Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, this volume opens up the study of theatrical production, live art and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. By way of developed case studies, readers access new methodologies and approaches for their own exploration of 'movement' as a performance component. In an engagement with the burgeoning interdisciplinary field of movement studies, this book introduces theatre and performance studies scholars and students to new work important to the field. Among the historical case studies are a range of classic works and contemporary productions including Satoshi Miyagi's production of Sophocles' Antigone (2017) and Thomas Ostermeier's production of Ibsen's Hedda Gabler (2008). In the second part - Movement Systems and Embodied Action - Fensham examines the Berliner Ensemble's Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatre production of War Horse (2007).

Section three - Movement in Contemporary Theatre - considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States and United Kingdom. This v olume is supported by further online resources including illustrative material, questions and exercises.