Location
Main Entry - Uniform Title Anatomia del teatro ; Engelska
Title Statement A dictionary of theatre anthropology : the secret art of the performer
Publication, Distribution, etc. (Imprint) Routledge , London ; 2006 : 2006
SAB Classification Code
Edition Statement
Physical Description 320 s. : ill. (vissa i färg)
Subject - Topical Term
Added Entry - Uniform Title The secret art of the performer secret art of the performer
ISBN 978-0-41537861-1 0-415-37861-3 0-415-37861-3 978-0-415-37861-1 978-0-415-37861-1 978-0-41537861-1
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*130 $aAnatomia del teatro ; Engelska
*24512$aA dictionary of theatre anthropology :$bthe secret art of the performer /$c[compiled by] Eugenio Barba, Nicola Savarese ; translated by Richard Fowler
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*260 $aLondon ;$a2006 :$bRoutledge ,$c2006
*300 $a320 s. :$bill. (vissa i färg)
*650 4$aTheater
*650 4$aAnthropology
*650 4$aDance
*650 4$aTeaterantropologi
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*650 4$auppslagsverk
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*650 4$auppslagsverk
*7001 $aBarba, Eugenio$4oth
*7001 $aSavarese, Nicola$4oth
*7304 $aThe secret art of the performer
*7304 $asecret art of the performer
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First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Preface p. 5 Hands Historiography Energetic language p. 164 Henry Irving under the microscope p. 165 Living marble p. 166 Underneath Harlequin's costume p. 168 Stanislavsky's 'system' p. 170 Stanislavsky's words p. 170 'The simplest human condition': the organic body-mind p. 170 The mind makes demands: perezhivanie p. 171 A million candles p. 18 The body responds appropriately: personification p. 171 Organic body-mind, character, role p. 172 Conditions for meaning and the pre-expressive level p. 172 Meyerhold: the grotesque; that is, biomechanics p. 174 A plasticity that does not correspond to the words p. 174 The grotesque p. 175 Biomechanics p. 176 Montage The performer's montage and the director's montage p. 178 The performer's montage p. 180 Anatomy Nostalgia Nostalgia or the passion for a return p. 185 Omission Opposition Can the sea rise above the mountain tops? p. 22 The dance of oppositions p. 196 The beauty line p. 200 Tribhangi, or the three arches p. 201 The shadow test p. 204 Organicity Organic effect p. 206 Organicity, presence, scenic bios p. 206 That which is organic for the actor / that which is organic for the spectator p. 206 Natural and organic p. 208 Organic and natural p. 208 Apprenticeship At work with physical actions: the double articulation p. 212 The first articulation p. 212 The second articulation p. 213 General principles p. 214 Western examples p. 24 Pre-expressivity Restoration of behaviour Restoration of behaviour p. 235 Bharatanatyam p. 236 Purulia chhau p. 237 Trance and dance in Bali p. 239 Rhythm Set and costume design Technique Biographical list of body techniques p. 258 Techniques of birth and obstertrics p. 259 Techniques of infancy: rearing and feeding the child p. 259 Techniques of adolescence p. 259 Author's pedagogy p. 26 Techniques of adult life p. 260 Consumption techniques p. 262 General considerations p. 263 The spine: energy's helm p. 264 The silent scream p. 266 Pragmatic laws p. 268 Sats p. 268 Logos and bios p. 269 Text and stage The culture of the text and the culture of the stage p. 270 Introduction An Indian example p. 28 The sound of two hands clapping p. 270 'Poor' text and 'rich' stage p. 271 Dramaturgy p. 272 Role type and character p. 274 Training From 'learning' to 'learning to learn' p. 276 The myth of technique p. 276 A decisive phase p. 276 Total presence p. 277 The period of vulnerability p. 278 Guru as parent, honoured preceptor p. 28 Training interculturally p. 279 Training and the point of departure p. 281 Preliminary considerations p. 281 Exercise models p. 281 Acrobatics p. 282 Training with the master p. 286 Views The view of the performer and the view of the spectator p. 288 Bibliography Previous editions of this dictionary p. 302 Guru-kula, study in the guru's home p. 29 Collective works p. 302 General bibliography p. 303 Acknowledgements ISTA: International School of Theatre Anthropology p. 312 Invited artists p. 312 Scientific staff and special guests p. 313 Illustrations p. 313 Photos p. 313 Author Biographies p. 314 Index p. 315 Balance Theatre anthropology p. 6 Generalisations regarding balance p. 36 Balance in action p. 39 Steel and cotton p. 40 Why does the performer aim for a luxury balance? What does the performer's alteration of balance mean for the spectator? p. 43 Balance and imagination p. 44 Brecht's unknown dance p. 46 Dilation The dilated body p. 52 The bridge p. 53 Peripeteias p. 54 Similar principles, different performances p. 6 The negation principle p. 56 To think the thought p. 57 Twin logics p. 58 Seven-gated Thebes p. 59 The dilated mind p. 62 Dramaturgy Energy Equivalence Eurasian Theatre Eurasian theatre p. 102 Dawn p. 102 Eurasian theatre p. 102 Anti-tradition p. 102 Why p. 103 The dance of oppositions p. 10 Roots p. 103 Village p. 104 To interpret a text or to create a context p. 104 Spectator p. 104 Incomprehensions and inventions: from the Silk Road to Seki Sano p. 106 Exercises Score and subscore: the significance of exercise in the actor's dramaturgy p. 112 A physical action: the smallest perceptible action p. 112 The age of exercises p. 112 Inner life and interpretation p. 113 The virtue of omission p. 12 The complexity of emotion p. 114 The real relationship p. 116 Sport as dance p. 116 The physical dialogue with the spectators p. 116 The real action p. 117 Meyerhold's theatre fission p. 118 The exercise: a model of organic and dynamic dramaturgy p. 120 Form, rhythm, flow p. 120 Tacit knowledge p. 121 Face and eyes Feet