Bryan Reynolds

In this book Bryan Reynolds argues that early modern England experienced a sociocultural phenomenon, unprecedented in English history, which has been largely overlooked by historians and critics. Beginning in the 1520s, a distinct "criminal culture" of beggars, vagabonds, confidence tricksters, prostitutes, and gypsies emerged and flourished. This community defined itself through its criminal conduct and dissident thought and was, in turn,officially defined by and against the dominant conceptions of English cultural normality. Examining plays, popular pamphlets, laws, poems, and scholarly work from the period, Reynolds demonstrates that this criminal culture, though diverse, was united by its own ideology, language, and aesthetic. Using his transversal theory, he shows how the enduring presence of this criminal culture markedly influenced the mainstream culture's aesthetic sensibilities, socioeconomic organization, and systems of belief. He maps the effects of the public theater's transformative force of transversality, such as through the criminality represented by Shakespeare, Jonson, Middleton, and Dekker, on both Elizabethan and Jacobean society and the scholarship devoted to it.

Art Beyond the Edge is not just a title: it's a designation, a call to action, and a means to achieve enduring impact. Reflecting over a quarter century of collaborative artistic production, research, and activism across five continents, this book is a field-breaking and era-defining exploration of art created during sociopolitical conflict and war, protests and calamities, and their aftermaths. With the goal of generating a critical theory that can meet the challenges of the twenty-first century, Mark LeVine and Bryan Reynolds propose a new and radical vocabulary, epistemological foundation, and praxiological roadmap for engagement with and in performance activism and political art. From Gaza to Chiapas, Baghdad to Kabul, the Niger Delta to the Congo River, the US to Ukraine, the authors establish an innovative matrix to analyze the conditions through which artistic production empowers struggles for freedom, dignity, and survival in a world on fire.

Art Beyond the Edge is not just a title: it's a designation, a call to action, and a means to achieve enduring impact. Reflecting over a quarter century of collaborative artistic production, research, and activism across five continents, this book is a field-breaking and era-defining exploration of art created during sociopolitical conflict and war, protests and calamities, and their aftermaths. With the goal of generating a critical theory that can meet the challenges of the twenty-first century, Mark LeVine and Bryan Reynolds propose a new and radical vocabulary, epistemological foundation, and praxiological roadmap for engagement with and in performance activism and political art. From Gaza to Chiapas, Baghdad to Kabul, the Niger Delta to the Congo River, the US to Ukraine, the authors establish an innovative matrix to analyze the conditions through which artistic production empowers struggles for freedom, dignity, and survival in a world on fire.

This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained analysis of the work of Gilles Deleuze, Félix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Socìetas Raffaello Sanzio, Thomas Ostermeier, Rodrigo García and La Carnicería Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today’s audiences.

This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained analysis of the work of Gilles Deleuze, Félix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Socìetas Raffaello Sanzio, Thomas Ostermeier, Rodrigo García and La Carnicería Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today’s audiences.

The field of performance studies analyses the production and impact of on-stage performance, such as in a theatre or circus, and off-stage performance, such as cultural rituals and political protests. Performance Studies: Key Words, Concepts and Theories introduces students to 34 key topics seen as paramount to the future of performance studies in a series of short, engaging essays by an international team of distinguished scholars. Each essay contributes to the wide-ranging, adventurous and conscientious nature that makes performance studies such an innovative, valuable and exciting field.

The field of performance studies analyses the production and impact of on-stage performance, such as in a theatre or circus, and off-stage performance, such as cultural rituals and political protests. Performance Studies: Key Words, Concepts and Theories introduces students to 34 key topics seen as paramount to the future of performance studies in a series of short, engaging essays by an international team of distinguished scholars. Each essay contributes to the wide-ranging, adventurous and conscientious nature that makes performance studies such an innovative, valuable and exciting field.

A history of the Rudge-Whitworth cycle and motorcycle company, from the late 1800s to the 1940s, including full production histories of the motorcycle models. Topics covered include: the origins of Rudge-Whitworth, from Daniel Rudge's early bicycles, to the Pugh family merger; the expansion into motorcycle production in 1909, with the 'M' prototypes and 'F'-head engines; the invention of the Rudge Multi gear engine in 1912, and a subsequent Isle of man win in 1914; the innovative 'Rudge Four' engines, with four parallel valves per cylinder; the 'Python' models - Rudge equipment used by other manufacturers, including in Enzo Ferrari's Scuderia Ferrari, and finally the post-war slump and a move to EMI, with later attempts to revive the Rudge name. With hundreds of original photographs, Rudge-Whitworth - The Complete Story is an ideal resource for anybody with an interest in the world's largest cycle and motorcycle manufacturers of the early twentieth century.

Performing Transversally expands on Bryan Reynolds' controversial transversal theory in exciting ways while offering groundbreaking analyses of Shakespeare's plays - Hamlet , Othello , Macbeth , Taming of the Shrew , Titus Andronicus , Henry V , The Tempest , and Coriolanus - and textual, filmic, and theatrical adaptations of them. With his collaborators, Reynolds challenges traditional readings of Shakespeare, re-evaluating the critical methodologies that characterize them, in regard to issues of cultural difference, authorship, representation, agency, and iconography. Reynolds demonstrates the value of his 'investigative-expansive mode,' outlining a 'transversal poetics' that points toward a critical future that is more aware of its subjective interconnectedness with the topics and audiences it seeks to engage than is reflected in most Shakespeare criticism and literary-cultural scholarship.

Performing Transversally expands on Bryan Reynolds' controversial transversal theory in exciting ways while offering groundbreaking analyses of Shakespeare's plays - Hamlet , Othello , Macbeth , Taming of the Shrew , Titus Andronicus , Henry V , The Tempest , and Coriolanus - and textual, filmic, and theatrical adaptations of them. With his collaborators, Reynolds challenges traditional readings of Shakespeare, re-evaluating the critical methodologies that characterize them, in regard to issues of cultural difference, authorship, representation, agency, and iconography. Reynolds demonstrates the value of his 'investigative-expansive mode,' outlining a 'transversal poetics' that points toward a critical future that is more aware of its subjective interconnectedness with the topics and audiences it seeks to engage than is reflected in most Shakespeare criticism and literary-cultural scholarship.