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Western culture has a long and fraught history of cultural
appropriation, a history that has particular resonance within
performance practice. Patrice Pavis asks what is at stake
politically and aesthetically when cultures meet at the crossroads
of theatre.? A series of major recent productions are analysed,
including Peter Brook's Mahabharata, Cixous/Mnouchkine's Indiande,
and Barba's Faust. These focus discussions on translation,
appropriation, adaptation, cultural misunderstanding, and
theatrical exploration. Never losing sight of the theatrical
experience, Pavis confronts problems of colonialism, anthropology,
and ethnography. This signals a radical movement away from the
director and the word, towards the complex relationship between
performance, performer, and spectator. Despite the problematic
politics of cultural exchange in the theatre, interculturalism is
not a one-sided process. Using the metaphor of the hourglass to
discuss the transfer between source and target culture, Pavis asks
what happens when the hourglass is turned upside down, when the
`foreign' culture speaks for itself.
The Routledge Dictionary of Contemporary Theatre and Performance
provides the first authoritative alphabetical guide to the theatre
and performance of the last 30 years. Conceived and written by one
of the foremost scholars and critics of theatre in the world, it
literally takes us from Activism to Zapping, analysing everything
along the way from Body Art and the Flashmob to Multimedia and the
Postdramatic. What we think of as 'performance' and 'drama' has
undergone a transformation in recent decades. Similarly how these
terms are defined, used and critiqued has also changed, thanks to
interventions from a panoply of theorists from Derrida to Ranciere.
Patrice Pavis's Dictionary provides an indispensible roadmap for
this complex and fascinating terrain; a volume no theatre bookshelf
can afford to be without.
'We have good reason to be wary of mise en scene, but that is all
the more reason to question this wariness ... it seems that images
from a performance come back to haunt us, as if to prolong and
transform our experience as spectators, as if to force us to
rethink the event, to return to our pleasure or our terror.' -
Patrice Pavis, from the foreword Contemporary Mise en Scene is
Patrice Pavis's masterful analysis of the role that staging has
played in the creation and practice of theatre throughout history.
This stunningly ambitious study considers: the staged reading, at
the frontiers of mise en scene; scenography, which sometimes
replaces staging; the reinterpretation of classical and
contemporary works; the development of intercultural theatre and
ritual; new technologies and their usage live on the stage; the
postmodern practice of deconstruction. But it also applies
sustained critical attention to the challenges of defining mise en
scene, of tracking its development, and of exploring its possible
futures. Joel Anderson's powerful new translation lucidly realises
Pavis's investigation of the changing possibilities for stagecraft
in the context of performance art, physical theatre and modern
theory.
'We have good reason to be wary of mise en scene, but that is all
the more reason to question this wariness ... it seems that images
from a performance come back to haunt us, as if to prolong and
transform our experience as spectators, as if to force us to
rethink the event, to return to our pleasure or our terror.' -
Patrice Pavis, from the foreword Contemporary Mise en Scene is
Patrice Pavis's masterful analysis of the role that staging has
played in the creation and practice of theatre throughout history.
This stunningly ambitious study considers: the staged reading, at
the frontiers of mise en scene; scenography, which sometimes
replaces staging; the reinterpretation of classical and
contemporary works; the development of intercultural theatre and
ritual; new technologies and their usage live on the stage; the
postmodern practice of deconstruction. But it also applies
sustained critical attention to the challenges of defining mise en
scene, of tracking its development, and of exploring its possible
futures. Joel Anderson's powerful new translation lucidly realises
Pavis's investigation of the changing possibilities for stagecraft
in the context of performance art, physical theatre and modern
theory.
What can performers in the West learn from the technical
performance traditions of Africa and Asia?
The Intercultural Performance Handbook opens up a new world of
technique for performers. The first ever full-length, fully
illustrated manual for practitioners, it provides:
A guide to the physical, vocal and improvisational dynamics of
non-Western performance
A new vocabulary with which to interpret plays from around the
globe.
Games to use for exploring rhythm, movement, balance, tension and
gesture, breathwork, stylisation, and the use of the voice
A practical, hands-on approach to creating vibrant theatrical work
Studies on intercultural performance are usually written by
scholars and researchers. John Martin explains the definition and
development of intercultural performance from the perspective of an
experienced practitioner. He provides exercises, practical advice,
and a clear training process for the inquiring actor or director.
The book is a process of discovery, carefully written so as to
develop understanding and move towards empowerment for the
adventurous theatre-maker.
The Intercultural Performance Reader gathers together key artists and scholars from around the world to provide, for the first time, a truly international overview of this exciting new field. Intercultural performance has enormous potential for open dialogue between cultures, though the best-documented perspectives are those of Western artists such as Peter Brook, Richard Schechner, Jacques Lecoq and Ariane Mnouchkine. This reader raises new questions and debates by placing these views alongside those of artists from African, Maori, Chinese and Indian theatre. The result is an unparalleled exchange of ideas which demonstrates the new possibilities and politics of intercultural performance.
This book offers an exploration of the intersection of Korean
theatre practice with Western literary theatre. Gangnam Style,
K-Pop, the Korean Wave : who hasn't heard of these recent Korean
phenomena? Having spent two years in Korea as a theatrical and
cultural 'tourist', Patrice Pavis was granted an unparalleled look
at contemporary Korean culture. As well as analyzing these pop
culture mainstays, however, he also discovered many uniquely Korean
jewels of contemporary art and performance. Examining topics
including contemporary dance, puppets, installations, modernized
pansori, 'Koreanized' productions of European Classics and K-pop
and its parody, this book provides a framework for an intercultural
and globalized approach to Korean theatre. With the first three
chapters of the book outlining methodology, the remaining chapters
test - often deconstructing and transforming in the process - this
framework, using focused case studies to introduce the reader to
the cultural and artistic world of a nation with an increasing
international presence in theatre and the arts alike.
The Routledge Dictionary of Contemporary Theatre and Performance
provides the first authoritative alphabetical guide to the theatre
and performance of the last 30 years. Conceived and written by one
of the foremost scholars and critics of theatre in the world, it
literally takes us from Activism to Zapping, analysing everything
along the way from Body Art and the Flashmob to Multimedia and the
Postdramatic. What we think of as 'performance' and 'drama' has
undergone a transformation in recent decades. Similarly how these
terms are defined, used and critiqued has also changed, thanks to
interventions from a panoply of theorists from Derrida to Ranciere.
Patrice Pavis's Dictionary provides an indispensible roadmap for
this complex and fascinating terrain; a volume no theatre bookshelf
can afford to be without.
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Directors' Theatre (Hardcover, 2nd edition)
Peter M Boenisch, David Williams, David Bradby; Contributions by Edith Cassiers, Timmy De Laet, …
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R2,534
R880
Discovery Miles 8 800
Save R1,654 (65%)
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Ships in 9 - 15 working days
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This extended new edition of a seminal text marks the 30th
anniversary of the original book's major intervention in the
discipline. Bradby and Williams' field-defining book introduced the
continental-European approach to directing, recognising the work of
the modern stage director as an artist in his or her own right for
the first time. Now edited by Peter M. Boenisch in collaboration
with David Williams, this new edition includes an additional four
chapters by leading contemporary experts on theatre direction.
Covering recent practices and developments, as well as new trends
in the academic research on directing, Directors' Theatre
interrogates working ethics and performance aesthetics, directors'
work with actors as a central creative source and their responses
to the ongoing reassessment of theatre's role and function in
contemporary culture. This long-awaited reissue will make a
classic, authoritative study on directors and directing accessible
to a new generation of students, scholars and artists. It is
essential reading for undergraduate and postgraduate students of
Theatre, Performance Studies and Directing. New to this Edition: -
Includes four new chapters written by leading contemporary experts
on theatre direction: Patrice Pavis, Katalin Trencsenyi, the
research team of Luk Van den Dries, and DuskaRadosavljevic - New
chapters discuss recent approaches and developments in theatre
directing as well as research on directing, including artists such
as Luk Perceval, Daniel Jeanneteau, Improbable and Ivo van Hove,
while also introducing the development of theatre direction in
Eastern Europe - The original text has been carefully revised by
David Williams and chapters have been supplemented with new
introductions and conclusions
Analyzing Performance provides conceptual tools for understanding a
range of performance, including theater, dance, cinema, other
audiovisual media, and mime. This richly illustrated book develops
protocols for the analysis of performance at every level -- from
the minute gestures and facial expressions of an actor to the
social network in which theater is embedded -- and respects the
importance of every aspect of performance, including actor,
costume, space, time, music, and lighting. With a keen awareness of
the roles of social context in the interpretation of performance,
Patrice Pavis leads the reader from a purely formal analysis to a
semiology and anthropology of performance, where spectator and
actor are equally objects of study. Drawn from performance
traditions and innovations all over the world, the book's many
examples make critical techniques vivid and concrete. Analyzing
Performance will be essential reading for critics, scholars,
students, and practitioners of theater, who will find that David
Williams's elegant translation brings Pavis's insights within reach
of English-language readers.
Patrice Pavis, Professor of Theater at Paris-VIII University, has
written extensively and influentially on performance.
David Williams is Professor of Theater, Dartington College of Arts,
Devon, England.
This extended new edition of a seminal text marks the 30th
anniversary of the original book's major intervention in the
discipline. Bradby and Williams' field-defining book introduced the
continental-European approach to directing, recognising the work of
the modern stage director as an artist in his or her own right for
the first time. Now edited by Peter M. Boenisch in collaboration
with David Williams, this new edition includes an additional four
chapters by leading contemporary experts on theatre direction.
Covering recent practices and developments, as well as new trends
in the academic research on directing, Directors' Theatre
interrogates working ethics and performance aesthetics, directors'
work with actors as a central creative source and their responses
to the ongoing reassessment of theatre's role and function in
contemporary culture. This long-awaited reissue will make a
classic, authoritative study on directors and directing accessible
to a new generation of students, scholars and artists. It is
essential reading for undergraduate and postgraduate students of
Theatre, Performance Studies and Directing. New to this Edition: -
Includes four new chapters written by leading contemporary experts
on theatre direction: Patrice Pavis, Katalin Trencsenyi, the
research team of Luk Van den Dries, and DuskaRadosavljevic - New
chapters discuss recent approaches and developments in theatre
directing as well as research on directing, including artists such
as Luk Perceval, Daniel Jeanneteau, Improbable and Ivo van Hove,
while also introducing the development of theatre direction in
Eastern Europe - The original text has been carefully revised by
David Williams and chapters have been supplemented with new
introductions and conclusions
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