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"Outstanding ... a technical manual (for actors and directors), an
historical document of importance, and a volume that is a delight
to read." Ian Watson, Rutgers "An extremely valuable personal
account of Roberta Carreri's process as an actor." Alison Hodge,
Artistic Director, The Quick and the Dead "An excellent book with a
unique voice." Ben Spatz, University of Huddersfield Roberta
Carreri is one of acclaimed theatre company Odin Teatret's
longest-serving actors, and the last to be trained by Eugenio Barba
himself. In this book, she relives the milestones of her
professional journey, including: her first experiences of street
theatre the discovery of Asian performance traditions pedagogical
activities and character creation encounters with artists and
spectators the inception of her solo performances, Judith and Salt
Interwoven with rich photographic documentation and a wealth of
biographical information, this inspiring handbook reveals the
professional secrets of an Odin Teatret actor as well as the story
of a life of work, research, and passion.
"Outstanding ... a technical manual (for actors and directors), an
historical document of importance, and a volume that is a delight
to read." Ian Watson, Rutgers "An extremely valuable personal
account of Roberta Carreri's process as an actor." Alison Hodge,
Artistic Director, The Quick and the Dead "An excellent book with a
unique voice." Ben Spatz, University of Huddersfield Roberta
Carreri is one of acclaimed theatre company Odin Teatret's
longest-serving actors, and the last to be trained by Eugenio Barba
himself. In this book, she relives the milestones of her
professional journey, including: her first experiences of street
theatre the discovery of Asian performance traditions pedagogical
activities and character creation encounters with artists and
spectators the inception of her solo performances, Judith and Salt
Interwoven with rich photographic documentation and a wealth of
biographical information, this inspiring handbook reveals the
professional secrets of an Odin Teatret actor as well as the story
of a life of work, research, and passion.
Offering a radical re-evaluation of current approaches to performer
training, this is a text that equips readers with a set of new ways
of thinking about and ultimately 'doing' training. Stemming from
his extensive practice and incorporating a review of prevailing
methods and theories, Frank Camilleri focuses on how material
circumstances shape and affect processes of training, devising,
rehearsing and performing. Frank Camilleri puts forward the
'post-psychophysical' as a more extended form of psychophysical
discussion and practice that emerged and dominated in the 20th
century. The 'post-psychophysical' updates the concept of an
integrated bodymind in various ways, such as the notion of a
performer's bodyworld that incorporates technology and the material
world. Offering invaluable introductions to a wide range of
theories around which the book is structured - including
postphenomenological, sociomaterial, affect and situated cognition
- this volume provides readers with an enticing array of critical
approaches to training and creative processes.
What goes on in the body and mind of an endurance athlete at the
limits of performance? How do they relate to the world around and
prepare for the task ahead? Offering a refreshing perspective on
training in the cross-lighting of aesthetic and athletic processes,
this book focuses on the learning, mastery and creative adaptation
of technique in performance. From traditional and physical actors
to runners, boxers and other sports practitioners, it is about
performers: their bodies, trainings and experiences. It
interrogates what it means to prepare and train as a performer in
the early 21st century. Writing from extensive experience in
physical theatre and long-distance running, the author combines
insights from both disciplines along with theatre history, sports
science and perspectives like embodied cognition and affective
science. From the kind of thoughts that go through the mind of an
actor or a runner, to the economy and aesthetic of their movement
and to how they feel about it, this book sheds light on the
performing body and its capacities for action. Topics covered
include attentional focus and distraction, affordances and
equipment, ‘choking’ and stage fright, physiological regulation
and effort perception, pacing and play, optimal flow and creative
improvisation, and intentionality and automaticity in expert
performance. The volume presents an informative and
thought-provoking account accessible to readers interested in
theatre, dance, performance, running, athletics, and sport.
Encountering Ensemble, is a text for students, teachers,
researchers and practitioners who wish to develop a deeper
understanding of the history, conceptual foundations and
practicalities of the world of ensemble theatre. It is the first
book to draw together definitions and practitioner examples, making
it a cutting edge work on the subject. Encountering Ensemble
combines historical and contemporary case studies with a wide range
of approaches and perspectives. It is written collaboratively with
practitioners and members from the academic community and is
divided into three sections: 1. Introduction and an approach to
training ensembles 2. Practitioner case studies and analysis of
specific practical approaches to training ensembles (or individuals
in an ensemble context) 3. Succinct perspectives from practitioners
reflecting on a range of questions including: What is an ensemble?;
the place of ensemble in the contemporary theatre landscape; and
training issues.
Offering a radical re-evaluation of current approaches to performer
training, this is a text that equips readers with a set of new ways
of thinking about and ultimately 'doing' training. Stemming from
his extensive practice and incorporating a review of prevailing
methods and theories, Frank Camilleri focuses on how material
circumstances shape and affect processes of training, devising,
rehearsing and performing. Frank Camilleri puts forward the
'post-psychophysical' as a more extended form of psychophysical
discussion and practice that emerged and dominated in the 20th
century. The 'post-psychophysical' updates the concept of an
integrated bodymind in various ways, such as the notion of a
performer's bodyworld that incorporates technology and the material
world. Offering invaluable introductions to a wide range of
theories around which the book is structured - including
postphenomenological, sociomaterial, affect and situated cognition
- this volume provides readers with an enticing array of critical
approaches to training and creative processes.
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