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European Theatre Performance Practice, 1900 to the Present
     

European Theatre Performance Practice, 1900 to the Present

by Geoff Willcocks, Nadine Holdsworth
 

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ISBN-10: 1409418758

ISBN-13: 9781409418757

Pub. Date: 03/28/2014

Publisher: Taylor & Francis

This volume captures the rich diversity of European performance practice evident in the twentieth and early part of the twenty-first century. Written by leading directors, actors, dancers, scenographers and academics from across Europe, the collection spans a broad range of subject areas including dance, theatre, live art, multimedia performance and street protest.

Overview

This volume captures the rich diversity of European performance practice evident in the twentieth and early part of the twenty-first century. Written by leading directors, actors, dancers, scenographers and academics from across Europe, the collection spans a broad range of subject areas including dance, theatre, live art, multimedia performance and street protest. The essays are divided into three sections on: performers and performing; staging performance; representation and reception, and document innovations in acting, performance and stagecraft by key practitioners. Articles also explore the ways that performance has been used to stage debates around major preoccupations of the age such as war, the human condition, globalization, the impact of new technologies and identity politics. This volume, which features previously published performance manifestoes, articles, and book chapters on the most frequently discussed and debated topics in the field, is an indispensable reference work for both academics and students.

Product Details

ISBN-13:
9781409418757
Publisher:
Taylor & Francis
Publication date:
03/28/2014
Series:
Critical Essays on European Theatre Performance Practice Series
Edition description:
1
Pages:
570
Product dimensions:
6.60(w) x 9.60(h) x 1.60(d)

Table of Contents

Contents: Part I Acting and Performance: When acting is an art, Constantin Stanislavski, trans. Elizabeth Reynolds Hapgood; Michael Chekhov on the technique of acting: ‘Was Don Quixote true to life?', Franc Chamberlain; The dance of the future, Isadora Duncan; The actor and the über-marionette, Edward Gordon Craig; Actors on Brecht, Margaret Eddershaw; Introduction, Rudolf Laban; Samuel Beckett as director: the art of mastering failure, Anna McMullan; Performance, Jennifer Kumiega; Theatre theory: sociology and the actor's technique, Ian Watson; The masks of Jacques Lecoq, John Wright; Woman, man, dog, tree: two decades of intimate and monumental bodies in Pina Bausch's Tanztheater, Gabrielle Cody; On risk and investment, Tim Etchells; On seeing the invisible, Peggy Phelan. Part II Staging Performance: Of the futility of the ‘theatrical' in the theater, Alfred Jarry; Ideas on a reform of our mise en scène, Adolphe Appia; The founding and manifesto of futurism, Filuppo T. Marinetti; Biomechanics and constructivism, Edward Braun; The naked stage, John Rudlin; Theater (Bühne), Oskar Schlemmer; The documentary play, Erwin Piscator, Bertolt Brecht (1898-1956) and Caspar Neher (1897-1962), Joslin McKinney and Philip Butterworth; Production and metaphysics, Antonin Artaud; Myth and theatre laboratories, Peter Brook; After ideology: Heiner Müller and the theatre of catastrophe, David Kilpatrick; 1789, Victoria Nes Kirby; Notes on political street theatre, Paris: 1968, 1969, Jean-Jacques Lebel; Make-believe: Socíetas Raffaello Sanzio do theatre, Nicholas Ridout; Spectacle, synergy and megamusicals: the global-industrialisation of the live-entertainment economy, Jonathan Burston; The digital double, Steve Dixon. Part III Representation and Reception: Women's suffrage drama, Katharine Cockin; A propertyless theatre for the propertyless class, Tom Thomas; Modern dance in the Third Reich: six positions and a coda, Susan A. Manning; Reading The Blacks through the 1956 preface: politics and betrayal, Carl Lavery; Performance, community, culture, Baz Kershaw; The politics of representation in DV8's Dead Dreams of Monochrome Men and Adventures in Motion Picture's Swan Lake, Ramsay Burt; ORLAN's performative transformations of subjectivity, Tanya Augsburg; Addenda, phenomenology, embodiment: cyborgs and disability performance, Petra Kuppers; Performing like an asylum seeker: paradoxes of hyper-authenticity, Silvija Jestrovic; The role of national theatres in an age of globalization, Janelle Reinelt; There is a word for people like you: audience. The spectator as bad witness and bad voyeur, Florian Malzacher. Name index.

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