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DAH Theatre - A Sourcebook (Hardcover)
Dennis Barnett; Foreword by Eugenio Barba; Contributions by Elizabeth Carlin-Metz, Beth Cleary, Leigh Clemons, …
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R2,640
Discovery Miles 26 400
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Ships in 12 - 17 working days
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DAH Theatre: A Sourcebook is a collection of essays about the work
of one of the most successful and innovative performance groups in
contemporary history. With a direct line of descent from Jerzy
Grotowski and Eugenio Barba, DAH Theatre, founded during the worst
of times in the former Yugoslavia, amidst a highly patriarchal
society, predominantly run by women, has thrived now for
twenty-five years. The chapters in this book, for the most part,
have been written by both theatre scholars and practitioners, all
of whom have either seen, studied with or worked with this
groundbreaking troupe. What makes DAH so exceptional? The levels of
innovation and passion for them extend far beyond the world of mere
performance. They have been politically and socially driven by the
tragedies and injustices that they have witnessed within their
country and have worked hard to be a force of reconciliation,
equity and peace within the world. And those efforts, which began
on the dangerous streets of Belgrade in 1991, today, have reached
throughout the world. Though they still make their home in Serbia,
audiences from as far afield as New Zealand, Mongolia, Brazil and
the U.S. have discovered their power - both in purely aesthetic
terms and as passionate activists.
The fall of communism throughout Eastern Europe brought about major
socio-political changes towards the end of the 20th century. Dennis
Barnett and Arthur Skelton explore the effects these changes had on
theatre and performance in Russia, the former Czechoslovakia,
Poland, Hungary, Romania, Bulgaria, and the former Yugoslavia,
while drawing clear parallels with theatre globally. This
fascinating collection of articles describes the various factors
contributing to the changes in theatrical performance, including
the important move from government control to a capitalist,
market-driven environment. The idea of art as business and a
consumer product vs. art as a social prerogative or means for
national dialogue is a common thread throughout the articles, many
of which also look at the role of censorship during the communist
era. This collection includes updated reports on vital cultural
institutions such as the Moscow Art Theatre, the Bolshoi Ballet,
the Sarajevo International Theatre Festival (MESS), and the
Hungarian National Theatre Festival at Pecs. Also, a number of
important theatre practitioners, directors, and playwrights, such
as Boris Eifman, Du?an Kovacevic, Slobodan ?najder, Arpad Goncz,
and Yordan Radichkov, are introduced to the Western reader.
Organized according to country, the book presents both an inclusive
and general overview of the subject-as well as specific in-depth
examinations of the situations in each country-and includes a broad
variety of perspectives: from native scholars to outside
researchers, from personal memoirs to academic inquiries. The
volume concludes with a bibliography, an index, and five
informative appendixes listing works of some of the artists and
companies discussed.
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