This book focuses on a rising generation of female storytellers, analysing their innovation in interdisciplinary collaboration, and their creation of new multimedia platforms for story-led performance.
This book focuses on a rising generation of female storytellers, analysing their innovation in interdisciplinary collaboration, and their creation of new multimedia platforms for story-led performance.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
Produktdetails
Routledge Advances in Theatre & Performance Studies
Stephe Harrop is Associate Professor of Drama at Liverpool Hope University. She is also a contemporary storyteller, creating and touring work across the UK and beyond.
Inhaltsangabe
List of Figures List of Interviews Acknowledgements Introduction 0.1 Storytelling as Professional Performance 0.2 Female Artists as Storytellers 0.3 Talking to Storytellers 0.4 Storytelling Presences Chapter 1 - Storytelling Presences 1.1 Sarah Rundle, The Poorest Hee (2013) 1.2 Clare Murphy, The Nine Muses of Queen's Crescent (2022) 1.3 Jo Blake, Blodeuwedd Untold (2018) 1.4 Summary: Contemporary Presences Chapter 2 - Storytelling Authorship 2.1 Alys Torrance, Up Endings! (2021) 2.2 Rachel Rose Reid, Silence (2018) 2.3 Mara Menzies, Blood and Gold (2019) 2.4 Summary: Authoring Storytelling Performances Chapter 3 - Devising Storytelling 3.1 Sarah Liisa Wilkinson, The Girl and The Snake Witch (2018) 3.2 Alys Torrance, Stoopid (2019) 3.3 Debs Newbold, Outrageous Fortune (2020) 3.4 Summary: Devising New Storytellings Chapter 4 - Aural Storytelling 4.1 Sarah Liisa Wilkinson, The Devil's Violin (2019) 4.2 Laura Sampson, Three-Crossing River (2022) 4.3 Debs Newbold, Lost in Blue (2022) 4.4 Summary: Aurality and Story Performance Chapter 5 - Sites of Storytelling 5.1 Tamar Eluned Williams, Pathways/Llwybrau (2020) 5.2 Vanessa Woolf, Trees (2021) and Ghosts of the Thames (2020) 5.3 Tim Ralphs and Sarah Liisa Wilkinson, The Game of Seven Candles (2021) 5.4 Summary: Sites of Storytelling Chapter 6 - Story-Performance in New Media 6.1 Mara Menzies, The Giver of Joy (2021) 6.2 Jo Blake, What Do You See With Your Eye to the Keyhole? (2020) 6.3 Xanthe Gresham-Knight, Kitchen Goddess (2020) 6.4 Summary: Story, Media, and Emergent Spaces Chapter 7 - Story-Performance and Social Practice 7.1 Rachel Rose Reid, Sofa Story Club (2020) 7.2 Xanthe Gresham-Knight, Goddess Lounge (2020-21) 7.3 Pyn Stockman, Tell It To The Bees (2022) 7.4 Summary: Making Social Rituals Chapter 8 - Storytelling and Slam 8.1 Clare Murphy, Myth Off (2011) 8.2 Lucy Lill & Alys Torrance, Women Who Gave No F**ks (2019) 8.3 Summary: Story, Slam, and Inventing Traditions Conclusion 9.1 Sally Pomme Clayton, The Frog Princess Punked (2019) 9.2 Contemporary Storytelling Performance Index
List of Figures List of Interviews Acknowledgements Introduction 0.1 Storytelling as Professional Performance 0.2 Female Artists as Storytellers 0.3 Talking to Storytellers 0.4 Storytelling Presences Chapter 1 - Storytelling Presences 1.1 Sarah Rundle, The Poorest Hee (2013) 1.2 Clare Murphy, The Nine Muses of Queen's Crescent (2022) 1.3 Jo Blake, Blodeuwedd Untold (2018) 1.4 Summary: Contemporary Presences Chapter 2 - Storytelling Authorship 2.1 Alys Torrance, Up Endings! (2021) 2.2 Rachel Rose Reid, Silence (2018) 2.3 Mara Menzies, Blood and Gold (2019) 2.4 Summary: Authoring Storytelling Performances Chapter 3 - Devising Storytelling 3.1 Sarah Liisa Wilkinson, The Girl and The Snake Witch (2018) 3.2 Alys Torrance, Stoopid (2019) 3.3 Debs Newbold, Outrageous Fortune (2020) 3.4 Summary: Devising New Storytellings Chapter 4 - Aural Storytelling 4.1 Sarah Liisa Wilkinson, The Devil's Violin (2019) 4.2 Laura Sampson, Three-Crossing River (2022) 4.3 Debs Newbold, Lost in Blue (2022) 4.4 Summary: Aurality and Story Performance Chapter 5 - Sites of Storytelling 5.1 Tamar Eluned Williams, Pathways/Llwybrau (2020) 5.2 Vanessa Woolf, Trees (2021) and Ghosts of the Thames (2020) 5.3 Tim Ralphs and Sarah Liisa Wilkinson, The Game of Seven Candles (2021) 5.4 Summary: Sites of Storytelling Chapter 6 - Story-Performance in New Media 6.1 Mara Menzies, The Giver of Joy (2021) 6.2 Jo Blake, What Do You See With Your Eye to the Keyhole? (2020) 6.3 Xanthe Gresham-Knight, Kitchen Goddess (2020) 6.4 Summary: Story, Media, and Emergent Spaces Chapter 7 - Story-Performance and Social Practice 7.1 Rachel Rose Reid, Sofa Story Club (2020) 7.2 Xanthe Gresham-Knight, Goddess Lounge (2020-21) 7.3 Pyn Stockman, Tell It To The Bees (2022) 7.4 Summary: Making Social Rituals Chapter 8 - Storytelling and Slam 8.1 Clare Murphy, Myth Off (2011) 8.2 Lucy Lill & Alys Torrance, Women Who Gave No F**ks (2019) 8.3 Summary: Story, Slam, and Inventing Traditions Conclusion 9.1 Sally Pomme Clayton, The Frog Princess Punked (2019) 9.2 Contemporary Storytelling Performance Index
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