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In ten one-page hypothetical scores, playlets, and closet dramas, a collection of theorists and artists of the contemporary stage present \"imagined theatres\" interrogating what is possible and impossible at the intersections of performance and technology. A one-page gloss faces each imagined theatre, expanding on its promise in critical, historical, or personal terms. The dialogues among these texts explore how performances theorize, and how theory can itself be a performance. Together, they consider the various technologies that comprise the stage and the page, the actor and the viewer, and they recognize the theatre as a medium for imagining our world as if it were another. These pages offer a selection excerpted from a larger volume of more than 120 imagined theatres and glosses to be published in early 2017 under the title of Imagined Theatres: Writing for a Theoretical Stage. An ever-expanding online archive and journal (www.imaginedtheatres.com) will also be launched alongside the book, inviting others to share what they imagine the theatre could become.

How do you shake up a centuries-old institution? Carefully, but not too carefully. H?bbe has done a little of everything: hosting conceptual evenings in which ballet jostles with other art forms, commissioning works from big names like Christopher Wheeldon, even doing his own updates on the company's cherished August Bournonville ballets. \"Some people felt, 'He's not meticulous about the tradition? this ?s bad.' Other people said, 'He's trying to renew the tradition ? that's fantastic.'\"

Claudia La Rocco reviews the book \"Mandela, Mobuto, and Me: A Newswoman's African Journey\" by Lynne Duke.

Claudia La Rocco reviews \"Mervyn Peake: My Eyes Mint Gold: A Life\" by Malcolm Yorke.

The title character is long gone in \"Alison's House\" when a young, breathless reporter arrives on the final night of the 19th century, hunting for a story about Alison Stanhope as her family struggles with who should control this narrative, and how.