Theatre of the Oppressed in Practice Today, Campbell Ali
Автор: Campbell, Ali (queen Mary, University Of London, Uk) Название: Theatre of the oppressed in practice today ISBN: 1350031410 ISBN-13(EAN): 9781350031418 Издательство: Bloomsbury Academic Рейтинг: Цена: 3483.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
How has the work and legacy of Augusto Boal's Theatre of the Oppressed been interpreted and practised around the world? What does it look like in different working contexts? This book provides an accessible introduction to the political and artistic principles Boal's techniques are founded on, tracking exemplary practice from around the globe.
Using detailed contemporary case histories, theatre artist, scholar and activist Ali Campbell demonstrates how the underlying principles of Boal's practice are today enacted in the work of - among others - an urban network (Theatre of the Oppressed NYC); a rural and developmental theatre organisation (Jana Sanskriti, West Bengal); Boal's original company CTO Rio (Brazil); and a theatre-based group led by learning-disabled adults in the UK (The Lawnmowers Independent Theatre Company). The book concludes with a series of conversations between Campbell and international exponents of the work, envisioning futures for the Theatre of the Oppressed in the shifting political, educational and artistic contexts of the twenty-first century.
Автор: Amy Skinner Название: Russian Theatre in Practice: The Director`s Guide ISBN: 1474284426 ISBN-13(EAN): 9781474284424 Издательство: Bloomsbury Academic Рейтинг: Цена: 15048.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Amidst the turmoil of political revolution, the stage directors of twentieth-century Russia rewrote the rules of theatre making. From realism to the avant-garde, politics to postmodernism, and revolution to repression, these practitioners shaped perceptions of theatre direction across the world.
This edited volume introduces students and practitioners alike to the innovations of Russia's directors, from Konstantin Stanislavsky and Vsevolod Meyerhold to Anatoly Efros, Oleg Efremov and Genrietta Ianovskaia. Strongly practical in its approach, Russian Theatre in Practice: The Director's Guide equips readers with an understanding of the varying approaches of each director, as well as the opportunity to participate and explore their ideas in practice.
The full range of the director's role is covered, including work on text, rehearsal technique, space and proxemics, audience theory and characterization. Each chapter focuses on one director, exploring their historical context, and combining an examination of their directing theory and technique with practical exercises for use in classroom or rehearsal settings.
Through their ground-breaking ideas and techniques, Russia's directors still demand our attention, and in this volume they come to life as a powerful resource for today's theatre makers.
Автор: Amy Skinner Название: Russian Theatre in Practice: The Director`s Guide ISBN: 1474284418 ISBN-13(EAN): 9781474284417 Издательство: Bloomsbury Academic Рейтинг: Цена: 4592.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Amidst the turmoil of political revolution, the stage directors of twentieth-century Russia rewrote the rules of theatre making. From realism to the avant-garde, politics to postmodernism, and revolution to repression, these practitioners shaped perceptions of theatre direction across the world.
This edited volume introduces students and practitioners alike to the innovations of Russia's directors, from Konstantin Stanislavsky and Vsevolod Meyerhold to Anatoly Efros, Oleg Efremov and Genrietta Ianovskaia. Strongly practical in its approach, Russian Theatre in Practice: The Director's Guide equips readers with an understanding of the varying approaches of each director, as well as the opportunity to participate and explore their ideas in practice. The full range of the director's role is covered, including work on text, rehearsal technique, space and proxemics, audience theory and characterization. Each chapter focuses on one director, exploring their historical context, and combining an examination of their directing theory and technique with practical exercises for use in classroom or rehearsal settings. Through their ground-breaking ideas and techniques, Russia's directors still demand our attention, and in this volume they come to life as a powerful resource for today's theatre makers.
Автор: Nick Rowe, Matthew Reason Название: Applied Practice: Evidence and Impact in Theatre, Music and Art ISBN: 1474283837 ISBN-13(EAN): 9781474283830 Издательство: Bloomsbury Academic Рейтинг: Цена: 15840.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Applied Practice: Evidence and Impact in Theatre, Music and Art engages with a diversity of contexts, locations and arts forms - including theatre, music and fine art - and brings together theoretical, political and practice-based perspectives on the question of 'evidence' in relation to participatory arts practice in social contexts. This collection is a unique contribution to the field, focusing on one of the vital concerns for a growing and developing set of arts and research practices. It asks us to consider evidence not only in terms of methodology but also in the light of the ideological, political and pragmatic implications of that methodology. In Part One, Matthew Reason and Nick Rowe reflect on evidence and impact in the participatory arts in relation to recurring conceptual and methodological motifs. These include issues of purpose and obliquity; the relationship between evidence and knowledge; intrinsic and instrumental impacts, and the value of participatory research. Part Two explores the diversity of perspectives, contexts and methodologies in examining what it is possible to know, say and evidence about the often complex and intimate impact of participatory arts. Part Three brings together case studies in which practitioners and practice-based researchers consider the frustrations, opportunities and successes they face in addressing the challenge to produce evidence for the impact of their practice.
Applied Practice: Evidence and Impact in Theatre, Music and Art engages with a diversity of contexts, locations and arts forms - including theatre, music and fine art - and brings together theoretical, political and practice-based perspectives on the question of 'evidence' in relation to participatory arts practice in social contexts. This collection is a unique contribution to the field, focusing on one of the vital concerns for a growing and developing set of arts and research practices. It asks us to consider evidence not only in terms of methodology but also in the light of the ideological, political and pragmatic implications of that methodology. In Part One, Matthew Reason and Nick Rowe reflect on evidence and impact in the participatory arts in relation to recurring conceptual and methodological motifs. These include issues of purpose and obliquity; the relationship between evidence and knowledge; intrinsic and instrumental impacts, and the value of participatory research. Part Two explores the diversity of perspectives, contexts and methodologies in examining what it is possible to know, say and evidence about the often complex and intimate impact of participatory arts. Part Three brings together case studies in which practitioners and practice-based researchers consider the frustrations, opportunities and successes they face in addressing the challenge to produce evidence for the impact of their practice.
Описание: In Acts of Resistance in Late-Modernist Theatre , Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director. Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
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