Description : Drawing on insights from various disciplines (philology, archaeology, art) as well as from performance and reception studies, this volume shows how a heightened awareness of performance can enhance our appreciation of Greek and Roman theatre.
Description : This text compares theatre texts to apartments where tenants may make considerable changes. Translated texts should be seen in relation to the tenants, who respond to various codes in the surrounding societies in their effort to integrate the texts into a sociocultural discourse of their time.
Description : This new edition of Physical Theatres: A Critical Introduction continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice. This comprehensive book: traces the roots of physical performance in classical and popular theatrical traditions looks at the Dance Theatre of DV8, Pina Bausch, Liz Aggiss and Jérôme Bel examines the contemporary practice of companies such as Théatre du Soleil, Complicite and Goat Island focuses on principles and practices in actor training, with reference to figures such as Jacques Lecoq, Lev Dodin, Philippe Gaulier, Monika Pagneux, Etienne Decroux, Anne Bogart and Joan Littlewood. Extensive cross references ensure that Physical Theatres: A Critical Introduction can be used as a standalone text or together with its companion volume, Physical Theatres: A Critical Reader, to provide an invaluable introduction to the physical in theatre and performance. New to this edition: a chapter on The Body and Technology, exploring the impact of digital technologies on the portrayal, perception and reading of the theatre body, spanning from onstage technology to virtual realities and motion capture; additional profiles of Jerzy Grotowski, Wrights and Sites, Punchdrunk and Mike Pearson; focus on circus and aerial performance, new training practices, immersive and site-specific theatres, and the latest developments in neuroscience, especially as these impact on the place and role of the spectator.
Description : Lojek provides extensive analysis of space in plays by living Irish playwrights, applying practical understandings of staging and the insights of geographers and spatial theorists to drama in an era increasingly aware of space.
Description : Ubersfeld show how formal analysis can enrich the work of theatre practioners and offers a reading of the symbolic structures of stage space and time as well as opening up mulitple possibilities for interpreting a play's line of action.
Description : Theory/Theatre: An Introduction provides a unique and engaging introduction to literary theory as it relates to theatre and performance. Mark Fortier lucidly examines current theoretical approaches, from semiotics, poststructuralism, to cultural materialism, postcolonial studies and feminist theory. Drawing upon examples from Shakespeare and Aphra Behn, to Chekhov, Artaud, Cixous and Churchill, the author examines the specific realities of theatre in order to come to a richer understanding of the relations between performance and cultural theory. Theory/Theatre: An Introduction is the only study of its kind and will be invaluable reading for new students and scholars of performance studies.
Description : Jewish theater has followed a tortuous path from extreme rabbinical intolerance to eventual secular liberalism, with its openness to the heritages of both Judaism as a culture and prominent foreign cultures, to the extent of multicultural integration. Arguing that since biblical times until the 17th century, there are only examples of tangential theater practices, this account details the history of the creation and progression of Jewish drama and theater. It states that the initial intolerance, shared by the Church, was rooted in pagan connotations of theater rather than in the neutral nature of the medium, capable of formulating and communicating contrasting thoughts. Whereas by the 10th century the Church understood that the art could be harnessed to its own ends, Jewish theater was only created seven centuries later through spontaneous and amateurish theatrical practices, such as the Yiddish purim-shpil and the purim-rabbi. Due to their carnivalesque and cathartic nature, these practices were tolerated by the rabbinical establishment, albeit only during the Purim holiday. As a result, Jewish drama and theater emerged despite rabbinical antagonism. Under the influence of the Jewish Enlightenment, Yiddish-speaking theaters were increasingly established, a trend that became central in the cultural enterprise of the Jews in Israel. This process involved a renewed use of Hebrew as a spoken language and the transition from a profound religious identity to a secular Jewish one characterized by a basic liberalism to the extent of openness to cultures traditionally perceived as archetypal enemies of Judaism. This book sets out to analyze play-scripts and performance-texts produced in the Israeli theater in order to illustrate these trends and concludes that only a liberal society can bring about the full realization of theater’s potentialities.
Description : This book offers a theory of the archaic mode of fictional thinking and a methodology for the analysis of fictional worlds. It presupposes the mutual independence of the description of a fictional world, in any language or medium, and the described fictional world. Such a world is generated by an autonomous fictional structure, which reflects the spontaneous expectations of the spectator, and thematic specification. A model of this structure is presented, comprising seven layers: personified, mythical, praxical, naive, ironic, and aesthetic - and overriding these layers, the structure of the fictional experience on the level of relationship between the fictional world and spectator. This experience depends on the spectator's ability to complement such a description with pertinent associations, drawn from shared cultural resources, and psychical mechanisms of response. Explanations and examples are couched in poetic, pragmatic, aesthetic, and rhetoric methodologies. An Introduction surveys the major contributions made to a methodology of fictional analysis since Aristotle's Poetics, problematizes them, and suggests possible alternatives. Part I is devoted to the inner structure of fictional worlds, i.e., to the poetic rules that generate them. The innovation of this approach lies in its multi-layered nature. Part II deals with the structure of the fictional experience, which is metaphoric and rhetoric in nature. Part III deals with the specific structures of fictional worlds that reflect the particular intentions and purposes of their authors. Part IV contains analyses of actual fictional worlds that illustrate the application of the previously presented principles. The focus throughout is on theatre fictional worlds which by their nature exhibit the most complex fictional thoughts that the human brain can generate. The theoretical insights gained for theatre assumedly apply to descriptions of such worlds in any language or medium. More than a hundred fictional worlds created during 2,500 years of theatre-recorded history are analyzed. The volume has been purposefully designed to address undergraduate and postgraduate student needs to provide a fundamental competence of theatre studies.
Description : This book is a comprehensive introduction to the analysis of fictional worlds in a set of fifteen arts, including theatre, opera, figurative ballet, mime, audio drama, figurative drawing/painting, figurative sculpture, strip cartoon, animation, puppet theatre, still photography, photo-novel, silent movie, cinema and TV drama. Due to their extreme differences, the combination of different arts in the description of a single fictional world, and the translation from one medium to another, are considered problematic. While such differences do not concern fictional creativity, which applies the same poetic and rhetoric rules whatever the medium, it is widely accepted that the problem lies in the extreme differences between the mediums of description. In contrast, this study explores their common grounds. These arts are iconic in nature, and if 'iconicity' is re-defined in terms of imprinting images on matter and mediation of language, and as reflecting the common roots of these mediums in a preverbal mode of imagistic thinking, therein is an explanation of their possible combination and translation from one medium to another without impairing the receivers' reading, interpreting and experiencing capacities. Eli Rozik analyses numerous fictional worlds in all these arts, produced during the last 2,500 years of artistic creativity, especially in theatre, art and cinema. This book presupposes that principles underlying the generation of descriptions of fictional worlds by the theatre medium, as proposed in two earlier works (Generating Theatre Meaning and Fictional Thinking), also apply to all the iconic/fictional arts. The text-book format of the volume has been purposefully designed to address the needs of undergraduate and postgraduate students, suiting the structure of university courses and providing all necessary information to access the images/artistic works discussed in the volume via the web and Google. This inter-art journey from theatre theory to the arts is compelling reading for all those involved and engaged in artistic creativity.