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A Poetics of Third Theatre offers an in-depth, critical analysis of
Third Theatre, a transnational community of theatre groups and
artists united by a shared set of values and a laboratory attitude.
This book takes a genealogical account of Third Theatre as a
concept and a practice that draws attention to the historical Third
Theatre Encounters that have taken place across Europe and Latin
America since the 1970s. The work of renowned Third Theatre groups
and organisations, such as LUME (Brazil), Grupo Cultural Yuyachkani
(Peru), Triangle Theatre (UK) and Nordisk Teaterlaboratorium - NTL
(Denmark), are explored to reveal how a multifarious poetics of
Third Theatre is manifest through these artists' approaches to
performer training, dramaturgy and cultural action. Three critical
pillars - unconditional hospitality, artisanal craft and
(re)enchantment - are employed in order to illuminate the shared
ethos of the Third Theatre community and its exemplification as a
mode of cultural performance. This informative text will be of
great use to students and scholars of drama and theatre studies,
and its dedicated section on performer training exercises offers
the reader pathways into an experiential engagement with Third
Theatre craft.
A Poetics of Third Theatre offers an in-depth, critical analysis of
Third Theatre, a transnational community of theatre groups and
artists united by a shared set of values and a laboratory attitude.
This book takes a genealogical account of Third Theatre as a
concept and a practice that draws attention to the historical Third
Theatre Encounters that have taken place across Europe and Latin
America since the 1970s. The work of renowned Third Theatre groups
and organisations, such as LUME (Brazil), Grupo Cultural Yuyachkani
(Peru), Triangle Theatre (UK) and Nordisk Teaterlaboratorium - NTL
(Denmark), are explored to reveal how a multifarious poetics of
Third Theatre is manifest through these artists' approaches to
performer training, dramaturgy and cultural action. Three critical
pillars - unconditional hospitality, artisanal craft and
(re)enchantment - are employed in order to illuminate the shared
ethos of the Third Theatre community and its exemplification as a
mode of cultural performance. This informative text will be of
great use to students and scholars of drama and theatre studies,
and its dedicated section on performer training exercises offers
the reader pathways into an experiential engagement with Third
Theatre craft.
Owning Our Voices offers a unique, first-hand account of working
within the Wolfsohn-Hart tradition of extended voice work by
Margaret Pikes, an acclaimed voice teacher and founder member of
the Roy Hart Theatre. This dynamic publication fuses Pikes'
personal account of her own vocal journey as a woman within this,
at times, male-dominated tradition, alongside an overview of her
particular pedagogical approach to voice work, and is accompanied
by digital footage of Pikes at work in the studio with
artist-collaborators and written descriptions of scenarios for
teaching. For the first time, Margaret Pikes' uniquely holistic
approach to developing the expressive voice through sounding,
speech, song and movement has been documented in text and on film,
offering readers an introduction to both the philosophy and the
practice of Wolfsohn-Hart voice work. Owning Our Voices is a vital
book for scholars and students of voice studies and practitioners
of vocal performance: it represents a synthesis of a life's work
exploring the expressive potential of the human voice, illuminating
an important lineage of vocal training, which remains influential
to this day.
The field of literary studies has long recognised the centrality of psychoanalysis as a method for looking at texts in a new way. But rarely has the relationship between psychoanalysis and performance been mapped out, either in terms of analysing the nature of performance itself, or in terms of making sense of specific performance-related activities. In this volume some of the most distinguished thinkers in the field make this exciting new connection and offer original perspectives on a wide variety of topics, including: · hypnotism and hysteria · ventriloquism and the body · dance and sublimation · the unconscious and the rehearsal process · melancholia and the uncanny · cloning and theatrical mimesis · censorship and activist performance · theatre and social memory. The arguments advanced here are based on the dual principle that psychoanalysis can provide a productive framework for understanding the work of performance, and that performance itself can help to investigate the problematic of identity.
Author Biography: Patrick Campbell is Academic Chair of Performing Arts at Middlesex University. Adrian Kear is Senior Lecturer in Drama and Theatre Studies at the University of Surrey Roehampton.
Lively yet intriguing, The Body in Performance is a varied collection of essays about this much-discussed area. Posing the question "Why this current preoccupation with the performed body?" the collection of specially commissioned essays from both academics and practitioners - in some cases one and the same person - considers such cutting edge topics as the abject body and performance, censorship and live art, the presentation of violence on stage, carnal art, and the vexed issue of mimesis in the theatre. Drawing variously on the work of Franko B., Orlan, Annie Sprinkle, Karen Finley, and Forced Entertainment, it concludes with a creative piece about a 'Famous New York Performance Artist.' Contributors include Rebecca Schneider whose book The Explicit Body in Performance is a key text in this area, and Joan Lipkin, director and writer.
Lively yet intriguing, The Body in Performance is a varied
collection of essays about this much-discussed area. Posing the
question "Why this current preoccupation with the performed body?"
the collection of specially commissioned essays from both academics
and practitioners - in some cases one and the same person -
considers such cutting edge topics as the abject body and
performance, censorship and live art, the presentation of violence
on stage, carnal art, and the vexed issue of mimesis in the
theatre. Drawing variously on the work of Franko B., Orlan, Annie
Sprinkle, Karen Finley, and Forced Entertainment, it concludes with
a creative piece about a 'Famous New York Performance Artist.'
Contributors include Rebecca Schneider whose book The Explicit Body
in Performance is a key text in this area, and Joan Lipkin,
director and writer.
Owning Our Voices offers a unique, first-hand account of working
within the Wolfsohn-Hart tradition of extended voice work by
Margaret Pikes, an acclaimed voice teacher and founder member of
the Roy Hart Theatre. This dynamic publication fuses Pikes'
personal account of her own vocal journey as a woman within this,
at times, male-dominated tradition, alongside an overview of her
particular pedagogical approach to voice work, and is accompanied
by digital footage of Pikes at work in the studio with
artist-collaborators and written descriptions of scenarios for
teaching. For the first time, Margaret Pikes' uniquely holistic
approach to developing the expressive voice through sounding,
speech, song and movement has been documented in text and on film,
offering readers an introduction to both the philosophy and the
practice of Wolfsohn-Hart voice work. Owning Our Voices is a vital
book for scholars and students of voice studies and practitioners
of vocal performance: it represents a synthesis of a life's work
exploring the expressive potential of the human voice, illuminating
an important lineage of vocal training, which remains influential
to this day.
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Helter Skelter (DVD)
Carol Marsh, David Tomlinson, Mervyn Johns, Peter Hammond, Richard Hearne, …
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R142
Discovery Miles 1 420
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Out of stock
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British comedy from the late 1940s starring David Tomlinson and
Carol Marsh. The film follows wealthy socialite Susan Graham
(Marsh) as she enlists the help of various zany characters in her
eternal quest to cure herself of a never-ending bout of the
hiccups.
Each chapter in this important critical reader tackles the theory
and practice of modern performance work, and enables students and
teachers to see what is at stake in analysing dance, drama, music
and videos using contemporary critical theories. Including
Elizabeth Wright on psychoanalysis, Baz Kershaw on the politics of
performance, Jatinder Verma on multiculturalism, E. Ann Kaplan on
MTV and video, Lizabeth Goodman on feminism and AIDS, Stephen
Connor on postmodernism and many others.
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