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Los significados de la diversidad funcional dependen de las imágenes culturales que circulan en un sistema social dado. Esta obra aborda los dilemas éticos y estéticos que conlleva la representación artística de la diversidad funcional, atendiendo al papel decisivo que cumple la ficción en el proceso de decodificación de significados.

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This is a volume of 12 studies on specific topics of theatre and drama history in the Balkans and the Eastern Mediterranean. The scientific interest in the culture of this area during the unification process of Europe is increasing. Five of these studies are of comparative nature, seven focus on Greece and its European connections in the field of theatre and drama. The first part includes the following studies: "Typological structures of development in the theatre history of Southeastern Europe", "Comparative contributions to the traditional puppet theatre in the Balkan pensinsula", "Black-eye Karagöz and the history of shadow theatre in the Balkans under the Turkish rule", "The repraesentatio figurata of the Presentation of the Virgin in the Temple by Philippe des Mézières (Avignon 1372) and its supposed Cypriotic origin", and "Skenderbey in European and Balkan drama". The second part consists of the following studies: "The descensus ad inferos as nuclear scene of an inexistent Orthodox resurrection play", "Structures of reception of Early Modern Greek drama", "Religious baroque theatre during the processions of Corpus Christi on the Cyclades in the 17th century", "Religious festivals of the Baroque era on the islands of the Archipelagus under the Turkish rule (Capucins, Chios 1673)", "Greek editions in Vienna from Gluck to Kotzebue. The theatre life of the Danubian capital in Greek translations 1780-1820", "Literature and theatre in Greece 1728-1888", and "Constantin Christomanos and the theatre of fin de siècle in Austria and Greece". Comparative studies in South Eastern Europe and the Eastern Mediterranean, especially in theatre and drama history, are very rare. Some of these studies are ground-breaking in specific subjects. Exhaustive registers will bring these studies together thematically, studies which in sum, together with the ones of the second volume, will give an idea of a future handbook on Southeatersn Europe theatre and drama from the Midde Ages up to the 20th century.

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This book compiles lectures by the world's leading practitioners of postdramatic theatre from East Asia and the German-speaking world, which were given at Asia's only dramaturgy degree program at The Central Academy of Drama in Beijing 2018/19. It includes first-time English-language scripts of the discussed plays. The material is complemented by contextualizing essays by the program founder Li Yinan and its co-developer Kai Tuchmann. Hans-Thies Lehmann contributes the foreword to this volume. This rare compilation enables the reader to gain a unique insider's impression of postdramatic theatre's artistic thinking and working methods and informs about its manifold manifestations. With contributions from Hans-Werner Kroesinger, Lee Kyung-Sung, Li Yinan, Boris Nikitin, Kai Tuchmann, Wang Mengfan, Wen Hui, Zhao Chuan and Zhuang Jiayun.

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"What does performativity signify? And what does it mean to speak of something as being performative? Aiming to clarify and critically highlight an important but sometimes elusive concept, this book consists of five chapters, each addressing a concrete situation of interpretation. By highlighting artworks and images from different historical periods and contexts, the authors show how performativity might be a versatile and useful concept for interpretations of images. The purpose is to convey the critical potential of the concept as it is activated in relation to different objects of study. The book is primarily addressed to students of art history and others who take an interest in questions of visuality and visual practices. Offering not only a theoretical understanding of the concept, it strives to point out ways and possibilities of the practical use of performativity. This book constitutes the first volume of Theoretical Applications in Art History, which forms part of the series Basic Readings in Culture and Aesthetics. Its editors, Malin Hedlin Hayden and Mårten Snickare, are professors of art history at the Department of Culture and Aesthetics, Stockholm University.

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