By Simon Murray, John Keefe
This new version of actual Theatres: A serious Introduction keeps to supply an exceptional assessment of non-text-based theatre, from experimental dance to conventional mime. It synthesizes the historical past, thought and perform of actual theatres for college kids and performers in what's either a center quarter of analysis and a dynamic and cutting edge point of theatrical perform.
This finished book:
- traces the roots of actual functionality in classical and well known theatrical traditions
- looks on the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jérôme Bel
- examines the modern perform of businesses comparable to Théatre du Soleil, Complicite and Goat Island
- focuses on ideas and practices in actor education, just about figures equivalent to Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood.
Extensive pass references make sure that Physical Theatres: A serious Introduction can be utilized as a standalone textual content or including its better half quantity, Physical Theatres: A serious Reader, to supply a useful advent to the actual in theatre and performance.
New to this variation:
- a bankruptcy on The physique and Technology, exploring the influence of electronic applied sciences at the portrayal, conception and analyzing of the theatre physique, spanning from onstage expertise to digital realities and movement capture;
- additional profiles of Jerzy Grotowski, Wrights and websites, Punchdrunk and Mike Pearson;
- focus on circus and aerial functionality, new education practices, immersive and site-specific theatres, and the most recent advancements in neuroscience, specially as those influence at the position and position of the spectator.
Read Online or Download Physical Theatres: A Critical Introduction PDF
Similar theater books
The Cambridge Companion to Victorian and Edwardian Theatre (Cambridge Companions to Literature)
This significant other is designed for readers drawn to the construction, construction and interpretation of Victorian and Edwardian theater. An advent surveying the ancient interval of the theater is by means of an essay contextualizing it in the tradition as an entire. Succeeding chapters study functionality and construction, (including song, actors, stagecraft and audience), performs and playwriting and problems with classification and gender.
Critical Theory and Performance: Revised and Enlarged Edition (Theater: Theory Text Performance)
Severe concept and function provides a huge diversity of serious and theoretical equipment and applies them to modern and ancient functionality genres—from degree performs, dance-dramas, functionality paintings, cabaret, stand-up comedy, and jazz to circus, highway theater, and shamanistic ritual. because the first entire creation to serious theory’s wealthy and various contributions to the learn of drama, theater, and function, the publication has been hugely influential for greater than a decade in supplying fertile flooring for educational investigations within the full of life box of functionality stories.
The Fighting Art of Pencak Silat and Its Music: From Southeast Asian Village to Global Movement
Scuffling with arts have their very own attractiveness, inner philosophy, and are hooked up to cultural worlds in significant and critical methods. Combining techniques from ethnomusicology, ethnochoreology, functionality idea and anthropology, the distinguishing characteristic of this e-book is that it highlights the centrality of the pluripotent paintings kind of pencak silat between Southeast Asian arts and its significance to a community of conventional and sleek acting arts in Southeast Asia and past.
- Charles Walters: The Director Who Made Hollywood Dance
- The Legacy of Opera: Reading Music Theatre as Experience and Performance
- Directors’ Theatre
- Politische Bildung im Theater
- Daughters of Eve: A Cultural History of French Theater Women from the Old Regime to the Fin de Siècle
- Partial Histories: A Reappraisal of Colley Cibber
Additional info for Physical Theatres: A Critical Introduction
Example text
Preoccupation with the second of these two strategies is not simply because the authors have their own interests, agendas and histories beyond theatre and performance, nor is it because we believe our readers need a good dose of philosophy and cultural theory to stiffen and brace their eclectic and fluid artistic practices. Rather, it is to hold firmly to a position which argues that theatre practices can only effectively be understood and engaged with through a focus that Susan Bennett describes as ‘inner and outer frames’ (1997: 1).
The central theatrical sign, the actor’s body, refuses to serve signification. Subjectivity and feeling: the phenomenologist’s case In many respects, phenomenology seems to offer a mutually incompatible theoretical perspective to that of semiotics. Here, an emphasis on individual consciousness and a preoccupation with essential truth appear at odds with the language-centred character of signification in semiotic analysis. For the phenomenologist, the human body is not in space but of space, a crucial perception from which it follows that an individual’s relationship with the world is manifested not as a series of linguistic signs, but as sensory, somatic and mental phenomena.
In her book on the French mime tradition, Myra Felner (1985) writes about Copeau, Decroux, Barrault, Lecoq and Marceau, and considers what these practices say about how we know and make sense of the world. In contrast to much contemporary philosophical analysis which proposes that it is only through language that we can comprehend the world, in Lecoq’s work with the neutral mask, for example, he is trying to return students to a condition where they only know the world through gesture, movement and touch, all of which in his analysis originally preceded the word: Gesture precedes knowledge Gesture precedes thought Gesture precedes language (Felner 1985: 150) 22 GENESIS, CONTEXTS, NAMINGS For the fundamentalists, ‘presence’ is beyond signification, ahistorical and acultural.