Actors and the Art of Performance: Under Exposure combines the author's two main biographical paths: her professional commitment to the fields of both theatre and philosophy. The art of acting on stage is analysed here not only from the theoretical perspective of a spectator, but also from the perspective of the actor. The author draws on her experience as both a theatre actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge. The book is unique not only in terms of its content but also in terms of its style. Written in a multiplicity of voices, the text oscillates between philosophical reasoning and narrative forms of writing, including micro-narratives, fables, parables, and inter alia by Carroll, Hoffmann and Kleist. Hence the book claims that a trans-disciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetical research that questions and begins to seek alternatives to traditionally established and ingrained formats of philosophy.
Artistic media seem to be in a permanent condition of mutation and transformation. Contemporary artists often investigate the limits and possibilities of the media they use and experiment with the crossing, upgrading and mutilation of media. Others explicitly explore the unknown intermedial space between existing media, searching for the hybrid beings that occupy these in-betweens. This issue of Theater Topics explores the theme of mutating and adapting media in its relation with theatre and performance.Bringing together international scholars and artists, this book provides a comprehensive overview of the subject. Throughout, Bastard or Playmate? is responsive to the cross-disciplinary use of key concepts such as remediation, digitization, interactivity, corporeality, liveness, surveillance, spectacle, performativity and theatricality. The book guides readers new to the area of intermediality, as well as experienced researchers into one of the most dynamic fields of scholarship.Bastard or Playmate? Adapting Theatre, Mutating Media and the Contemporary Performing Arts is the fifth issue of the series Theater Topics. This series contains publications about research in and about theatre, each issue giving a comprehensive overview of research concerning a specific topic. This issue contains contributions by Katia Arfara, Edwin Carels, Jeroen Coppens, Nancy Delhalle, Tom Engels, Christophe Van Gerrewey, Eva Heisler, Evelien Jonckheere, Sarah Kenderdine and Jeffrey Shaw, Elise Morrison, Marco Pustianaz, Frederik Le Roy, Anna Teresa Scheer, Klaas Tindemans, and Nele Wynants.
This collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.
In Hot Thespian Action! Robin Whittaker argues that new plays can thrive in amateur theatres, which have freedoms unavailable to professionalized companies. And he proves it with 10 relevant, engaging playscripts originally produced by one of Canada’s longest-running theatres, Edmonton’s acclaimThis collection challenges notions that amateur theatre is solely a phenomenon of the pre-professional past. Whittaker makes an important contribution to Canadian theatre studies with the first North American anthology in 80 years to collect plays first produced by a nonprofessionalized theatre company.
Nightwood Theatre is the longest-running and most influential feminist theatre company in Canada. Since 1979, the company has produced works by Canadian women, providing new opportunities for women theatre artists. It has also been the “home company” for some of the biggest names in Canadian theatre, such as Ann-Marie MacDonald.
In Nightwood Theatre, Scott describes the company’s journey toward defining itself as a feminist theatre establishment, highlighting its artistic leadership based on its relevance to diverse communities of women. She also traces Nightwood’s relationship with the media and places the theatre in an international context by comparing its history to that of like companies in the U.K. and the U.S.
Beginning with Chekhov’s Uncle Vanya, Passionate Amateurs tells a new story about modern theater: the story of a romantic attachment to theater’s potential to produce surprising experiences of human community. Ridout argues that theater in modern capitalism can help us think afresh about notions of work, time, and freedom. Passionate Amateurs tells a new story about modern theater: the story of a romantic attachment to theater’s potential to produce surprising experiences of human community. It begins with one of the first great plays of modern European theater—Chekhov’s Uncle Vanya in Moscow—and then crosses the 20th and 21st centuries to look at how its story plays out in Weimar Republic Berlin, in the Paris of the 1960s, and in a spectrum of contemporary performance in Europe and the United States. This is a work of historical materialist theater scholarship, which combines a materialism grounded in a socialist tradition of cultural studies with some of the insights developed in recent years by theorists of affect, and addresses some fundamental questions about the social function and political potential of theater within modern capitalism. Passionate Amateurs argues that theater in modern capitalism can help us think afresh about notions of work, time, and freedom. Its title concept is a theoretical and historical figure, someone whose work in theater is undertaken within capitalism, but motivated by a love that desires something different. In addition to its theoretical originality, it offers a significant new reading of a major Chekhov play, the most sustained scholarly engagement to date with Benjamin’s “Program for a Proletarian Children’s Theatre,” the first major consideration of Godard’s La chinoise as a “theatrical” work, and the first chapter-length discussion of the work of The Nature Theatre of Oklahoma, an American company rapidly gaining a profile in the European theater scene. Passionate Amateurs contributes to the development of theater and performance studies in a way that moves beyond debates over the differences between theater and performance in order to tell a powerful, historically grounded story about what theater and performance are for in the modern world. “Reading a suggestively diverse set of modern performances, and setting those performances within a clear and well-defined theoretical/critical project, Ridout attempts to use the ‘passionate amateur’—at once the spectator, the scholar, and to some extent the characters in the plays—as a critical category disrupting the otherwise fully commodified communication of leisure products . . . Passionate Amateurs is wholly original, intellectually and critically stimulating, and certain to develop not only discussion but also to lead to a series of important questions in contemporary theatre and performance studies scholarship.” —W. B. Worthen, Alice Brady Pels Professor in the Arts, Barnard College, Columbia University Nicholas Ridout is Reader in Theatre and Performance Studies, Department of Drama, Queen Mary, University of London. This title was made Open Access by libraries from around the world through Knowledge Unlatched.
Draw back the curtain on the world of theatre and learn how the magic of a great stage performance is created. Designed for theatre appreciation students and written in an engaging style, this book is an ideal introduction to all aspects of theatre. Learn about the variety of ways professional actors approach their roles. Meet the people you won't see during a performance but who are essential in bringing a production to life: writers, directors, set designers, tailors, carpenters, electricians, stagehands, light and sound technicians, riggers, ushers, supervisors, and stage managers. From casting to run-throughs to wardrobe, this book includes interviews with those involved in the creation process from beginning to end. Eye-opening details about acting techniques, directing, and production design may inspire you to audition or work behind the scenes yourself. Special topics, including Shakespeare, the American musical, and world theatre, provide examinations into unique genres, and an overview of the fascinating history of theatre provides the necessary background to understand and enjoy live performances. The expert contributors to Theatrical Worlds reveal unexpected connections between the stage and such diverse fields as languages and literature, psychology, music, science, law, journalism, and business. After reading this book you'll gain a deeper awareness of the many layers of artistry behind the wonders of theatre.