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Series Information: Routledge Who's Who
First Published in 1999. Routledge is an imprint of Taylor &
Francis, an informa company.
For centuries the theater has been one of the major forms of art.
How did acting, and its institutionalization in the theater, begin
in the first place? In some cultures complex stories relate the
origin of acting and the theater. And over time, approaches to
acting have changed considerably. In the West, until the end of the
19th century, those changes occurred within the realm of acting
itself, focusing on the question of whether acting should be
'natural' or 'formal.' Approaches to acting were closely related to
the trends in culture at large. Acting became more and more
professional and sophisticated as philosophical theories developed
and knowledge in the human sciences increased. In the 20th century,
the director was established as the most important force in the
theater--able to lead actors to pinnacles of their art which they
could not have achieved on their own. Approaches to acting in
non-Western cultures follow quite different patterns. This book
provides a clear overview of different approaches to acting, both
historical and contemporary, Western and non-Western, and concludes
with a challenge to the future of the art.
For the last ten to fifteen years, many disciplines of scholarship
have been involved in the study of consciousness, often on an
interdisciplinary basis. They include philosophy, neurosciences,
psychology, physics and biology, and approaches focusing on human
experience. The Centre for Consciousness Studies at the University
of Arizona in Tucson spearheaded this development with its
bi-annual conferences since 1994, and a wide range of associations,
journals and book publications bear witness to its importance. Over
the same number of years, scholarly interest in the relationship of
consciousness to theatre has equally grown. The book discusses a
range of questions relevant to understanding the phenomenon of
theatre against a consciousness studies background. Those questions
include:
- What inspires the dramatist to write a play? This question
addresses the nature of the creative process.
- How do different plays reflect human consciousness?
- What kinds of new ideas did major directors or theatre makers,
such as Artaud, Grotowski, Barba, and Brook introduce?
- Should actors be personally involved with the emotions they have
to portray?
- Are puppets or marionettes superior to actors?
- How to account for the designer's combination of creativity and
practical skill? What part does mental imagination play in the
design process? How do designers get their own spatial awareness
across to their spectators?
- How does theatre affect the spectator? Why do spectators react as
they do? How do distance and suspension of disbelief 'work'?
An improved and expanded understanding of theatre, resulting from
answering the questions above in the context of
consciousnessstudies, should inspire new developments in theatre
practice.
Numerous plays have professionals as major characters, but academia
has ignored them to a large extent.
The Professions in Contemporary British Drama fills this
extraordinary gap with a series of nine papers discussing the
educational professions (Bennett, Mangan), the medical profession
(Shields, Buse, ), priests (Kurdi), archaeologists (Forsyth) and
artists (Di Benedetto, Meyer-Dinkgrafe, Edwards).
The book is of relevance to theatre academics and students at both
undergraduate and postgraduate levels. It is based on a conference
organised in conjunction with the Centre for English Studies,
School of Advanced Studies, University of London, 6 March 1998.
Twenty major German cities have a total of twenty-four theatres
specializing, at a high level of sophistication, in presenting
light comedy. They have their own typical ambience, principles of
artistic management and casting. There are playwrights, actors,
directors and designers who work almost exclusively in the genre,
called boulevard comedy, developing highly specialised approaches
to their work. In almost all cases, the predominantly privately run
boulevard comedy theatres in Germany have been able to attract
larger audiences than municipal or state theatres in the same
cities. The book provides a description and an analysis of this
phenomenon, which is unique to Germany. Chapters focus on an
analysis of ambience, artistic managers, artistic policies and
artistic structures, on major characteristics of the plays
presented on the stages of German boulevard comedy theatres, on
aspects of translation and the cultural transfer of comedy and
laughter and on aspects of production and reception, dealing in
turn with actors, directors, media coverage and audiences.
For centuries the theatre has been one of the major forms of art.
How did acting, and its institutionalization in the theatre, begin
in the first place? In some cultures complex stories relate the
origin of acting and the theatre. And over time, approaches to
acting have changed considerably. In the West, until the end of the
19th century, those changes occurred within the realm of acting
itself, focusing on the question of whether acting should be
'natural' or 'formal.' Approaches to acting were closely related to
the trends in culture at large. Acting became more and more
professional and sophisticated as philosophical theories developed
and knowledge in the human sciences increased. In the 20th century,
the director was established as the most important force in the
theater--able to lead actors to pinnacles of their art which they
could not have achieved on their own. Approaches to acting in
non-Western cultures follow quite different patterns. This book
provides a clear overview of different approaches to acting, both
historical and contemporary, Western and non-Western, and concludes
with a challenge to the future of the art.
Who's Who in Contemporary World Theatre is a lively and accessible biographical guide to the key figures in contemporary drama. All who enjoy the theatre will find their pleasure enhanced and their knowledge extended by this fascinating work of reference. Its distinctive blend of information, analysis and anecdote makes for entertaining and enlightening reading. Hugely influential innovators, household names, and a whole host of less familiar, international figures - all have their lives and careers illuminated by the clear and succinct entries. All professions associated with the theatre are represented here - actors and directors, playwrights and designers. By virtue of the broad range of its coverage, Who's Who in Contemporary World Theatre offers a unique insight into the rich diversity of international drama today. eBook available with sample pages: 0203105907
This book brings together essays based on papers presented at the
6th International Conference on Consciousness, Theatre, Literature
and the Arts (CTLA), held from June 10 to 12, 2015, at St Francis
College, Brooklyn Heights, New York. The conference was attended by
seventy delegates from twenty countries across the world - the
twenty-three essays collected here come from delegates from twelve
of those countries. The range of contributions reflects the variety
of material presented and discussed at the conference, across the
fields of philosophy, literature, fine arts, music, dance,
performance and theatre. The book, the sixth in the series, will
appeal to the growing international community of researchers active
and interested in the study of literature, theatre and the arts
from a consciousness studies perspective.
In the words of Ezra Talmor: To deal with European Culture in a
Changing World is to deal, in fact, with the reciprocal relation
between Politics and Economics on the one hand, and Culture on the
other. In an era when economic forces are pushing towards European
Economic Unity or towards the Globalisation of National Markets it
is rather difficult to demarcate the role of Culture. While the
European Narrative may have been written by Monnet, De Gaulle, and
Adenauer, the Global Narrative is written by an unknown author or
rather by Adam Smith's Invisible Hand. On the one hand the
postmodernist claim that the Grand Narrative is dead is given the
lie. A Grand Narrative is now being written not by Philosophers but
by Managers of Multinationals. The Foucauldian "ca parle" (it
speaks) is instantiated by the anonymous authors of the Global
Narrative. The question to be asked is: What will happen to the
rich mosaic of National European Cultures? The answer to this
question is not only a matter of National Memory and National
Identity, it is also a matter of the sources of cultural
creativity. L'Europe de nations may have been the theatre of
endless national wars but it was also the cradle of a very rich
mosaic of national cultures. The point is: how will creative genius
adapt to the two new trends - European Unification and Globalism?
This volume brings together essays by leading scholars in a myriad
of disciplines, all of which attempt to shed light on these
issues.Contributions by:Nicholas Perdikis, Shari L. Boyd, William A
Kerr, Sylvia MacPhee, Marcela Cristi, Anu Randveer, Martti
Randveer, Viljar Jaamu, Vello Vensel, Anatoly Zotov, Warren
Breckman, Douglas Moggach, Malgorzata Bogunia-Borowska, Alexandros
Kioupkiolis, Eric W. Ruckh, Avron Kulak, Kevin P. Spicer, Bernard
Zelechow, Dorothy M. Betz, Robert Stanley, Rosemary Gray,
Jean-Francois Thibault, John Danvers, Ewa Macura, William A.
Everett, Armand Singer, Daniel Meyer-Dinkgrafe
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