wrought by the financial realignments of the day. Nuanced, multifaceted, and engaging, Miller's lively account of the financial crisis and resulting transformation of the performing arts community offers an essential chronicle of the decade and demonstrates its importance in understanding our present moment.