The Royal Rump

Theater Historiography

Theater Historiography: Critical Interventions is a vital exploration of how we write, interpret, and understand the history of theater. Edited by Henry Bial and Scott Magelssen, this collection brings together leading voices in theater and performance studies to interrogate the methodologies, assumptions, and politics that shape the field. Each of the twenty-one essays offers a concise, thought-provoking intervention, examining topics from classical theater and Roman comedy to digital performance, ethnography, and ecocriticism.Far more than a survey of theatrical pasts, this book considers how the practice of writing theater history has been transformed by postmodern theory, multicultural perspectives, and interdisciplinary approaches. The contributors dig into the ethical dilemmas and evidentiary challenges of the archive, explore the stakes of representation, and confront the silences—as well as the voices—of marginalized or “unhistoried” communities.Organized into thematic sections—including “Unearthing the Past,” “The Stakes of Historiography,” “Historiography for a New Millennium,” “Performance as Historiography,” and “Theater History’s Discipline”—the volume covers a wide range of subjects, from Roman spectacle and colonial India to the impact of digital technology and the evolving relationship between theater history and performance studies. Throughout, Bial and Magelssen provide guidance for scholars and students alike, showing that theater historiography is a continual process of critical self-examination, innovation, and debate.Inspiring, accessible, and intellectually rigorous, Theater Historiography: Critical Interventions is essential reading for anyone interested in how we remember, teach, and make meaning from the rich and complex worlds of theater and performance.

Pirates, Scoundrels, and Kings

Even for a Monday, Christophers day is full of frustration. There was the school bus ride through the mud, followed by a huge argument with his two brothers. He would do anything to escape, just for a little whilea wish that he soon finds granted. A chance encounter with a philosophical cloud sends him to the medieval kingdom of Alucemet, which is in shambles. The king is lost, the queens power is dwindling, and the citizens blame their traitorous sons. Christopher soon realizes he is in the presence of one of the sons, Sir Alexander. Even so, he finds in Alexander not a traitor, but a quiet, kind leader intent on restoring the kingdom to its past glory. Soon, Alexander is ambushed, and Christopher is told Alexanders evil brother, Nicholas the Blue, is responsible. Luckily, with the Queens help, Christopher is able to escape, and he is led to the very door of this other brother. Once again, however, the common reports are wrong; Christopher finds Nicholas to be nothing more than a pirate who lives for fun. If the princes are not behind the downfall of Alucemet, who is? Battle is on the horizon. A dark army plans to surround and conquer, taking the kingdom for its own. Christopher must lean on his faith in God to strengthen his new friends, save their kingdom, and, hopefully, find his way home!

Fact, Fancy, and Fable