01943    a2200313   450000500170000000800410001702000220005803700370008004000070011704100080012407200160013207200160014807200160016407200150018007200140019507200130020907200210022207200210024307200210026407200210028507200210030607200200032710000220034724500870036925000060045626000320046230000100049452011250050420250526161923.0250430042021GB        20           eng    a9780367407841qBB  bTaylor & FranciscGBP 135.00fBB  a01  aeng7 aAVLF2thema7 aAFKP2thema7 aATDF2thema7 aAVGC92bic7 aAFKP2bic7 aANF2bic7 aMUS0280002bisac7 aPER0110202bisac7 aPER0110102bisac7 aPER0000002bisac7 aPER0110002bisac7 a792.09942bisac1 aCharlotte Farrell10aBarrie Kosky on the Contemporary Australian StagebAffect, Post-Tragedy, Emergency  a1  aOxfordbRoutledgec20210917  a140 p  bThis is the first book-length study of Australian theatre productions by internationally-renowned director, Barrie Kosky . Now a prolific opera director in Europe, Barrie Kosky on the Contemporary Australian Stage accounts for the formative years of Kosky's career in Australia. This book provides in-depth engagements with select productions including The Dybbuk which Kosky directed with Gilgul theatre company in 1991, as well as King Lear (1998), The Lost Echo (2006), and Women of Troy (2008). Using affect theory as a prism through which these works are analysed, the book accounts for the director's particular engagement with – and radical departure from – classical tragedy in contemporary performance: what the book defines as Kosky's 'post-tragedies'. Theatre studies scholars and students, particularly those with interests in affect, contemporary performance, 'director's theatre', and tragedy, will benefit from Barrie Kosky on the Contemporary Australian Stage ’s vivid engagement with Kosky's work: a director who has become a singular figure in opera and theatre of international critical acclaim.