The Active Text by Dymphna CalleryMany theatre practitioners think of physical theatre as one thing and text-based theatre as another. In this book, Dymphna Callery, author of Through the Body: A Practical Guide to Physical Theatre, shows how exercises and rehearsal techniques associated with physical and devised theatre can be applied to scripted plays. Working 'through the body' enables performers to discover what really makes a play work. Drawing on key practitioners, including Jacques Lecoq, Joan Littlewood, Peter Brook and Simon McBurney, The Active Text offers a complete approach to working with a scripted play, leading the reader through a process of active exploration and experimentation that includes: Uncovering a play's internal dynamics Using improvisation and theatre games Exploiting the languages of the body Getting inside the words that are spoken (as well as those that aren't!) Discovering image structures Understanding the impact on the audience Throughout the book, the author draws on a core selection of well-known texts (from Sophocles and Shakespeare to Brecht, Arthur Miller, Steven Berkoff and Sarah Kane), showing how an active approach to text can challenge assumptions about even the most familiar of plays. Packed with theatre games, improvisation exercises and rehearsal techniques, The Active Text is an inspirational guide for performers, directors, students and teachers. It will revitalise work in the rehearsal room, workshop or classroom - anywhere that dramatic text needs to be brought to life.
Publication Date: 2015
The San Francisco Mime Troupe Reader by Susan Vaneta Mason (Editor)The San Francisco Mime Troupe Readeris a long-overdue collection of some of the finest political satires created and produced by the Tony Award-winning company during the last forty years. It is also a history of the company that was the theater of the counterculture movement in the 1960s and that, against all odds, has managed to survive the often hostile economic climate for the arts in the United States. The plays selected are diverse, representing some of the Troupe's finest shows, and the book's illustrations capture some of the Troupe's most memorable moments. These hilarious, edgy, and imaginative scripts are accompanied by insightful commentary by theater historian and critic Susan Vaneta Mason, who has been following the Troupe for more than three decades. TheMime Troupe Readerwill engage and entertain a wide range of audiences, not only general readers but also those interested in the history of American social protest, the counterculture of the 1960s-particularly the San Francisco scene-and the evolution of contemporary political theater. It will also appeal to the legions of Troupe fans who return every year to see them stand up against another social or corporate Goliath.
Publication Date: 2005
Illustrated theatre production guide by John HollowayThe 'Illustrated theatre production guide' takes a step-by-step approach to the most common and popular theatre production practices, covering important issues related to the construction of wooden, fabric, plastic, and metal scenery used on the stage. This book examines theatres and their equipment, tools and materials, and scenery construction, as well as the principles of electricity and implementation of a lighting design.
Publication Date: 2010
Bringing the Body to the Stage and Screen by Annette LustAs Stage and Screen: artists explore means to enhance their craft, a new wave of interest in expressive movement and physical improvisation has developed. To bring authenticity and believability to a character, it has become increasingly vital tor actors to be aware of movement and physical acting. Stage and screen artists must now call upon physical presence, movement on stage, nonverbal interactions, and gestures to fully convey themselves. In Bringing the Body to the Stage and Screen, Annette Lust provides these artists with a; program of physical and related expressive exercises that can empower their art with more creativity. Lust offers a general introduction that includes definitions and differences between movement on the stage and screen, how to conduct a class or learn on your own, and how to choose your own movement style among a variety of current schools of movement. Throughout the book and in the appendixes, Lust incorporates learning programs that connect the use of basic physical and expressive exercises for the entire body. Also included are original solo and group pantomimes; improvisational exercises; examples of plays, fiction, poetry, and songs that may be interpreted with movement; a list of training centers in America and Europe; and an extensive bibliography and videography. With fifteen interviews and essays by prominent stage and screen actors, mimes, clowns, dancers, and puppeteers who describe the importance ot movement in their art, and illustrated with dozens of photos of world-renowned companies and artists, Bringing the Body to the Stage and Screen is a valuable resource for theatre teachers and students, as well as anyone engaged in the performing arts. Book jacket.
Jacques Copeau by Mark EvansPart of our successful Routledge Performance Practitioners series of introductory guides to the key theatre-makers of the last century, this book examines Jacques Copeau; anbsp;leading figure in the development of twentieth century theatre practice, a pioneer fornbsp;work on actor-training, physical theatre and ensemble acting, and a key innovator in the movement to de-centralize theatre and culture to the regions. Presenting the background to and the work of one of the major influences on twentieth- and twenty-first-century performance,nbsp;this is the first book to combine: an overview of Copeau's life and work an analysis of his key ideas a detailed commentary of his 1917 production of Moliere's late farce Les Fourberies de Scapinnbsp;- the opening performance of his influential New York season a series of practical exercises offering an introduction to Copeau's working methods. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Jacques Copeau is unbeatable value for today's student.
Call Number: 792.0233 COPJ EVAM
Publication Date: 2006
Performing Ground by Laura LevinWhat stands out when we blend in? Performing Ground is the first book to explore camouflage as a performance practice, arguing that the act of blending into one's environment is central to the ways we negotiate our identities in and through space. Laura Levin tracks contemporary performances of camouflage through a variety of forms - performative photography; environmental, immersive, and site-specific performance; activist infiltration; and solo artworks - and rejects the conventional dismissal of blending in as an abdication of self. Instead, she contemplates the empowering political possibilities of 'performing ground,' of human bodies intermingling with the material world, while directly engaging with the reality that women and other marginalized persons are often relegated to the background and associated with the properties of space. Performing Ground engages these questions through the works of some of today's most exciting performance artists such as Rebecca Belmore, Liu Bolin, Janieta Eyre, and Violeta Luna, and groups like Gob Squad, Punchdrunk, The Yes Men, and Urban Mimics.
Publication Date: 2014
Improvisation on the Edge: Notes from On and Off the Stage by Ruth Zaporah; Rinde Eckert (Foreword by); Joan Sutherland Roshi (Foreword by)"Directed not only toward actors, dancers, and other performing artists who draw upon improvisation as part of their craft, this Zen-infused memoir of a life lived creatively will pique the interest of anyone in search of liberation from self-limiting concepts. What does it mean to live in a body? What does it mean to improvise? Do we wonder whether we're capable of improvising-to make up things as we go, step into the unknown, take a risk that changes our notion of ourselves and the world? Author Ruth Zaporah has been a professional physical theater performer, writer, director, and teacher for forty years. Early on she realized that with a shift of perception, every moment of an improvisation holds both the familiar and the utterly new. With the same shift, so does every moment of life; every moment holds both the known and the unknown. And, as Zaporah says, ""The body leads the way in this book. In each chapter the world is experienced by it and of it. It is the body that adds richness, wildness, and grace. The body invokes images and feelings. It is the body that imagines."" Improvisation on the Edge recounts events from Zaporah's life such as improvisational shows in t
Publication Date: 2014
The Improvisation Studies Reader by Ajay Heble (Editor); Rebecca Caines (Editor)Improvisation is a performance practice that animates and activates diverse energies of inspiration, critique, and invention. In recent years it has coalesced into an exciting and innovative new field of interdisciplinary scholarly inquiry, becoming a cornerstone of both practical and theoretical approaches to performance. The Improvisation Studies Reader draws together the works of key artists and thinkers from a range of disciplines, including theatre, music, literature, film, and dance. Divided by keywords into eight sections, this book bridges the gaps between these fields. The book includes case studies, exercises, graphic scores and poems in order to produce a teaching and research resource that identifies central themes in improvisation studies. The sections include: Listening Trust/Risk Flow Dissonance Responsibility Liveness Surprise Hope Each section of the Reader is introduced by a newly commissioned think piece by a key figure in the field, which opens up research questions reflecting on the keyword in question. By placing key theoretical and classic texts in conversation with cutting-edge research and artists' statements, this book answers the urgent questions facing improvising artists and theorists in the mediatized Twenty-First Century.
Publication Date: 2014
Long Form Improvisation and American Comedy by Matt FotisComedy has undergone a seismic shift over the past quarter century: from star powered stand-up comics to an ensemble-fueled style marked by support, trust, and collaborative creativity. This shift is mainly due to the long form improvisational theatre structure known as the Harold. The form's philosophies serve as the bedrock for the majority of the most significant comedic performers, writers, and directors of the past quarter-century who are transforming the way peformers and audiences make, view, and interpret comedy. This book examines the development of the Harold and the ways in which it has helped transform American comedy, examining the tensions and evolutions that led to the Harold's creation at ImprovOlympic (now iO) and following it through its use in contemporary comedic filmmaking.
Publication Date: 2014
Long-Form Improv: The Complete Guide to Creating Characters, Sustaining Scenes, and Performing Extraordinary Harolds by Ben HauckLong-Form Improv deftly teaches the wildly popular form of improvisation that is so foundational to the comedy stylings of many of today's top actors and thriving comedians. Crammed with innovative ideas for conceptualizing improvised scenework and "finding the game of the scene," this crisply written manual covers techniques for experienced improvisers, curious actors, and even non-actors. nbsp;nbsp; A complete long-form improv resource comprising topics like ideation and character creation, improvising scenes for extended periods of time and enhancing them--and even performing the most famous expression of long-form improv, the half-hour improvised form known as "The Harold"--this astute text is written in a friendly, supportive voice by an experienced improv teacher and professional actor whose own frustration in learning the craft drove an obsession to create a program free of confounding teachings and contradictory concepts. The book's groundbreaking infusion with drama theory and game theory brings new life to the teachings of the craft, breaking down various aspects of long-form improv into short chapters for swift, step-by-step intake of its vital lessons. nbsp;nbsp; Students of acting and long-form improv alike should expect Long-Form Improv to bolster their education and fast-track their course to improv greatness.
Publication Date: 2012
Theatrical Improvisation, Consciousness, and Cognition by Clayton D. DrinkoImprovisation teachers Viola Spolin, Del Close, and Keith Johnstone knew that with structure and guidelines, the human mind could be trained to be effortlessly spontaneous and intuitive. Cognitive studies is finally catching up with what improvisers have known for over fifty years. Through archival research, workshops, and interviews, Theatrical Improvisation, Consciousness, and Cognition explores improvisation's effects on consciousness and cognition and compares these theories to current findings in cognitive neuroscience, psychology, and philosophy.
Publication Date: 2013
What a Body Can Do by Ben SpatzInWhat a Body Can Do, Ben Spatz develops, for the first time, a rigorous theory of embodied technique as knowledge. He argues that viewing technique as bothtraining and research has much to offer current debates over the role of practice in theuniversity, including the debates around "practice as research." Drawing on critical perspectives from the sociology of knowledge,phenomenology, dance studies, enactive cognition, and other areas, Spatz argues that technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.