Theatre Museum Research Articles

Learning Robotics in a Science Museum Theatre Play: Investigation of Learning Outcomes, Contexts and Experiences

Theatre is often introduced into science museums to enhance visitor experience. While learning in museums exhibitions received considerable research attention, learning from museum theatre has not. The goal of this exploratory study was to investigate the potential educational role of a science museum theatre play. The study aimed to investigate (1) cognitive learning outcomes of the play, (2) how these outcomes interact with different viewing contexts and (3) experiential learning outcomes through the theatrical experience. The play ‘Robot and I’, addressing principles in robotics, was commissioned by a science museum. Data consisted of 391 questionnaires and interviews with 47 children and 20 parents. Findings indicate that explicit but not implicit learning goals were decoded successfully. There was little synergy between learning outcomes of the play and an exhibition on robotics, demonstrating the effect of two different physical contexts. Interview data revealed that prior knowledge, experience and interest played a major role in children’s understanding of the play. Analysis of the theatrical experience showed that despite strong identification with the child protagonist, children often doubted the protagonist’s knowledge jeopardizing integration of scientific content. The study extends the empirical knowledge and theoretical thinking on museum theatre to better support claims of its virtues and respond to their criticism.

Interpreting social issues: Museum theatre’s potential for critical engagement

Museum theatre and its potential within museum education is explored at the Museum Education and Research Laboratory at the University of Thessaly, Greece. There, the leading research project Museums and Education: methods of approaching and interpreting museum objects’aims to address how, over the last few decades, museum theatre has been in ever-increasing use to vocalize the sensitive issues of a multicultural society and marginalized social communities. Recent studies highlight museum theatre evoking empathy and critical engagement in the audience with the subject-matter of the performance. One such performance was organized by the School of Drama at the Aristotle University of Thessaloniki and studied in depth. Titled Voices of the City: Historical Routes through Theatre, the performance embodied controversial social issues, and its implementation was evaluated using qualitative methodology to examine the responses of visitors.

Review: Friedrich Kiesler: Lebenswelten/Life Visions

Friedrich Kiesler: Lebenswelten/Life Visions Austrian Museum of Applied Arts/Contemporary Art (MAK), Vienna 15 June–2 October 2016 This exhibition focusing on the Austrian American Friedrich (Frederick) Kiesler (1890–1965) was the latest in a series at the MAK devoted to protagonists of the Wiener Moderne ; it followed exhibitions on Josef Frank and on the relationship between Josef Hoffmann and Adolf Loos.1 Kiesler has become a familiar figure in the Viennese museum scene. In 1997 his estate was purchased by the Austrian state and the city of Vienna. The same year saw the establishment of the Austrian Friedrich and Lilian Kiesler Foundation, which has since undertaken exemplary research, resulting in exhibitions and a growing awareness of Kiesler's relevance to contemporary discourse. The last significant exhibition, The Scenery Explodes—Frederick Kiesler, Architect and Visionary Theater Designer , was mounted by the Austrian Theater Museum in 2012–13.2 In 2015, Birkhauser published Endless Kiesler , a comprehensive account of Kiesler's spatial innovations.3 Thanks to the foundation's efforts, Kiesler is now one of the best-known figures of Viennese modernism. The curators of the exhibition at the MAK, Dieter Bogner, Maria Lind, and Barbel Vischer, set themselves the challenge of developing a new approach to Kiesler's career. Using a transdisciplinary methodology, they made Kiesler's transgression of boundaries their focus. Specifically, they stressed the interaction Kiesler achieved between aesthetic and empirical-scientific practices and their reflection of the environment and lifeworld ( Lebenswelt ). The Lebenswelten of the exhibition title …

Provenance studies of 18th century potassium-rich archaeological glass from Portugal

The archaeometric study of a group of colourless glass fragments recovered from two archaeological excavations performed in Lisbon, Portugal is here reported. The archaeological interventions were performed at Rua do Arsenal (LRA), where the ruins of the Côrte-Real Palace were partially discovered, and at the Roman Theatre Museum (LTR), where the remains of a middle-class house dated to the 18th century were found. The recovered glass fragments are dated between the end of the 17th century and the 18th century, and were chemically characterised with the aim of discussing its provenance. Micro particle induced X-ray emission (μ-PIXE) and laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS) were the chosen analytical methods to characterise the glass composition. All twenty-five fragments proved to be of a potassium-rich composition, where the choice of raw materials seems to have been made with extreme care. This is reflected in general by a composition with low levels of impurities, such as alumina and iron oxide, and high levels of silica.Two compositional groups were identified, that besides differing in other components have different contents of arsenic oxide. None of the groups could be undoubtedly compared with the few known potassium-rich compositions from coeval glass production centres in Europe. The majority of the analysed samples could only be compared, in terms of major oxides, with the potassium-rich production from the Coina Glass Factory in Portugal.

東京国立博物館・特集展示「伊能忠敬の日本図」とミュージアムシアターを活用したサービスデザインプラクティス( デジタルミュージアムの展開)

東京国立博物館・特集展示「伊能忠敬の日本図」とミュージアムシアターを活用したサービスデザインプラクティス( デジタルミュージアムの展開)

Dendrochronological investigation of the bowed string instruments at the Theatre Museum Carlo Schmidl in Trieste, Italy

Abstract The Civico Museo Teatrale Carlo Schmidl in Trieste, Italy, hosts a collection of bowed string instruments, the majority of which have been made by local violin makers in the 19th and 20th centuries. Dendrochronological analysis afforded the terminus post quem of 17 out of 23 bellies with significant statistical parameters. With the pooled series of all instruments, a mean chronology spanning 280 years between 1658 and 1938, named Museum Schmidl Trieste (MST), was constructed. MST correlates with numerous reference chronologies validated for Norway spruce and silver fir in the Alps and Central Europe. We exploited the width of the growth rings and the statistically most potent cross-matchings with reference chronologies for drawing hypotheses on dendroprovenance coming to the conclusion that the resonance wood of the instruments at the Schmidl-Museum mainly originated from Central Europe and the Eastern Alps.

The Wheel Woman

“The Wheel Woman,” an interactive performance at the National Museum of American History (nmah) captures visitors' attention and illuminates the gendered history of the bicycle. Although space limitations hamper the actor's ability to connect to museum exhibitions as was originally planned, the performer engages audiences with ease. Accessible and funny, the program plays to varied visitor comfort levels and uses personal conversations to help visitors connect their lives to history. The costumed program, offered regularly throughout the year, is a model of successful museum theater and demonstrates the possibilities of collaboration between performance and historical interpretation. The performance succeeds in large part because of the work of the skilled actor Julia Garner, who is committed to its historical content. During the program she rides an original 1898 Gendron Wheel Company bicycle around the ground floor of the museum's west wing. She wears a period-appropriate costume: a white blouse, long maroon skirt, and boater hat accessorized with a League of American Wheelmen pin. When visitors stare or approach, Garner stops the bicycle to converse. If appropriate, she blows her safety whistle and demonstrates the features of the bicycle and its adaptations for female riders. From the bicycle's basket, she shows off other objects, including a stereograph camera and its resulting images.

Intermedial museum performance: a reflection on the use of intermedial performance as a medium of immersion at the Barbados Museum & Historical Society

ABSTRACTThe Barbados Museum & Historical Society (BMHS) is seeking to attract a larger percentage of patrons from among the younger demographic, many of whom are technologically inclined. The intermedial performance approach was therefore recommended as a means of bridging the gap with this age group by allowing them to become ‘experiencers’ [Anderson, Gail, ed. 2004. Reinventing the Museum: Historical and Contemporary Perspectives on the Paradigm Shift. Oxford: Rowman and Littlefield., 45] of history, rather than passive observers. In order to test this approach, a controlled experiment was set up with a group of 10 young people (ages 17–24) who were given a guided tour of the temporary technology-enhanced World War 1 (WW1) exhibit which was on loan to the BHMS by Alliance Français. They were then given the tour a second time, using an intermedial performance approach, after which they were asked to compare the two experiences. Their responses to the experiment were then analysed in context to immersion, with specific reference to intermedial performance and immersive theatre. This paper reflects on the results of the experiment while serving as an enquiry into the efficacy of technology as a means of enhancing the immersive museum theatre experience, with the aim of appealing to a younger demographic.

Cultural buildings' genealogy of originality: the individual, the unique and the singular

In recent years cultural buildings have proliferated widely as keystones within strategies of urban development and regeneration. Architecturally, from both a performative and historical dimension, there is a consistent attempt to deal with these buildings as distinctive urban artefacts and as original formal configurations. Ever since the completion of Bilbao's Guggenheim Museum (1997), professional publications and mass media have been celebrating its pioneering architecture, to the extent that the neologism ‘Bilbao effect’ has become commonplace both as a technical term and as an urban ambition.Against this legacy, this paper will argue that the architectural urbanism of cultural buildings is riddled with a latent contradiction. Whilst their architecture exhibits a dynamic tendency for formal experimentation, their urbanism is statically confined to a spatial strategy pursuing extravagant icons in search of dominant urban scenes. From this perspective, and against the prevailing understanding, Bilbao's Guggenheim exemplifies this conservative strategy. By extension and contrast, and notwithstanding their emergence several decades ago, Berlin's New National Gallery, Sao Paulo's Art Museum and London's National Theatre are investigated as instances of strategically different dispositions which have achieved innovative—and yet still under-examined—results through their typological articulation. The essay concludes by speculating on the sources of the aforementioned contradiction, as well as by exploring San Sebastian's San Telmo Museum as a recent project that has built upon the achievements of these counter cases.

Understanding Producers’ Intentions and Viewers’ Learning Outcomes in a Science Museum Theater Play on Evolution

Science museums often introduce plays to liven up exhibits, attract visitors to specific exhibitions, and help visitors to “digest” difficult content. Most previous research has concentrated on viewers’ learning outcomes. This study uses performance and spectator analyses from the field of theater studies to explore the link between producers’ intended aims, the written script, and the learning outcomes. We also use the conflict of didactics and aesthetics, common to the design of both educational plays and science museum exhibits, as a lens for understanding our data. “Darwin’s journey,” a play about evolution, was produced by a major science museum in Israel. The producers’ objectives were collected through in-depth interviews. A structural analysis was conducted on the script. Viewer (n = 103) and nonviewer (n = 90) data were collected via a questionnaire. The results show strong evidence for the encoding of all of the producers’ aims in the script. Explicit and cognitive aims were decoded as intended by the viewers. The evidence was weak for the decoding of implicit and affective aims. While the producers were concerned with the conflict of didactics and aesthetics, this conflict was not apparent in the script. The conflict is discussed within the broader context of science education in informal settings.

Performing the archive and re-archiving memory: Magnet Theatre's Museum and Reminiscence Theatre

In this article I examine the performance of Magnet Theatre's Tears Become Rain and also make reference to several other performances by the same company. My major thrust is to evaluate Magnet Theatre's Clanwilliam Art Project against its set objectives, using Tears Become Rain as a starting point. Tears Become Rain was a single performance of one of the stories of //Kabbo. Every year the creative collective comprising Magnet Theatre, and the University of Cape's Departments of Fine Art and Archaeology chooses a narrative from one of the 2000 notebooks containing 13,000 pages of oral stories transcribed by Wilhelm Bleek and Lucy Lloyd. These oral narratives are verbatim accounts of the San ex-prisoner, //Kabbo, and a small number of informants who temporarily lived with the writers in Cape Town between 1870 and 1884. This creative collective has been working with close to 700 learners of Clanwilliam aged between five and 18 for eight days each year to produce a performance that gets to be watched by the broader Clanwilliam community including parents, friends and family. One of the objectives of the creative collective is to attempt to reclaim the heritage of the /Xam by reconnecting story and landscape by putting that heritage to work in the Clanwilliam community. It is this performance of the past, its curation and archiving in the present that I want to problematize in this article. I argue that the archive is both a repository filled with random survivals of the past and also a closet that erases or closes out other knowledges. I problematize the notion of preservation of heritage seeing that the San in their nineteenth-century phenotype have completely disappeared in Clanwilliam together with their language and repertoire of embodied acts.

Theatre & Museums by Susan Bennett, and: Theatre & Architecture by Juliet Rufford (review)

Reviewed by: Theatre & Museums by Susan Bennett, and: Theatre & Architecture by Juliet Rufford Whit Emerson Theatre & Museums. By Susan Bennett. Theatre & series. London: Palgrave Macmillan, 2012; pp. 96. Theatre & Architecture. By Juliet Rufford. Theatre & series. London: Palgrave Macmillan, 2015; pp. 108. Theatre artists have always wrestled with the interplay among space, performer, and audience, seeking a deeper understanding of the three. Performance shapes and is shaped by the social and physical areas it inhabits. Questions regarding the relationship between performance and space lead scholars and practitioners alike to examine the structures they occupy, paving the way for performance to leave traditional theatre spaces. Two new entries from the Theatre & series offer accessible introductions to current trends in theatre and performance, and give interdisciplinary insight to museums and architecture by use of practical and theoretical examples. Theatre & Museums aims to give readers a brief introduction to the state of the field at the intersection of theatre and museum studies. The book begins with the series editor’s preface and is divided into seven sections based on the idea of re-performance as archive. The layout finishes with a “further reading” list, including a short introduction from the author pointing out the most prominent works. The list is a wonderful resource, including an alphabetized list of books, websites, journal articles, and chapters for further study. Author Susan Bennett is a perfect candidate to write Theatre & Museums because of her published work on historicizing the audience, and the challenge that museum spaces offer to the role of the audience. While the phenomenon of theatrical performance in museums is not new, there has been little work on the attempt to capture theatrical performance in a museum from theatre scholars. Bennett’s survey of the failures and successes of entering the ephemeral elements of performance into the archive make for the most entertaining and enlightening sections of the book. Through her personal experiences with experiential museum installations and exhibits of theatre in museums, she encourages an appreciation of the challenges of curating performance. [End Page 180] Bennett introduces her contribution to the series using the MoMA retrospective on Marina Abramovic as a lens to view the ideas of archive, re-performance, and repertory in relation to theatre and the museum. She considers the problem of capturing the uncapturable essence of performance, and questions the effectiveness of documents, photographs, and video as a performance archive. Although Bennett limits her survey of museum theory to the mid-twentieth century, she highlights the recent trend of curators troubling the idea of a simple chronological display of objects and brings up the major discrepancy between theatre and museums: “Museums traffic mostly in material designated as representing the past, while theatrical performance takes place resolutely in the present, ephemeral, resistant to collection” (5). Bennett also points out the overlap of artistic movements that bled from theatre to art, writing “what major collection of twentieth-century art would not hold works by artists of Dada, the Italian futurists, surrealism, or the avant-garde?” (6). In highlighting the similarities between performance art’s mission to democratize art and the museum’s educational mission, she encourages the reader to see the common ground the two share when united in the MoMA retrospective. The next section, “Re-performance,” traces the birth of the modern public museum as a system for the state to control culture and posits re-performance, performing the same piece with different bodies, as a kind of performative archive. Breaking with traditional museum theory, Bennett places more emphasis on the display of the performance itself, as opposed to those material artifacts from the performance. Of importance is Bennett’s examination of divorcing a performance from the body of its creator; she questions, for example, whether the Abramovic exhibit at MoMA in 2010 was a true re-performance of her work. In the next two sections, Bennett shows how a shift from lifeless archive to living experience can invigorate patrons. Taking a fascinating look at the troubled history of the London Theatre Museum, with its artifact-centered curatorial practice that contributed to its closure, Bennett shows us the trouble of displaying theatre in museums. Next, she uses music as a proxy for...

Patrimony for Peace:

Patrimony for Peace:

What is the significance of the establishment of the Slovenian Theatre Institute?

Abstract Already back in the 1960s, Dušan Moravec was planning the functioning of the Slovenian National Theatre Museum [Slovenski gledališki muzej] as a museological and, more broadly, research-based activity; yet, his vision of an institute did not take off while he was in charge of the museum. In February 2014, upon the initiative of the museum, its director and experts in the field, the Government of the Republic of Slovenia ratified the decision to restructure SGM and to establish the Slovenian Theatre Institute; however, this is supposed to transpire at the time of funding cuts in all areas with no financial and personnel consolidation. We are right to ask then: what does the establishment of the institute mean in the given circumstances, especially if we take into account the fact that SGM has been working in disorganised circumstances ever since its inception?.

Authentic pretending: how theatrical is museum theatre?

The traditional and stereotypical image of the museum as a place of authority and truth, and the theatre as a place of insubordination and fiction, forms quite a contrast. It is the aim of this paper to explore the tensions that arise within the dual discipline of museum theatre. As performance in museums can often be a temporary novelty, the extent to which theatrical creativity is able to be exercised is questioned by examining the foundations of museum theatre, the concept of authenticity and the post-dramatic theatre movement. In drawing attention to issues which museum performers face, it is suggested that a greater range of theatrical techniques be employed in order to explore the boundaries of the practice as a learning tool and performance art.

Using process drama in museum theatre educational projects to reconstruct postcolonial cultural identities in Hong Kong, Singapore and Taiwan

Museums have been employing theatre activities in their educational programmes to outreach youngsters for more than three decades all over the world since the late 1980s; however, it is still quite a new experience for eastern and south-eastern Asian countries. In the past 3 years, Hong Kong, Singapore and Taiwan started to use different forms of museum theatre in educational programmes to represent their multiple histories and cultural identities through various projects and showcases. Among these praxes, process drama have been most widely employed by teacher–facilitators for youngsters to reconstruct their own interpretations of historical events and narratives through chosen and rediscovered historical fragments, often neglected and even forgotten in the past. I argue that these process drama projects help the youngsters to reconstruct their own ever-changing cultural identities of these places which are under enormous change day by day in their current postcolonial and postmodern conditions. I also try to demonstrate how these praxes cross geographical, historical, ethnic and cultural as well as community borders to translate historical narratives buried in their heritage sites, ethnic community histories or aboriginal intangible cultural heritage such as tribal dances, songs and rituals into contemporary dramatic enquiry activities and performances. Why are they interested in these praxes almost at the same time lately? What are their goals in these projects? What cultural and social meanings do these praxes carry and sustain? What are the aesthetic strategies they use in these programmes and why do they choose them and how well do they work to achieve their goals? I would like to apply theories of museum theatre, process drama as well as postmodern aesthetics and educational theories and theories of post-colonialism to re-examine these praxes in their different cultural contexts to explore the above questions.

Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation. Edited by Anthony Jackson and Jenny Kidd. Manchester: Manchester University Press, 2011; 288 pp.; illustrations. $90.00 cloth, $29.95 paper

June 01 2013 Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation. Edited by Anthony Jackson and Jenny Kidd. Manchester: Manchester University Press, 2011; 288 pp.; illustrations. $90.00 cloth, $29.95 paper Jessica Nakamura Jessica Nakamura Search for other works by this author on: This Site Google Scholar Author and Article Information Jessica Nakamura Online ISSN: 1531-4715 Print ISSN: 1054-2043 ©2013 New York University and the Massachusetts Institute of Technology2013 TDR/The Drama Review (2013) 57 (2 (218)): 187–188. https://doi.org/10.1162/DRAM_r_00270 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Jessica Nakamura; Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation. Edited by Anthony Jackson and Jenny Kidd. Manchester: Manchester University Press, 2011; 288 pp.; illustrations. $90.00 cloth, $29.95 paper. TDR/The Drama Review 2013; 57: 2 (218), 187–188. doi: https://doi.org/10.1162/DRAM_r_00270 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsTDR/The Drama Review Search Advanced Search This content is only available as a PDF. ©2013 New York University and the Massachusetts Institute of Technology2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Personal Beliefs and National Stories: Theater in Museums as a Tool for Exploring Historical Memory

AbstractHow does what we remember about history relate to true historical understanding, and how can the museum become a location for these conversations? During the summer of 2011, the National Museum of American History challenged audiences to consider issues of historical memory and national history through the performance of an interactive museum theater program, The Time Trial of John Brown. Using the Time Trial approach as a case study, this article reveals that interactive theater in museums can provide a platform from which audiences assert their own historical understanding while learning firsthand about their role in creating a shared knowledge of American history. As the role of museums evolves in the twenty‐first century, new attention must be paid to this personal process of examining and creating history and memory through performance. It is through performance and participation that history and memory are both examined and created by the audience.

Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation ed. by Anthony Jackson and Jenny Kidd (review)

Reviewed by: Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation ed. by Anthony Jackson and Jenny Kidd Elizabeth Melton Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation. Anthony Jackson and Jenny Kidd, eds. Manchester: Manchester University Press, 2011. Cloth $90.00. 292 pages. This polyvocal volume "encourages us to reflect again on the relationships between 'our' pasts and presents, truth and fiction (and the fragility of memory), authority and authorship, subject and object, the personal and collective" (7). Performing Heritage is the result of the Performance, Learning, and Heritage Project with an emphasis on investigating how performance impacts museums and heritage sites in the United Kingdom and across the globe; therefore this work combines the voices of scholars and practitioners from theatre and museum backgrounds in order to critically explore the complexities of heritage performance. The contributors' diverse areas of expertise provide a unique opportunity for dialogue between theatre practitioners and museum curators, many of whom do not always speak the same language. Despite the absence of a consensus concerning the relationship between history and performance among the authors, Performing Heritage provides a useful opportunity for theatre practitioners and scholars to consider the curatorial work required to present performances at the intersections of visual culture, history, and embodiment. In their introduction, editors Anthony Jackson and Jenny Kidd draw connections across chapters and situate the multifaceted issues tied to heritage within cultural tourism, history, performance, and museum studies. As one consistent point of entry, numerous essays engage directly with Barbara Kirshenblatt-Gimblett's seminal work, Destination Culture: Tourism, Museums, and Heritage, expanding Kirshenblatt-Gimblett's argument that museums create in their production of showing, emphasizing that heritage is presentation as much as preservation. The book is then divided into four sections that encompass several different aspects of heritage performance production and encourage readers to rethink audience reception, dissect "heritage," create heritage through performance, and explore successful productions. The first section, "Visitors, Audiences, and Events," situates the argument within a museum context, sets the stage for the remaining sections by analyzing the shift that has taken place in museums, and explores the efficacy of performance in museum settings. The authors in this section successfully call for variation in the ways people think about and interact with museums. Thinking interpersonally, Anthony Jackson argues that performances challenge museum visitors to participate, but suggests that more work needs to be done on how audiences are initiated into performances. Alke Gröppel-Wegener examines the ways architectural designs produce awe in audience members, shaping their experiences at the Jewish Museum in Berlin and other heritage sites. As the first section progresses, readers discover the [End Page 192] high expectations for museums to provide an engaging audience experience rather than simply making information available for perusal. As Helena Rees Leahy puts it: "the spectators have now become the spectacle" (31). The authors in this section struggle to address audience reception and repeatedly stress the challenges involved in gauging participants' reactions, reflecting the shift taking place in museum studies and the new drive to adjust the focus from object to visitor/audience. Section two, "Re-visioning Heritage: Recovery and Interpretation," advances the conversation by delving deeply into the conceptual meaning of heritage. The authors in this section agree heritage is more than a process of preservation and is performatively constructed and maintained through performance. Marilena Alivizatou's essay, "Intangible Heritage and the Performance of Identity," serves as a particularly good representation of the key elements that continually resurface in this section. Alivizatou questions the authenticity of the "fake" performance in museums and concludes, "performance is increasingly adopted as an important component of museum-work" (92). Anna Farthing persuasively argues that in some cases ethics outweigh authenticity and performance offers ways of "approaching subjects that invoke pity and terror" without whitewashing or repeating history's bleakest moments (101). These challenges and explorations of an antitheatrical bias emerge throughout this book; in the end, all of the authors embrace performance as a reasonably useful tool in heritage presentations, even as they remain suspicious of the ways performances intercede in historical representations of culture. The chapters in the third section, "Re-creating Heritage...

Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation ed. by Anthony Jackson and Jenny Kidd, and: Performing Remains: Art and War in Times of Theatrical Reenactment by Rebecca Schneider (review)

Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation ed. by Anthony Jackson and Jenny Kidd, and: Performing Remains: Art and War in Times of Theatrical Reenactment by Rebecca Schneider (review)