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In Staging and Re- cycling , John Keefe and Knut Ove Arntzen
re-visit and reappraise a selection of their work to explore how
the retrieval, re-approaching and re-framing of material can offer
pathways for new work and new thinking. The book includes a
collection of reprinted and first-published (although previously
presented) textual material interspersed with editorial material -
reflective essays from John and Knut on these pieces from the
archives and original essays from invited scholars that explore the
theme of repetition and re-cycling. The project has a number of
aims: to suggest how the status of 'new' with regard to academic
and staged dramaturgical materials may be reframed; to re-examine
these through certain lenses and concepts (re-cycling; re-working;
the spectator; landscape, post- and other dramaturgies); to explore
the possibilities of critique offered by particular modes of
juxtaposition, dialogue and dialectic; to offer further
provocations to received ideas; and to retrieve and re-approach
material, once published or presented, that becomes 'lost' in
archives or on library shelves. As shown here, the role of the
hyphen acts as an indicator to the status of 're-' in relation to
the 'new'. Written for scholars and academics, researchers,
undergraduate and postgraduate students, and practitioners working
in all forms for theatre and performance, Staging and Re-cycling
suggests a new form of dialogue between work, authors and readers,
and draws out threads that extend back into the past and
potentially forward into the future.
In Staging and Re- cycling , John Keefe and Knut Ove Arntzen
re-visit and reappraise a selection of their work to explore how
the retrieval, re-approaching and re-framing of material can offer
pathways for new work and new thinking. The book includes a
collection of reprinted and first-published (although previously
presented) textual material interspersed with editorial material -
reflective essays from John and Knut on these pieces from the
archives and original essays from invited scholars that explore the
theme of repetition and re-cycling. The project has a number of
aims: to suggest how the status of 'new' with regard to academic
and staged dramaturgical materials may be reframed; to re-examine
these through certain lenses and concepts (re-cycling; re-working;
the spectator; landscape, post- and other dramaturgies); to explore
the possibilities of critique offered by particular modes of
juxtaposition, dialogue and dialectic; to offer further
provocations to received ideas; and to retrieve and re-approach
material, once published or presented, that becomes 'lost' in
archives or on library shelves. As shown here, the role of the
hyphen acts as an indicator to the status of 're-' in relation to
the 'new'. Written for scholars and academics, researchers,
undergraduate and postgraduate students, and practitioners working
in all forms for theatre and performance, Staging and Re-cycling
suggests a new form of dialogue between work, authors and readers,
and draws out threads that extend back into the past and
potentially forward into the future.
This new edition of Physical Theatres: A Critical Introduction
continues to provide an unparalleled overview of non-text-based
theatre, from experimental dance to traditional mime. It
synthesizes the history, theory and practice of physical theatres
for students and performers in what is both a core area of study
and a dynamic and innovative aspect of theatrical practice. This
comprehensive book: traces the roots of physical performance in
classical and popular theatrical traditions looks at the Dance
Theatre of DV8, Pina Bausch, Liz Aggiss and Jerome Bel examines the
contemporary practice of companies such as Theatre du Soleil,
Complicite and Goat Island focuses on principles and practices in
actor training, with reference to figures such as Jacques Lecoq,
Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne
Bogart and Joan Littlewood. Extensive cross references ensure that
Physical Theatres: A Critical Introduction can be used as a
standalone text or together with its companion volume, Physical
Theatres: A Critical Reader, to provide an invaluable introduction
to the physical in theatre and performance. New to this edition: a
chapter on The Body and Technology, exploring the impact of digital
technologies on the portrayal, perception and reading of the
theatre body, spanning from onstage technology to virtual realities
and motion capture; additional profiles of Jerzy Grotowski, Wrights
and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial
performance, new training practices, immersive and site-specific
theatres, and the latest developments in neuroscience, especially
as these impact on the place and role of the spectator.
Physical Theatres: A Critical Reader is an invaluable resource for
students of physically orientated theatre and performance. This
book aims to trace the roots and development of physicality in
theatre by combining practical experience of the field with a
strong historical and theoretical underpinning. In exploring the
histories, cross-overs and intersections of physical theatres, this
critical Reader provides: six new, specially commissioned essays,
covering each of the book's main themes, from technical traditions
to contemporary practises discussion of issues such as the
foregrounding of the body, training and performance processes, and
the origins of theatre in both play and human cognition a focus on
the relationship and tensions between the verbal and the physical
in theatre contributions from Augusto Boal, Stephen Berkoff,
Etienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana
Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq,
Yoshi Oida, Mike Pearson, and Aristotle.
Physical Theatres: A Critical Reader is an invaluable resource for
students of physically orientated theatre and performance. This
book aims to trace the roots and development of physicality in
theatre by combining practical experience of the field with a
strong historical and theoretical underpinning. In exploring the
histories, cross-overs and intersections of physical theatres, this
critical Reader provides: six new, specially commissioned essays,
covering each of the book's main themes, from technical traditions
to contemporary practises discussion of issues such as the
foregrounding of the body, training and performance processes, and
the origins of theatre in both play and human cognition a focus on
the relationship and tensions between the verbal and the physical
in theatre contributions from Augusto Boal, Stephen Berkoff,
Etienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana
Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq,
Yoshi Oida, Mike Pearson, and Aristotle.
This new edition of Physical Theatres: A Critical Introduction
continues to provide an unparalleled overview of non-text-based
theatre, from experimental dance to traditional mime. It
synthesizes the history, theory and practice of physical theatres
for students and performers in what is both a core area of study
and a dynamic and innovative aspect of theatrical practice. This
comprehensive book: traces the roots of physical performance in
classical and popular theatrical traditions looks at the Dance
Theatre of DV8, Pina Bausch, Liz Aggiss and Jerome Bel examines the
contemporary practice of companies such as Theatre du Soleil,
Complicite and Goat Island focuses on principles and practices in
actor training, with reference to figures such as Jacques Lecoq,
Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne
Bogart and Joan Littlewood. Extensive cross references ensure that
Physical Theatres: A Critical Introduction can be used as a
standalone text or together with its companion volume, Physical
Theatres: A Critical Reader, to provide an invaluable introduction
to the physical in theatre and performance. New to this edition: a
chapter on The Body and Technology, exploring the impact of digital
technologies on the portrayal, perception and reading of the
theatre body, spanning from onstage technology to virtual realities
and motion capture; additional profiles of Jerzy Grotowski, Wrights
and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial
performance, new training practices, immersive and site-specific
theatres, and the latest developments in neuroscience, especially
as these impact on the place and role of the spectator.
Winning at Active Management conducts an in-depth examination of
crucial issues facing the investment management industry, and will
be a valuable resource for asset managers, institutional
consultants, managers of pension and endowment funds, and advisers
to individual investors. Bill Priest, Steve Bleiberg and Mike
Welhoelter all experienced investment professionals, consider the
challenges of managing portfolios through complex markets, as well
as managing the cultural and technological complexities of the
investment business. The book s initial section highlights the
importance of culture within an investment firm the characteristics
of strong cultures, the imperatives of communication and support,
and suggestions for leading firms through times of both adversity
and prosperity. It continues with a thorough discussion of active
portfolio management for equities. The ongoing debate over active
versus passive management is reviewed in detail, drawing on both
financial theory and real-world investing results. The book also
contrasts traditional methods of portfolio management, based on
accounting metrics and price-earnings ratios, with Epoch Investment
Partners philosophy of investing on free cash flow and appropriate
capital allocation. Winning at Active Management closes with an
inquiry into the crucial and growing role of technology in
investing. The authors assert that the most effective portfolio
strategies result from neither pure fundamental nor quantitative
methods, but instead from thoughtful combinations of analyst and
portfolio manager experience and skill with the speed and breadth
of quantitative analysis. The authors illustrate the point with an
example of an innovative Epoch equity strategy based on economic
logic and judgment, but enabled by information technology. Winning
at Active Management also offers important insights into selecting
active managers the market cycle factors that have held back many
managers performance in recent years, and the difficulty of
identifying those firms that truly possess investment skill.
Drawing on behavioral economic theory and empirical research, the
book makes a convincing case that many active investment managers
can and do generate returns superior to those of the broad market.
"The Internet of Things" is the new buzzphrase, but what is it? A
toaster that texts? The fitness band on your wrist? The camera in
an infant's room? Sure, it's all of those things. But it's also
your phone: an ultra-sophisticated sensor and communications system
in your pocket or purse--capable of tracking your steps, capturing
an image, or calling an Uber. And it is actually not hard or
expensive to make a sensing, communicating object yourself. Doing
so can be rewarding, fun, and even useful. This book teaches the
basics of building sensors and communicating objects through a
series of practical, demonstrative, and fun activities.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
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