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This book provides a fascinating and concise history of devised
theatre practice. As both a founding member of Philadelphia's Pig
Iron Theater Company and a Professor, Telory Arendell begins this
journey with a brief history of Joan Littlewood's Theatre Workshop
and Living Newspapers through Brecht's Berliner Ensemble and Joe
Chaikin's Open Theatre to the racially inflected commentary of Luis
Valdez's Teatro Campesino and Ariane Mnouchkine's collaboration
with Theatre de Soleil. This book explores the impact of devised
theatre on social practice and analyzes Goat Island's use of Pina
Bausch's gestural movement, Augusto Boal's Theatre of the Oppressed
in Giving Voice, Anna Deavere Smith's devised envelope for Verbatim
Theatre, The Tectonic Theatre Project's moment work, Teya
Sepinuck's Theatre of Witness, Pig Iron's use of Lecoq mime to
build complex physical theatre scripts, and The Riot Group's
musical arrangement of collaborative devised text. Included are a
foreword by Allen J. Kuharski and three devised plays by Theatre of
Witness, Pig Iron, and The Riot Group. Replete with interviews from
the initial Pig Iron collaborators on subjects of writing,
directing, choreographing, teaching, and developing a pedagogical
platform that supports devised theatre.
Pina Bausch's Aggressive Tenderness: Repurposing Theater through
Dance maps Bausch's pieces alongside methodologies of key theater
and film practitioners. This book includes discussion of a variety
of Bausch pieces, including Sacre du Printemps (Rite of Spring
1975), Kontakthof (Meeting Place 1978), Cafe Muller (Cafe Mueller
1978), Nelken (Carnations 1982), Arien (Arias 1985), and Vollmond
(Full Moon 2006). Beginning with her approach as one avenue of
dance dramaturgy, the author connects the content expressed in
these pieces with theoretical conversations, works from other
artists inspired by Bausch, and her own experiences, providing an
examination that is both academic and personally insightful.
Arendell reads all of these theatrical and film approaches into
Bausch's work to highlight how the time frame involves a
cross-pollination between Bausch and the other artists that looks
both backward and forward in its influences. Ideal for students of
dance and theater, Pina Bausch's Aggressive Tenderness shows how
Bausch's Tanztheater speaks a kinaesthetic language, one that
Arendell translates into a somaesthetic exploration to pair a
repurposed body ethic with movements that present new forms of
embodiment.
Pina Bausch's Aggressive Tenderness: Repurposing Theater through
Dance maps Bausch's pieces alongside methodologies of key theater
and film practitioners. This book includes discussion of a variety
of Bausch pieces, including Sacre du Printemps (Rite of Spring
1975), Kontakthof (Meeting Place 1978), Cafe Muller (Cafe Mueller
1978), Nelken (Carnations 1982), Arien (Arias 1985), and Vollmond
(Full Moon 2006). Beginning with her approach as one avenue of
dance dramaturgy, the author connects the content expressed in
these pieces with theoretical conversations, works from other
artists inspired by Bausch, and her own experiences, providing an
examination that is both academic and personally insightful.
Arendell reads all of these theatrical and film approaches into
Bausch's work to highlight how the time frame involves a
cross-pollination between Bausch and the other artists that looks
both backward and forward in its influences. Ideal for students of
dance and theater, Pina Bausch's Aggressive Tenderness shows how
Bausch's Tanztheater speaks a kinaesthetic language, one that
Arendell translates into a somaesthetic exploration to pair a
repurposed body ethic with movements that present new forms of
embodiment.
Dance's Duet with the Camera: Motion Pictures is a collection of
essays written by various authors on the relationship between live
dance and film. Chapters cover a range of topics that explore dance
film, contemporary dance with film on stage, dance as an ideal
medium to be captured by 3D images and videodance as kin to
site-specific choreography. This book explores the ways in which
early practitioners such as Loie Fuller and Maya Deren began a
conversation between media that has continued to evolve and yet
still retains certain unanswered questions. Methodology for this
conversation includes dance historical approaches as well as
mechanical considerations. The camera is a partner, a disembodied
portion of self that looks in order to reflect on, to mirror, or to
presage movement. This conversation includes issues of sexuality,
race, and mixed ability. Bodies and lenses share equal billing.
Dance's Duet with the Camera: Motion Pictures is a collection of
essays written by various authors on the relationship between live
dance and film. Chapters cover a range of topics that explore dance
film, contemporary dance with film on stage, dance as an ideal
medium to be captured by 3D images and videodance as kin to
site-specific choreography. This book explores the ways in which
early practitioners such as Loie Fuller and Maya Deren began a
conversation between media that has continued to evolve and yet
still retains certain unanswered questions. Methodology for this
conversation includes dance historical approaches as well as
mechanical considerations. The camera is a partner, a disembodied
portion of self that looks in order to reflect on, to mirror, or to
presage movement. This conversation includes issues of sexuality,
race, and mixed ability. Bodies and lenses share equal billing.
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