Both in opera studies and in most operatic works, the singing body is often taken for granted. In Postopera: Reinventing the Voice-Body, Jelena Novak reintroduc

How are we to understand the actor's work as a fully embodied process? 'Embodied cognition' is a branch of contemporary philosophy which attempts to frame human

In New Labour's empathetic regime, how did diverse voices scrutinize its etiquettes of articulation and audibility? Using the voice as cultural evidence, Voice

Critical Acting Pedagogy: Intersectional Approaches invites readers to think about pedagogy in actor training as a research field in its own right: to sit with