|
Showing 1 - 12 of
12 matches in All Departments
How can various technologies, from the more conventional to the
very new, be used to archive, share and understand dance movement?
How can they become part of new ways of creating dance? What does
this tell us about the ways in which technology is part of how we
make sense and think? Well-known choreographers and dance
collectives including William Forsythe, Siohban Davis, Merce
Cunningham, Anne Teresa De Keersmaeker and BADco. have initiated
projects to investigate these questions, and in so doing have
inaugurated a new era for dance archives, education, research and
creation. Their work draws attention to the intimate relationship
between the technologies we use and the ways in which we think,
perceive, and make sense. Transmission in Motion examines these
extraordinary projects 'from the inside', presenting in-depth
analyses by the practitioners, artists and collectives involved in
their development. These studies are framed by scholarly
reflection, illuminating the significance of these projects in the
context of current debates on dance, the (multi-media) archive,
immaterial cultural heritage and copyright, embodied cognition,
education, media culture and the knowledge society.
How can various technologies, from the more conventional to the
very new, be used to archive, share and understand dance movement?
How can they become part of new ways of creating dance? What does
this tell us about the ways in which technology is part of how we
make sense and think? Well-known choreographers and dance
collectives including William Forsythe, Siohban Davis, Merce
Cunningham, Anne Teresa De Keersmaeker and BADco. have initiated
projects to investigate these questions, and in so doing have
inaugurated a new era for dance archives, education, research and
creation. Their work draws attention to the intimate relationship
between the technologies we use and the ways in which we think,
perceive, and make sense. Transmission in Motion examines these
extraordinary projects 'from the inside', presenting in-depth
analyses by the practitioners, artists and collectives involved in
their development. These studies are framed by scholarly
reflection, illuminating the significance of these projects in the
context of current debates on dance, the (multi-media) archive,
immaterial cultural heritage and copyright, embodied cognition,
education, media culture and the knowledge society.
This book explores how doing dramaturgy is informed by today's
highly diverse field of theatre, dance and performance. It does so
in dialogue with fourteen performances and their makers, tracing
the thinking-through-practice that underlies these creations. The
first part of the book looks at how dramaturgs participate in
practices of thinking-making and introduces a dramaturgical mode of
looking at performances and the processes in which they are
created. The second part of the book discusses the performances and
creative processes of Manuela Infante, Julian Hetzel, Ivo van Hove,
Anouk van Dijk, Falk Richter, Milo Rau, Kris Verdonck, Death
Centre, Hotel Modern, Jr.cE.sA.r , Emio Greco and Pieter C.
Scholten, Dries Verhoeven, the LGB Society of Mind, Sanja Mitrovic,
and Amanda Pina. Showing how ways of making and ways of doing
dramaturgy mutually inform each other, this book is an essential
resource for students and others aspiring to develop their own
dramaturgical practice.
This book offers a timely discussion about the interventions and
tensions between two contested and contentious fields, performance
and phenomenology, with international case studies that map an
emerging 21st century terrain of critical and performance practice.
Building on the foundational texts of both fields that established
the performativity of perception and cognition, Performance and
Phenomenology continues a tradition that considers experience to be
the foundation of being and meaning. Acknowledging the history and
critical polemics against phenomenological methodology and against
performance as a field of study and category of artistic
production, the volume provides both an introduction to core
thinkers and an expansion on their ideas in a wide range of case
studies. Whether addressing the use of dead animals in performance,
actor training, the legal implications of thinking
phenomenologically about how we walk, or the intertwining of
digital and analog perception, each chapter explores a world
comprised of embodied action and thought. The established and
emerging scholars contributing to the volume develop insights
central to the phenomenological tradition while expanding on the
work of contemporary theorists and performers. In asking why
performance and phenomenology belong in conversation together, the
book suggests how they can transform each other in the process and
what is at stake in this transformation.
This book offers a timely discussion about the interventions and
tensions between two contested and contentious fields, performance
and phenomenology, with international case studies that map an
emerging twenty-first century terrain of critical and performance
practice. Building on the foundational texts of both fields that
established the performativity of perception and cognition,
Performance and Phenomenology continues a tradition that considers
experience to be the foundation of being and meaning. Acknowledging
the history and critical polemics against phenomenological
methodology and against performance as a field of study and
category of artistic production, the volume provides both an
introduction to core thinkers and an expansion on their ideas in a
wide range of case studies. Whether addressing the use of dead
animals in performance, actor training, the legal implications of
thinking phenomenologically about how we walk, or the intertwining
of digital and analog perception, each chapter explores a world
comprised of embodied action and thought. The established and
emerging scholars contributing to the volume develop insights
central to the phenomenological tradition while expanding on the
work of contemporary theorists and performers. In asking why
performance and phenomenology belong in conversation together, the
book suggests how they can transform each other in the process and
what is at stake in this transformation.
Fluid stages, morphing theatre spaces, ambulant spectators, and
occasionally disappearing performers: these are some of the key
ingredients of nomadic theatre. They are also theatre's response to
life in the 21st century, which is increasingly marked by the
mobility of people, information, technologies and services. While
examining how contemporary theatre exposes and queries this mobile
turn in society, Liesbeth Groot Nibbelink introduces the concept of
nomadic theatre as a vital tool for analyzing how movement and
mobility affect and implicate the theatre, how this makes way for
local operations and lived spaces, and how physical movements are
stepping stones for theorizing mobility at large. Now available in
paperback, this book focuses on ambulatory performances and
performative installations, asking how they stage movement and in
turn mobilize the stage. By analyzing the work of leading European
artists such as Rimini Protokoll, Dries Verhoeven, Ontroerend Goed,
and Signa, Nomadic Theatre demonstrates that mobile performances
radically rethink the conditions of the stage and alter our
understanding of spectatorship. Nomadic Theatre instigates
connections across disciplinary fields and feeds dramaturgical
analysis with insights derived from media theory, urban philosophy,
cartography, architecture, and game studies. It illustrates how
theatre, as a material form of thought, creatively and critically
engages with mobile existence both on the stage and in society.
Thinking Through Theatre and Performance presents a bold and
innovative approach to the study of theatre and performance.
Instead of topics, genres, histories or theories, the book starts
with the questions that theatre and performance are uniquely
capable of asking: How does theatre function as a place for seeing
and hearing? How do not only bodies and voices but also objects and
media perform? How do memories, emotions and ideas continue to do
their work when the performance is over? And how can theatre and
performance intervene in social, political and environmental
structures and frameworks? Written by leading international
scholars, each chapter of this volume is built around a key
performance example, and detailed discussions introduce the
methodologies and theories that help us understand how these
performances are practices of enquiry into the world. Thinking
through Theatre and Performance is essential for those involved in
making, enjoying, critiquing and studying theatre, and will appeal
to anyone who is interested in the questions that theatre and
performance ask of themselves and of us.
|
Re_visioning Bodies - DNA #10 (Paperback)
Daniel Neugebauer; Text written by Maaike Bleeker, Carmen Moersch, Eliza Steinbock, Ayse Gulec
|
R322
R263
Discovery Miles 2 630
Save R59 (18%)
|
Ships in 12 - 17 working days
|
Fluid stages, morphing theatre spaces, ambulant spectators, and
occasionally disappearing performers: these are some of the key
ingredients of nomadic theatre. They are also theatre's response to
life in the 21st century, which is increasingly marked by the
mobility of people, information, technologies and services. While
examining how contemporary theatre exposes and queries this mobile
turn in society, Liesbeth Groot Nibbelink introduces the concept of
nomadic theatre as a vital tool for analyzing how movement and
mobility affect and implicate the theatre, how this makes way for
local operations and lived spaces, and how physical movements are
stepping stones for theorizing mobility at large. This book focuses
on ambulatory performances and performative installations, asking
how they stage movement and in turn mobilize the stage. By
analyzing the work of leading European artists such as Rimini
Protokoll, Dries Verhoeven, Ontroerend Goed, and Signa, Nomadic
Theatre demonstrates that mobile performances radically rethink the
conditions of the stage and alter our understanding of
spectatorship. Nomadic Theatre instigates connections across
disciplinary fields and feeds dramaturgical analysis with insights
derived from media theory, urban philosophy, cartography,
architecture, and game studies. It illustrates how theatre, as a
material form of thought, creatively and critically engages with
mobile existence both on the stage and in society.
Thinking Through Theatre and Performance presents a bold and
innovative approach to the study of theatre and performance.
Instead of topics, genres, histories or theories, the book starts
with the questions that theatre and performance are uniquely
capable of asking: How does theatre function as a place for seeing
and hearing? How do not only bodies and voices but also objects and
media perform? How do memories, emotions and ideas continue to do
their work when the performance is over? And how can theatre and
performance intervene in social, political and environmental
structures and frameworks? Written by leading international
scholars, each chapter of this volume is built around a key
performance example, and detailed discussions introduce the
methodologies and theories that help us understand how these
performances are practices of enquiry into the world. Thinking
through Theatre and Performance is essential for those involved in
making, enjoying, critiquing and studying theatre, and will appeal
to anyone who is interested in the questions that theatre and
performance ask of themselves and of us.
New German Dance Studies offers fresh histories and theoretical
inquiries that resonate across fields of the humanities. Sixteen
essays range from eighteenth-century theater dance to popular
contemporary dances in global circulation. In an exquisite
trans-Atlantic dialogue that demonstrates the complexity and
multilayered history of German dance, American and European
scholars and artists elaborate on definitive performers and
choreography, focusing on three major thematic areas: Weimar
culture and its afterlife, the German Democratic Republic, and
recent conceptual trends in theater dance. Contributors are Maaike
Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan
Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka,
Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa
Randall, Gerald Siegmund, and Christina Thurner.
Gross anatomy, the study of anatomical structures that can be seen
by unassisted vision, has long been a subject of fascination for
artists. For most modern viewers, however, the anatomy lesson--the
technically precise province of clinical surgeons and medical
faculties--hardly seems the proper breeding ground for the hybrid
workings of art and theory. We forget that, in its early stages,
anatomy pursued the highly theatrical spirit of Renaissance
science, as painters such as Rembrandt and Da Vinci and medical
instructors like Fabricius of Aquapendente shared audiences devoted
to the workings of the human body. "Anatomy Alive": "Performance
and the Operating Theatre," a remarkable consideration of new
developments on the stage, as well as in contemporary writings of
theorists such as Donna Haraway and Brian Massumi, turns our modern
notions of the dissecting table on its head--using anatomical
theatre as a means of obtaining a fresh perspective on
representations of the body, conceptions of subjectivity, and own
knowledge about science and the stage. Critically dissecting
well-known exhibitions like "Body Worlds" and "The Visible Human
Project" and featuring contributions from a number of diverse
scholars on such subjects as the construction of spectatorship and
the implications of anatomical history, "Anatomy Alive" is not to
be missed by anyone with an interest in this engaging intersection
of science and artistic practice.
|
|