Dr Laura Sava is Assistant Professor of Film Studies at Xi’an Jiaotong-Liverpool University, China. She is the author of Theatre Through the Camera Eye (2019, EUP).

• Acknowledgments List of illustrations Introduction: Accommodating Difference: The Filmic Representation of Theatre Part I: Theatre, Interrupted: Strategies of Intermedial Embedment Chapter 1: No Strings Attached: Framing Puppets in Movement 1.1 The Double Life of Véronique and the Theatrical Mise en Abyme 1.2 Dolls: Theatrical Bracketing and Filmic Distortion Chapter 2: Theatre, Memory, and the Framing Voice 2.1. The Jester: Competing Voices in Alternating Scenes 2.2. All About My Mother: Filmic and Theatrical Repetitions Chapter 3: The Making and Unmaking of Theatre Rehearsals on Screen 3.1. Theatre in Multiple Frames: L’Amour fou and the Self-Defeating Rehearsal 3.2. Synecdoche, New York: Film and Theatre as Mutually Contaminating Worlds Part II: Divided Attention: Intermedial Performers and their Split Audience Chapter 4: Spectatorship by Proxy Meets Multimodal Performance 4.1. Subversive Performances and Sonic Perspectives in Opening Night 4.2. Conspicuous Camera and Utopian Spectatorship in A Tale of Winter 4.3. Exit the Actor: Restrained Performances and the View from the Wings in I’m Going Home Chapter 5: Cinematic Monologues and Their Spectatorial Address 5.1. The Travelling Players and the Historical Monologue 5.2. ‘Something to do with living’: My Dinner with André and the Ekphrastic Duologue 5.3. Spalding Gray and the Autobiographical Monologue 5.4. The Arbor and the Unreliable Monologue Epilogue Bibliography Index