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Stage Fright, Animals, and Other Theatrical Problems
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  • Cited by 66
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    Balkin, Sarah 2018. ‘The Thin Air of Reality’. Performance Research, Vol. 23, Issue. 3, p. 124.

    Grant, Teresa Ramos Gay, Ignacio and Alonso Recarte, Claudia 2018. Introduction: real animals on the stage. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 103.

    Paavolainen, Teemu 2018. Theatricality and Performativity. p. 47.

    Senior, Adele 2018. Editorial. Performance Research, Vol. 23, Issue. 1, p. 1.

    Lisle, Debbie 2018. Failing worse? Science, security and the birth of a border technology. European Journal of International Relations, Vol. 24, Issue. 4, p. 887.

    Ramos-Gay, Ignacio 2018. ‘Des singes, c’était le narcisse’: class, imitation and performing monkeys in late-eighteenth century Paris. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 130.

    Edinborough, Campbell 2018. Using the method to be myself: adapting and appropriating historical training approaches for interactive performance. Theatre, Dance and Performance Training, Vol. 9, Issue. 2, p. 174.

    Grant, Teresa 2018. ‘A pleasant tragicomedy, the cat being scap’t’?: William Sampson’s The Vow Breaker (1636) and the instability of genre. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 113.

    Senior, Adele 2018. ‘Age Transvestism’ in Contemporary Performance and Live Art With Children. Performance Research, Vol. 23, Issue. 1, p. 26.

    Quigley, Karen 2018. Departure points: beginning training in sited-based performance practices. Theatre, Dance and Performance Training, Vol. 9, Issue. 2, p. 251.

    Parker-Starbuck, Jennifer 2018. There is a whale in the room: Pina Bausch’s animals on stage. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 165.

    Biggin, Rose 2017. Immersive Theatre and Audience Experience. p. 1.

    Lupton, Julia Reinhard 2017. The Palgrave Handbook of Affect Studies and Textual Criticism. p. 155.

    2017. Improvisation and Social Aesthetics. p. 309.

    Bryx, Adam and Reynolds, Bryan 2017. Intermedial Theater. p. 77.

    Paavolainen, Teemu 2017. Fabric Philosophy: The “Texture” of Theatricality and Performativity. Performance Philosophy, Vol. 2, Issue. 2, p. 172.

    Matthews, Alison E. 2017. Giving service and provoking rupture: the post-Fordist performer at work. Studies in Theatre and Performance, Vol. 37, Issue. 1, p. 139.

    Alston, Adam 2016. Beyond Immersive Theatre. p. 183.

    LePage, Louise 2016. Twenty-First Century Drama. p. 279.

    Hay, Chris 2016. Knowledge, Creativity and Failure. p. 75.

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Book description

Why do actors get stage fright? What is so embarrassing about joining in? Why not work with animals and children, and why is it so hard not to collapse into helpless laughter when things go wrong? In trying to answer these questions - usually ignored by theatre scholarship but of enduring interest to theatre professionals and audiences alike - Nicholas Ridout attempts to explain the relationship between these apparently unwanted and anomalous phenomena and the wider social and political meanings of the modern theatre. This book focuses on the theatrical encounter - those events in which actor and audience come face to face in a strangely compromised and alienated intimacy - arguing that the modern theatre has become a place where we entertain ourselves by experimenting with our feelings about work, social relations and about feelings themselves.


'… an intelligent and likeable study that merely attempts a virtually holistic understanding of theatre in its fullest possible contest.'

Source: The Times Literary Supplement

'In the intellectual energy of the connections it makes, and in the purposeful play of its attentive unfolding of the insistently overlooked and repressed within theatre, this volume makes a significant contribution to a growing body of recent and related British scholarship.'

Source: Contemporary Theatre Review

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