Devising Solo Performance: A Practitioner`s Enquiry
... Appendix III: Solo works and additional practitioner information ....................... 313 Appendix IV: Solo practitioners cited in interviews and thesis .............................. 328 Appendix V: An A – Z ...
... Appendix III: Solo works and additional practitioner information ....................... 313 Appendix IV: Solo practitioners cited in interviews and thesis .............................. 328 Appendix V: An A – Z ...
i Six Companies in Search of Shakespeare: Rehearsal
... company were forced to re-invent styles of performance outside of the practices of the professional theatre of their day. In 1913, he rebutted his critics: Some people have called me an archeologist, but I am not. I am really a modernist. My original aim was just to find out some means of acting Sha ...
... company were forced to re-invent styles of performance outside of the practices of the professional theatre of their day. In 1913, he rebutted his critics: Some people have called me an archeologist, but I am not. I am really a modernist. My original aim was just to find out some means of acting Sha ...
Michael Chekhov and His Approach to Acting in Contemporary
... only one method expressly postulated for the actor-that created by Konstantin Stanislavsky (and, unfortunately, much misunderstood and often misinterpreted). Let this book, then, be another effort in the direction of a better theatre through better acting. I proffer it as a humble but nevertheless e ...
... only one method expressly postulated for the actor-that created by Konstantin Stanislavsky (and, unfortunately, much misunderstood and often misinterpreted). Let this book, then, be another effort in the direction of a better theatre through better acting. I proffer it as a humble but nevertheless e ...
March 2015 - What`s On Live
... Mandy Muden and I started writing them all down in my front room with the notion of turning them into a comedy. At first we weren’t even sure if we were funny! But the play went down a storm with the audiences last year when it first opened in Liverpool. We take them through every emotion. They enjo ...
... Mandy Muden and I started writing them all down in my front room with the notion of turning them into a comedy. At first we weren’t even sure if we were funny! But the play went down a storm with the audiences last year when it first opened in Liverpool. We take them through every emotion. They enjo ...
INDEPENDENT THEA TRE A GREEMENT
... Minimum fees for 2015-2016 shall apply from January 4, 2016 to June 26, 2016. Minimum fees for 2016-2017 shall apply from June 27, 2016 to June 25, 2017. Minimum fees for 2017-2018 shall apply from June 26, 2017 to June 24, 2018. All fees and other monetary amounts are as specified in the 2015-2018 ...
... Minimum fees for 2015-2016 shall apply from January 4, 2016 to June 26, 2016. Minimum fees for 2016-2017 shall apply from June 27, 2016 to June 25, 2017. Minimum fees for 2017-2018 shall apply from June 26, 2017 to June 24, 2018. All fees and other monetary amounts are as specified in the 2015-2018 ...
michael chekhov and his approach to acting
... only one method expressly postulated for the actor-that created by Konstantin Stanislavsky (and, unfortunately, much misunderstood and often misinterpreted). Let this book, then, be another effort in the direction of a better theatre through better acting. I proffer it as a humble but nevertheless e ...
... only one method expressly postulated for the actor-that created by Konstantin Stanislavsky (and, unfortunately, much misunderstood and often misinterpreted). Let this book, then, be another effort in the direction of a better theatre through better acting. I proffer it as a humble but nevertheless e ...
New Orleans Rulebook (NOLA) 2011-2013
... fulfill all the obligations of the first-signed contract before fulfilling any obligations of the second contract. (C) Extension of Engagement. The Producer shall state a contemplated closing date on the face of the contract. This shall not be considered a guarantee. Should the Producer extend the p ...
... fulfill all the obligations of the first-signed contract before fulfilling any obligations of the second contract. (C) Extension of Engagement. The Producer shall state a contemplated closing date on the face of the contract. This shall not be considered a guarantee. Should the Producer extend the p ...
bachelor of fine arts in theatre production
... PROGRAM OBJECTIVES Upon successful completion of this program, a student will be able to: 1. Demonstrate the essential production foundation skills of a working professional in Theatre Production, with specific and advanced skill and craft in one discipline of Theatre Production. 2. Comprehend busin ...
... PROGRAM OBJECTIVES Upon successful completion of this program, a student will be able to: 1. Demonstrate the essential production foundation skills of a working professional in Theatre Production, with specific and advanced skill and craft in one discipline of Theatre Production. 2. Comprehend busin ...
ADAPTATION OF THAI TRADITIONAL PLAYS IN A
... understand and develop our ideas from something more ‘Thai’? In fact, this problem is not a new topic among modern Thai artists and scholars. Rutnin (1996) stated that the lack of successful Thai playscripts in modern Thai theatre was due to the lack of experience and knowledge in playwriting of ama ...
... understand and develop our ideas from something more ‘Thai’? In fact, this problem is not a new topic among modern Thai artists and scholars. Rutnin (1996) stated that the lack of successful Thai playscripts in modern Thai theatre was due to the lack of experience and knowledge in playwriting of ama ...
Seating and Spectacle in the Graeco-Roman World
... This dissertation examines the organization of audiences in spectacular venues (theatres, amphitheatres, stadia, and odea) throughout the Graeco-Roman world. The arrangements in Rome are discussed but the main focus is the organization of spectators in Italian and provincial venues, revealed through ...
... This dissertation examines the organization of audiences in spectacular venues (theatres, amphitheatres, stadia, and odea) throughout the Graeco-Roman world. The arrangements in Rome are discussed but the main focus is the organization of spectators in Italian and provincial venues, revealed through ...
File - Bethany College Portfolio
... tension surrounding the fact that Welles chose an Elizabethan classic for an AfricanAmerican audience. In a time of “us vs. them,” the notion that there was conflict over the fact that an African-American troupe would be producing one of “our” plays sounds terrible, but could be legitimate. Macbeth ...
... tension surrounding the fact that Welles chose an Elizabethan classic for an AfricanAmerican audience. In a time of “us vs. them,” the notion that there was conflict over the fact that an African-American troupe would be producing one of “our” plays sounds terrible, but could be legitimate. Macbeth ...
Capitalist Realism and the Refrain: The Libidinal
... the image around which the universe is structured and toward which the energetic intensities (as Lyotard would term them) of the desirer are drawn. As in Lacan’s structural formulation of the desiring gaze, the image is produced between both spectator and object, with agency on both sides. Degas’s g ...
... the image around which the universe is structured and toward which the energetic intensities (as Lyotard would term them) of the desirer are drawn. As in Lacan’s structural formulation of the desiring gaze, the image is produced between both spectator and object, with agency on both sides. Degas’s g ...
File type: application/pdf - International Playback Theatre Network
... generosity, making a small contribution to human ecology. The International Playback Theatre Network helps us keep connected. Sustaining the network has been the focus of the latest membership renewal period. Our membership secretaries have been working with Bev Hosking, Anna Chua and Simon Gurney t ...
... generosity, making a small contribution to human ecology. The International Playback Theatre Network helps us keep connected. Sustaining the network has been the focus of the latest membership renewal period. Our membership secretaries have been working with Bev Hosking, Anna Chua and Simon Gurney t ...
New Orleans Rulebook (NOLA) 14-17
... of all productions and the hiring of Stage Managers will be conducted in such a manner as to provide full and fair consideration to Actors of all ethnicities (including but not limited to African-American, Asian/Asian-Pacific American, Hispanic-American, Native American, multi-cultural), women, seni ...
... of all productions and the hiring of Stage Managers will be conducted in such a manner as to provide full and fair consideration to Actors of all ethnicities (including but not limited to African-American, Asian/Asian-Pacific American, Hispanic-American, Native American, multi-cultural), women, seni ...
Study Guide for - Donmar Warehouse
... displaying chrysanthemums, symbolising loyalty, are staged. Tenth day blooms are too old to be displayed and are discarded, signifying Mishima’s theme of wasted loyalty in his play. The Harp of Joy, 1963. This play caused a rift between Mishima and the prestigious Bungakuza theatre company for whom ...
... displaying chrysanthemums, symbolising loyalty, are staged. Tenth day blooms are too old to be displayed and are discarded, signifying Mishima’s theme of wasted loyalty in his play. The Harp of Joy, 1963. This play caused a rift between Mishima and the prestigious Bungakuza theatre company for whom ...
Aesthetic taste and consumer demand for cultural
... subject area tend to categorize objects first and fastest at their basic level (dog) rather than a superordinate (animal) or subordinate level (poodle) (Rosch et al. 1976). In contrast, experts in an area divide stimuli into finer categories than do novices since experts perceive more details in the ...
... subject area tend to categorize objects first and fastest at their basic level (dog) rather than a superordinate (animal) or subordinate level (poodle) (Rosch et al. 1976). In contrast, experts in an area divide stimuli into finer categories than do novices since experts perceive more details in the ...
- National Library of Ireland
... travels brought him to France and Italy, and on returning to Ireland he toured with the theatre company of Anew McMaster, his brother-in-law. In 1928 he founded the Dublin Gate Theatre with his partner Hilton Edwards (1903-82). Mac Liammóir acted in over three hundred roles, including an outstanding ...
... travels brought him to France and Italy, and on returning to Ireland he toured with the theatre company of Anew McMaster, his brother-in-law. In 1928 he founded the Dublin Gate Theatre with his partner Hilton Edwards (1903-82). Mac Liammóir acted in over three hundred roles, including an outstanding ...
THE HAROLD: A REVOLUTIONARY FORM THAT
... I wish that the erroneous assumptions about improvisation were limited to this one example, but for the past fifteen years I have routinely fought the same battles that improvisation is not a silly side-show, but that its principles are fundamental to creating art. I routinely find myself making the ...
... I wish that the erroneous assumptions about improvisation were limited to this one example, but for the past fifteen years I have routinely fought the same battles that improvisation is not a silly side-show, but that its principles are fundamental to creating art. I routinely find myself making the ...
chapter 5 - Agenda unict
... world may be something like a palliative. This alienating effect of theatre, where, as Rousseau says, “we forget ourselves”, brings us to the third moment of the isolation produced by the spectacle: the systematic distortion that it exercises. Rousseau is crystal clear on this point: it is an error ...
... world may be something like a palliative. This alienating effect of theatre, where, as Rousseau says, “we forget ourselves”, brings us to the third moment of the isolation produced by the spectacle: the systematic distortion that it exercises. Rousseau is crystal clear on this point: it is an error ...
Full text - Leiden Repository
... the second generation dramatists. Ogunbiyi not only saw the published texts of Yerima’s earliest four plays The Movement, Asylum, The Flood, and Statement from Prison but also saw their performances at the University of Ife between 1977 and 1981. Though Yerima began is a second generation dramatist, ...
... the second generation dramatists. Ogunbiyi not only saw the published texts of Yerima’s earliest four plays The Movement, Asylum, The Flood, and Statement from Prison but also saw their performances at the University of Ife between 1977 and 1981. Though Yerima began is a second generation dramatist, ...
By the Bog of Cats… - ARAN Home
... categorisations. By moving from text to intertext to stage action and image, and examining the dramatists in relation to their distinct national contexts as well as the western milieu that they share, I hope to broaden our frameworks for understanding each playwright’s work. The ways in which the ca ...
... categorisations. By moving from text to intertext to stage action and image, and examining the dramatists in relation to their distinct national contexts as well as the western milieu that they share, I hope to broaden our frameworks for understanding each playwright’s work. The ways in which the ca ...
FRANCIS FERGUSSON
... summary, but the action can roughly be outlined as follows: a director rehearsing his actors for a performance of Pirandello's The Rules of the Game is interrupted by the arrival of six individuals (in Pitoeff's Paris production they arrived dramatically in a lift) who claim to be looking for an aut ...
... summary, but the action can roughly be outlined as follows: a director rehearsing his actors for a performance of Pirandello's The Rules of the Game is interrupted by the arrival of six individuals (in Pitoeff's Paris production they arrived dramatically in a lift) who claim to be looking for an aut ...
aaron copland`s music for the theatre
... whom he studied from 1913 to 1917. Copland described Wolfsohn as “a competent instructor with a well-organized teaching method,” and a “…routinier kind of man: Chopin was the highlight of his life, and Stravinsky was a madman.”4 Aaron began his formal musical training studying Hanon exercises, Chopi ...
... whom he studied from 1913 to 1917. Copland described Wolfsohn as “a competent instructor with a well-organized teaching method,” and a “…routinier kind of man: Chopin was the highlight of his life, and Stravinsky was a madman.”4 Aaron began his formal musical training studying Hanon exercises, Chopi ...
the warden of the tomb
... saw. As far as the aesthetic movements of the twentieth century are concerned, one can take this statement even one step further, and regard this epoch as the most vigorous period of the history of art due to the mutinous features of the innovative genres that emerged in this century which posed ser ...
... saw. As far as the aesthetic movements of the twentieth century are concerned, one can take this statement even one step further, and regard this epoch as the most vigorous period of the history of art due to the mutinous features of the innovative genres that emerged in this century which posed ser ...
Theatre of the Oppressed
The Theatre of the Oppressed (TO) describes theatrical forms that the Brazilian theatre practitioner Augusto Boal first elaborated in the 1960s, initially in Brazil and later in Europe. Boal was influenced by the work of the educator and theorist Paulo Freire. Boal's techniques use theatre as means of promoting social and political change. In the Theatre of the Oppressed, the audience becomes active, such that as ""spect-actors"" they explore, show, analyse and transform the reality in which they are living.