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An edited collection of essays exploring the work and legacy of the
academic and theatre-maker Clive Barker. Together, the essays trace
the development of his work from his early years as an actor with
Joan Littlewood's company, Theatre Workshop, via his career as an
academic and teacher, through the publication of his seminal book,
Theatre Games (Methuen Drama). The book looks beyond Barker's death
in 2005 at the enduring influence of his work upon contemporary
theatre training and theatre-making. Each writer featured in the
collection responds to a specific aspect of Barker's work, focusing
primarily on his early and formative career experiences with
Theatre Workshop and his hugely influential development of Theatre
Games. The collection as a whole thereby seeks to situate Clive
Barker's work and influence in an international and
multi-disciplinary context, by examining not only his origins as an
actor, director, teacher and academic, but also the broad influence
he has had on generations of theatre-makers.
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Stanislavsky and Intimacy
Joelle RĂ© Arp-Dunham; Series edited by Paul Fryer
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R1,165
Discovery Miles 11 650
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Ships in 12 - 17 working days
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Stanislavsky and Intimacy is the first academic edited book with a
focus on how intimacy protocols, choreography, and theories
intersect with the broad practices of Konstantin Stanislavsky’s
‘system’. As the basis for most Western theatre and film
acting, Stanislavsky’s system centers on truthful performances.
Intimacy direction and choreography insists on not only a culture
of consent, but also specific, repeatable choreography for all
staged intimate moments. These two practices have often been placed
as diametric opposites, but this book seeks to dispel this
argument. Each chapter discusses specific Stanislavskian principles
and practices as they relate to staged sexually intimate moments,
also opening the conversation to the broader themes and practices
of other kinds of intimacy within the acting field. Stanislavsky
And... is a series of multi-perspectival collections that bring the
enduring legacy of Stanislavskian actor training into the spotlight
of contemporary performance culture, making them ideal for
students, teachers and scholars of acting, actor training, and
directing.
A collection of essays from leading actor trainers on how to
incorporate Stanislavsky's 100 year old methods into today's
anti-racist and inclusive actor training practices. Written for
students and teachers on acting and directing units in BA Theatre
Studies, Acting and Performing Arts degrees. The only book to look
at Stanislavsky's enduring and influential techniques through the
lens of today's diverse and racially conscious processes.
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Stanislavsky and Intimacy
Joelle RĂ© Arp-Dunham; Series edited by Paul Fryer
|
R4,126
Discovery Miles 41 260
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Ships in 12 - 17 working days
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Stanislavsky and Intimacy is the first academic edited book with a
focus on how intimacy protocols, choreography, and theories
intersect with the broad practices of Konstantin Stanislavsky’s
‘system’. As the basis for most Western theatre and film
acting, Stanislavsky’s system centers on truthful performances.
Intimacy direction and choreography insists on not only a culture
of consent, but also specific, repeatable choreography for all
staged intimate moments. These two practices have often been placed
as diametric opposites, but this book seeks to dispel this
argument. Each chapter discusses specific Stanislavskian principles
and practices as they relate to staged sexually intimate moments,
also opening the conversation to the broader themes and practices
of other kinds of intimacy within the acting field. Stanislavsky
And... is a series of multi-perspectival collections that bring the
enduring legacy of Stanislavskian actor training into the spotlight
of contemporary performance culture, making them ideal for
students, teachers and scholars of acting, actor training, and
directing.
A collection of essays from leading actor trainers on how to
incorporate Stanislavsky's 100 year old methods into today's
anti-racist and inclusive actor training practices. Written for
students and teachers on acting and directing units in BA Theatre
Studies, Acting and Performing Arts degrees. The only book to look
at Stanislavsky's enduring and influential techniques through the
lens of today's diverse and racially conscious processes.
This edited collection of essays details a wide-ranging selection
of some of the most sensationally successful theatre productions of
the long Victorian era, the real "blockbusters" of the age. Ranging
from the world of operetta and music hall to spectacular drama and
sensational melodrama, the productions included provide the reader
with definitive proof that the phenomenon of the "smash hit" show
is not restricted to modern Broadway. This is a world that
encompassed the ground-breaking stage technology of Ben Hur, the
wide political impact of Uncle Tom's Cabin and the sheer creative
originality of L'Enfant Prodigue. Supporting the "star" system,
productions featured some of the greatest names of the period - Sir
Henry Irving, Sir Johnston Forbes Robertson, James O'Neill and Dion
Boucicault. This was the very dawning of a new media age, which saw
many of the productions transfer to the new world of silent cinema
for the very first time
Film technology developments in the early 20th century opened up a
new world of possibilities for the motion picture industry, and
opera, relying as it did on the melodramatic storyline and grand
pantomime acting, was an ideal subject for early silent film. Even
deprived of their principal glory-their voices-opera singers were
among the first prominent screen stars. This book examines the
relationship between the established operatic stars of the late
19th and early 20th centuries and the newly developing motion
picture industry. It concentrates primarily on developments between
1895 and 1926, from the invention of the commercially exploitable
motion picture to the coming of viable sound on film. Early
chapters discuss the changing role of the opera star prior to and
during the development of film as a popular commercial medium, and
explore the technological innovations that eventually enabled opera
to move out of the strict confines of the opera house and to be
viewed by a global audience. Later chapters expose the fragile
relationship between art and the entertainment industry in the
early decades of the motion picture, and show how the opera helped
establish a balance between film as a new art form and its
commercial exploitation. Also discussed is the extent to which the
inclusion of opera in early motion pictures contributed to the
broader democratization of art. The book concludes with four
detailed case studies that examine the experiences of operatic
performers who made the transition to the silent screen and who
made a notable impact on the early movie industry. An extensive
filmography is included to provide the reader with full details of
films cited and archival locations of surviving materials.
Viktor Simov is the first English-language biography of Konstantin
Stanislavsky's principal scenic designer at the Moscow Art Theatre
from the company's formation in 1898. His ground-breaking work
included the designs for the premieres of Anton Chekhov's major
stage plays, and his approach to theatre design still influences
contemporary scenography. Translated from the original Russian text
written by author, editor, and literary critic Yuri Ivanovich
Nekhoroshev, the book provides a revealing insight into the staging
and technical practices of one of the world's most influential
theatre companies. Supported by 60 illustrations representing the
full range of Simov's designs, this volume provides a historical
account of Simov's career and a vivid description and critical
assessment of his work. The book traces the artist's development
from his early years as a painter to his later experiments in early
silent film design, including his work for the classic Russian
science fiction film Aelita, Queen of Mars (1924). Written for
theatre scholars and students of Scenic Design and Drama courses,
Viktor Simov: Stanislavsky's designer re-establishes Simov as one
of the most influential theatre designers of the 20th century.
Sergei Bertensson's diary of his trip to Hollywood with Russian
theatre great Nemirovich-Danchenko is a unique record of an
extraordinary and under-documented chapter in film and theatre
history. For a year Bertensson followed his employer as he met with
directors, producers, and stars, forever discussing projects that
would never be realized. Some of the leading figures in Hollywood
history appear in this record, including Charlie Chaplin, Douglas
Fairbanks, Mary Pickford, and John Barrymore. Bertensson's
observations of life in Hollywood on the eve of the talkies
revolution provide us with a compelling snapshot of movie history
in the making, seen from the unusual perspective of an outsider.
Viktor Simov is the first English-language biography of Konstantin
Stanislavsky's principal scenic designer at the Moscow Art Theatre
from the company's formation in 1898. His ground-breaking work
included the designs for the premieres of Anton Chekhov's major
stage plays, and his approach to theatre design still influences
contemporary scenography. Translated from the original Russian text
written by author, editor, and literary critic Yuri Ivanovich
Nekhoroshev, the book provides a revealing insight into the staging
and technical practices of one of the world's most influential
theatre companies. Supported by 60 illustrations representing the
full range of Simov's designs, this volume provides a historical
account of Simov's career and a vivid description and critical
assessment of his work. The book traces the artist's development
from his early years as a painter to his later experiments in early
silent film design, including his work for the classic Russian
science fiction film Aelita, Queen of Mars (1924). Written for
theatre scholars and students of Scenic Design and Drama courses,
Viktor Simov: Stanislavsky's designer re-establishes Simov as one
of the most influential theatre designers of the 20th century.
This collection of essays explores the many and varied ways in
which composers have been depicted on the cinema screen. Beginning
with some of the very earliest silent films examples - which were
amongst the first feature-length "bio-pics" ever to be produced,
these essays range in subject from the 12th century abbess,
Hildegard of Bingen, through the great classical and romantic eras
of Verdi, Wagner, Berlioz and Strauss, up to the 20th century,
Elgar, Delius, Gershwin and Blitzstein.
The silent film Cenere (Ashes) is the only cinematic ""expression""
of Eleonora Duse (1858-1924), the greatest of all Italian
actresses. Taken from the homonymous novel by Grazia Deledda (Nobel
Prize for Literature in 1926), it offers us the highest proof of
Duse's silence and of her spiritual meditation as an artist: on the
screen she remembered all the ""mother-roles"" that she had created
for the theatre, and used them to create a new performance for a
new medium. The genesis, the development and the difficulties
involved in the making of Cenere, are evident in the essays of this
collection. Duse's perfectionism was too advanced for the rules of
the Italian movie industry of the 1910s: now we render historical
justice to the many facets of her work, and not only as an actress,
illustrating her broader opinion of the silent movie industry as it
developed in war-time Italy. The publication of the current
collection marks the 100th anniversary of the making of Cenere, and
brings together, for the first time in English, a broad survey of
scholarship surrounding Duse's only film performance seen within
the creative, political and historical context of its time.
A collection of essays that explores the relationship between opera
and the development of media technology from the late 19th to the
early 21st century. Examining the subject from an international
perspective, the contributing authors, all of whom have extensive
experience as academics and/or practitioners, cover a variety of
topics which include audio, video and film recording, contemporary
critical responses, popular and "high brow" culture, live and
recorded performance, lighting and performance technology, media
marketing and advertising.
A prominent star in both pre-Revolutionary Russia and New York,
Lina Cavalieri, described as the most beautiful woman in the world,
was one of the most frequently photographed personalities of her
time. The cabaretperformer, courtesan, and international star is
documented in this, her first English-language biography.
Researched from Russian archive sources,the book details her career
from her early experiences in cafe-chantant and variety theatre in
Paris, London, and St. Petersburg, through a highlysuccessful
operatic career in which she sang in many of the world's leading
opera houses with such celebrities as Caruso and Ruffo. In 1914,
Cavalieri became the first great opera singer to appear in silent
movies, making her debutin Manon Lescaut and continuing with
a series of successful films. Her life was ended by an Allied air
raid in World War II.
The book includes excerpts from period reviews, programmes,
posters, and many previously unseen photographs. Appendices include
a bibliography, filmography, discography, and chronology of stage
performances (dates, venues, work, cast, conductor).
'The Great history of Britain' is an introduction to some of the
key events in British history aimed specifically at children. With
short, concise chapters, over one hundred and seventy hand-drawn
illustrations and an in-depth Glossary and Index it is an ideal
first history book which aims to encourage children (and adults!)
to ask more questions and to do further research. Beginning at the
time of Jesus Christ and ending with an overview of Modern Britain,
this book endeavours to show how events and people over the
centuries are all linked together. Anyone reading this book should
finish with a clear and concise overview of the chronology of 'The
Great history of Britain'.
An edited collection of essays exploring the work and legacy of the
academic and theatre-maker Clive Barker. Together, the essays trace
the development of his work from his early years as an actor with
Joan Littlewood's company, Theatre Workshop, via his career as an
academic and teacher, through the publication of his seminal book,
Theatre Games (Methuen Drama). The book looks beyond Barker's death
in 2005 at the enduring influence of his work upon contemporary
theatre training and theatre-making. Each writer featured in the
collection responds to a specific aspect of Barker's work, focusing
primarily on his early and formative career experiences with
Theatre Workshop and his hugely influential development of Theatre
Games. The collection as a whole thereby seeks to situate Clive
Barker's work and influence in an international and
multi-disciplinary context, by examining not only his origins as an
actor, director, teacher and academic, but also the broad influence
he has had on generations of theatre-makers.
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