New Books in Performing Arts

"Roman theatre" is a term often used to describe the theatre of ancient Italy during the second and third century BCE. Plautus and Terence are referred to as ‘Roman playwrights,’ and Rome itself is generally regarded as the driving force behind the development of theatrical culture in Italy. But was this early theatre in Italy specifically or characteristically Roman? Using previously marginalised archaeological source material and placing it in constructive dialogue with the surviving ancient literature, A New History of Ancient Roman Theatre (Liverpool UP, 2025) offers a significant reinterpretation of how theatre developed in the Italian peninsula, as well as a radical reappraisal of the role of Republican Rome as the impetus for cultural change. Challenging a long-held scholarly consensus, it is argued that whilst Rome would eventually rise to political and cultural dominance, the archaeological evidence does not encourage us to view Rome as a significant factor in the development of theatre in Italy until at least the end of the first century BCE and the construction of the Theatre of Pompey. Our attention is directed instead to other cities in the Italian peninsula during the third and second centuries BCE, which have hitherto been greatly overshadowed by imperialistic narratives of Roman cultural development.

Jessica Clarke is a historian and archaeologist specialising in ancient Roman theatre and entertainment culture. She was awarded her PhD by University College London in 2024.

Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature.

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Higher education continually mediates long standing traditions while seeking new ways of thinking, creating a quiet tension as institutions respond to shifting and multiple socio-cultural values. Dance programs, not immune to these currents, must consider intersecting obligations to build a more equitable curriculum, meet the needs of an increasingly diverse population, and prepare students for a wider array of dance-based careers. In view of their critical role in stewarding the next generation of dance artists-educators-scholars-leaders and fostering change in higher education, faculty must give more attention to the experiences of those committed to dance in higher education.Stories We Dance / Stories We Tell: Essays on Dance in Higher Education (McFarland, 2025) articulates and considers these lived experiences, revealing the inner workings of dance in higher education. Autoethnographic essays varying in style and scope illuminate the pressures encountered across one’s career trajectory. By unearthing and contextualizing hidden challenges, expectations, and opportunities, the authors speak to possibilities for how proactive change in dance education can occur.
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In Women, Dance and Parish Religion in England, 1300-1640: Negotiating the Steps of Faith (Boydell & Brewer, 2022) Dr. Lynneth Miller Renberg presents a lively exploration of the medieval and early modern attitudes towards dance, as the perception of dancers changed from saints dancing after Christ into cows dancing after the devil.

The devil’s cows, impudent camels, or damsels animated by the devil: late medieval and early modern authors used these descriptors and more to talk about dancers, particularly women. Yet, dance was not always considered entirely sinful or connected primarily to women: in some early medieval texts, dancers were exhorted to dance to God, arm-in-arm with their neighbors, and parishes were filled with danced expressions of faith. What led to the transformation of dancers from saints dancing after Christ into cows dancing after the devil?

Drawing on the evidence from medieval and early modern sermons, and in particular the narratives of the cursed carolers and the dance of Salome, this book explores these changing understandings of dance as they relate to religion, gender, sin, and community within the English parish. In parishes both before and during the English Reformations, dance played an integral role in creating, maintaining, uniting, or fracturing community. But as theological understandings of sacrilege, sin, and proper worship changed, the meanings of dance and gender shifted as well. Redefining dance had tangible ramifications for the men and women of the parish, as new definitions of what it meant to perform one’s gender collided with discourses about holiness and transgression, leading to closer scrutiny and monitoring of the bodies of the faithful.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.
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Postcolonialism Now: Literature, Reading, Decolonising (Orient BlackSwan, 2024) by Sourit Bhattacharya introduces a new method of decolonial reading and criticism. It critically examines the history and ongoing influence of colonialism and imperialism in postcolonial cultures and texts. The volume seeks to address the crucial question of how to read postcolonial literatures closely and comparatively, particularly through the lenses of decolonisation and anticolonialism. Through rubrics such as migration, ecology, trauma, minorities and futurity, Postcolonialism Now engages with close readings of films, graphic novels, fiction, theatre and poetry from across the globe.
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In October 1973, the poet and singer Leonard Cohen—thirty-nine years old, famous, unhappy, and at a creative dead end—traveled from his home on the Greek island of Hydra to the chaos and bloodshed of the Sinai desert when Egypt attacked Israel on the Jewish high holiday of Yom Kippur. Moving around the front with a guitar and a group of local musicians, Cohen met hundreds of young soldiers, men and women at the worst moment of their lives. Those who survived never forgot the experience. And the war transformed Cohen. He had announced that he was abandoning his music career, but he instead returned to Hydra and to his family, had a second child, and released one of the best albums of his career.
In Who by Fire, journalist Matti Friedman gives us a riveting account of those weeks in the Sinai, drawing on Cohen’s previously unpublished writing and original reporting to create a kaleidoscopic depiction of a harrowing, formative moment for both a young country at war and a singer at a crossroads.
Matti Friedman is an award-winning journalist and author. Born in Toronto and based in Jerusalem, his work has appeared regularly in the New York Times, The Atlantic, Tablet, and elsewhere. Friedman's last book, Spies of No Country: Secret Lives at the Birth of Israel, won the 2019 Natan Prize and the Canadian Jewish Book Award for history. Pumpkinflowers: A Soldier's Story of a Forgotten War was chosen in 2016 as a New York Times Notable Book and one of Amazon's 10 best books of the year. His first book, The Aleppo Codex, won the 2014 Sami Rohr Prize and the ALA's Sophie Brody Medal.
Matti Friedman on Twitter.
Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter.
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