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This book gives new insight into acting and theatre-making through
phenomenology (the study of how the world shows itself to conscious
experience). It examines Being-in-the-world in everyday life with
exercises for workshops and rehearsal. Each chapter explores themes
to guide the creative process through objects, bodies, spaces,
being with others, time, history, freedom and authenticity. Key
examples in the work are drawn from Chekhovâs The Cherry
Orchard, Sophoclesâ Antigone and Shakespeareâs Hamlet.
Practical tasks in each section explore how the theatrical event
can offer unique insight into Being and existence. In this way, the
book makes a bold leap to understand acting as an embodied form of
philosophy and to explain how phenomenology can be a rich source of
inspiration for actors, directors, designers and the creative
process of theatre-making. This original new book will provide new
insight into the practice and theory of acting, stimulate new
approaches to rehearsal and advance the notion of theatre making a
genuine contribution to philosophical discourse. The fundamental
task of the actor is to be on stage with purposeful action in the
given circumstances. But this simple act of âBeingâ is not
easy. Phenomenology can provide valuable insight into the
challenge. For some time, scholars have looked to phenomenology to
describe and analyse the theatrical event. But more than simply
drawing attention to embodiment and the subjective experience of
the world, a philosophical perspective can also shed light on
broader existential issues of being. No specialist knowledge of
philosophy is required for the reader to find this
text engaging and it will be relevant for second-year
students and above at tertiary level. For postgraduates and
researchers, the book will provide a valuable touchstone for
phenomenology and performance as research. The book will appeal to
theatre and performance studies, and some applied philosophy
courses. The material is also relevant to studies in literary and
critical theory, cultural studies and comparative literature. The
work is relevant to The International Federation of Theatre
Research (IFTR/FIRT) (Performance and Consciousness), Performance
Studies International (psi) and the Performance Philosophy Research
Network â an influential and growing research field. Primary
markets for this book will be students (both at university and
conservatoires) and academics in theatre studies, as well as
practitioners and actors in training. The text will be useful to
students in units or modules relating to acting theory and
theatre-making processes, and which combine critical theory with
practical performance. It will also be useful for practitioners of
theatre looking to expand or inflect their own methods of
approaching performance.
This book gives new insight into acting and theatre-making through
phenomenology (the study of how the world shows itself to conscious
experience). It examines Being-in-the-world in everyday life with
exercises for workshops and rehearsal. Each chapter explores themes
to guide the creative process through objects, bodies, spaces,
being with others, time, history, freedom and authenticity. Key
examples in the work are drawn from Chekhov's The Cherry Orchard,
Sophocles' Antigone and Shakespeare's Hamlet. Practical tasks in
each section explore how the theatrical event can offer unique
insight into Being and existence. In this way, the book makes a
bold leap to understand acting as an embodied form of philosophy
and to explain how phenomenology can be a rich source of
inspiration for actors, directors, designers and the creative
process of theatre-making. This original new book will provide new
insight into the practice and theory of acting, stimulate new
approaches to rehearsal and advance the notion of theatre making a
genuine contribution to philosophical discourse. The fundamental
task of the actor is to be on stage with purposeful action in the
given circumstances. But this simple act of 'Being' is not easy.
Phenomenology can provide valuable insight into the challenge. For
some time, scholars have looked to phenomenology to describe and
analyse the theatrical event. But more than simply drawing
attention to embodiment and the subjective experience of the world,
a philosophical perspective can also shed light on broader
existential issues of being. No specialist knowledge of philosophy
is required for the reader to find this text engaging and it will
be relevant for second-year students and above at tertiary level.
For postgraduates and researchers, the book will provide a valuable
touchstone for phenomenology and performance as research. The book
will appeal to theatre and performance studies, and some applied
philosophy courses. The material is also relevant to studies in
literary and critical theory, cultural studies and comparative
literature. The work is relevant to The International Federation of
Theatre Research (IFTR/FIRT) (Performance and Consciousness),
Performance Studies International (psi) and the Performance
Philosophy Research Network - an influential and growing research
field. Primary markets for this book will be students (both at
university and conservatoires) and academics in theatre studies, as
well as practitioners and actors in training. The text will be
useful to students in units or modules relating to acting theory
and theatre-making processes, and which combine critical theory
with practical performance. It will also be useful for
practitioners of theatre looking to expand or inflect their own
methods of approaching performance.
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Rising Pressure (Paperback)
Leslie A Piggott; Cover design or artwork by Danielle Johnston
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R400
R341
Discovery Miles 3 410
Save R59 (15%)
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Out of stock
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The Heretic (Paperback)
Michael Deeze; Edited by Jennie Rosenblum; Cover design or artwork by Danielle Johnston
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R517
R437
Discovery Miles 4 370
Save R80 (15%)
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Out of stock
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This core textbook provides a clear and accessible introduction to
the key concepts of phenomenology in relation to theatre, showing
how they shed light on the works of influential theatre-makers such
as Brecht, Artaud, and Stanislavski. By placing these concepts in
dialogue with theatre-makers, Johnston is able to demonstrate how
philosophical ideas can be put to work in a theatrical context and
how we can approach difficult theory from a practical perspective.
Each chapter features exercises and topics for discussion to
encourage readers to explore the ideas presented in more depth.
This is an excellent resource for undergraduate and postgraduate
students of theatre, performance studies, and philosophy.
John Daniel Johnston has allowed us all in on the journey of a
young man searching for happiness in his own way. Grueling
depression allowed no one but the inner person in, or out. This
book chronicles that of an extremely lost soul searching for his
place in the world, with many experiences, and travels that amaze
even the author. The proof is in this book. LIFE IS OUT THERE, IT
IS UP TO YOU TO LIVE IT
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