Download Physical Theatres: A Critical Reader by John Keefe, Simon Murray PDF

By John Keefe, Simon Murray

Physical Theatres: A serious Reader is a useful source for college kids of bodily oriented theatre and function. This booklet goals to track the roots and improvement of physicality in theatre by means of combining useful event of the sphere with a robust historic and theoretical underpinning.

In exploring the histories, cross-overs and intersections of actual theatres, this serious Reader provides:

  • six new, particularly commissioned essays, overlaying all the book’s major subject matters, from technical traditions to modern practises
  • discussion of matters similar to the foregrounding of the physique, education and function tactics, and the origins of theatre in either play and human cognition
  • a focus at the courting and tensions among the verbal and the actual in theatre
  • contributions from Augusto Boal, Stephen Berkoff, Étienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq, Yoshi Oida, Mike Pearson, and Aristotle.

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Put another way: none can be included in its definition. That leaves us to find the logical form of this definition, which we shall express in substance as follows: Theatre is the actor art. (Trans. ) 4a So those who define theatre as a ‘synthesis of all the arts’ have their answer . . If scenery, along with other accidents, is no more essential to theatre than a jacket is to man, this does not prevent the actor from appearing inside a set any more than it does a man from appearing in a detachable collar.

16 4 DICK McCAW In this sense her instructions are very much like Moshe Feldenkrais’ very carefully worded lessons in Awareness through Movement. e. give no fixed content) precisely to allow the student to discover the movements that they imply. 5 ‘Rhétorique de l’image’, in Oeuvres completes, Tome 1 (Éditions du Seuil, Paris, 1993), p. 1422. 6 In Oeuvres completes, Tome 3 (Éditions du Seuil, Paris, 1995), p. 814. Sapientia: nul pouvoir, un peu de savoir, un peu de sagesse, et le plus de saveur possible (Sapientia: no power, a little knowledge, a little wisdom, and the greatest possible amount of savour).

Worthy arts, each gifted with the power to capture the Universe in its studio, and which should not wish for either expansion or branches. Yet in a place called theatre we find painter, sculptor, architect, musician, singer, dancer and actor united together in an effort to produce something grand. The ‘closed to the public’ sign which adorns the entrance door to the stage was therefore not put up for them. But let there be no mistake: every art that has access to the stage also has a rigid code allowing it to express in its particular way everything that exists .

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