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The World as a Stage presents a key group of international contemporary artists--Pavel Althamer, Catherine Sullivan, Tino Sehgal, and others--who reinvigorate the rich historical relationship between visual art and theater. Challenging negative associations made between the notion of "theatricality" and the realm of visual art in recent decades, the artists in this book make visible the extent to which a sense of theater, or spectacle, now permeates the spectator's role in the museum or gallery and how this carries through to their experience of the contemporary urban environment. Considering a variety of media including installation, sculpture, performance, participatory works, and events, this book deals with issues such as the framing of human presence in the experience of art.
Featuring works by artists and theoreticians including: Carl Andre, Antonin Artaud. Hugo Ball. Samuel Beckett, George Brecht, Marcel Broodthaers, Daniel Buren, Tadeusz Cantor, James Coleman, oyvind Fahlstrom, Robert Filliou, Michael Fried, Ramon Gomez de la Serna, Dan Graham, Donald Judd, Mike Kelley, Marinetti, Vsevolod Meyerhold, Antoni Miralda, Robert Morris. Juan Munoz. Bruce Naumann. Tony Oursler. Michelangelo Pistoletto, Oskar Schlemmer. Isidoro Valcarcel Medina, Ben Vautier.
Play Readings: A Complete Guide for Theatre Practitioners demystifies the standards and protocols of a play reading, demonstrating how to create effective and evocative readings for those new to or inexperienced with the genre. It examines all of the essential considerations involved in readings, including the use of the venue, pre-reading preparations, playwright/director communication, editing/adapting stage directions, casting, using the limited rehearsal time effectively, simple "staging" suggestions, working with actors, handling complex stage directions, talkbacks, and limiting the use of props, costumes, and music. A variety of readings are covered, including readings of musicals, operas, and period plays, for comprehensive coverage of this increasingly prevalent production form.
THE STORY: The setting is a slightly seedy neighborhood bar in the Bronx, where a group of regulars (who all happen to be the same age--thirty-two) seek relief from the disappointments and tedium of the outside world. The first to arrive is Denise S
Performing Without a Stage is a lively and comprehensive introduction to the art of literary translation for readers of foreign fiction and poetry who wonder what it takes to translate, how the art of literary translation has changed over the centuries, what problems translators face in bringing foreign works into English and how they go about solving these problems. This book will also be of interest to translators, writers, editors, critics, and literature students, dealing as it does, often controversially, with such matters as the translator's fidelity to the author, the publishing and reviewing of translations, the nearly nonexistent public image of the stageless translator, and the value for writers and scholars of studying and practicing translation.
The Invisible Actor presents the captivating and unique methods of the distinguished Japanese actor and director, Yoshi Oida. While a member of Peter Brook's theatre company in Paris, Yoshi Oida developed a masterful approach to acting that combined the oriental tradition of supreme and studied control with the Western performer's need to characterise and expose depths of emotion. Written with Lorna Marshall, Yoshi Oida explains that once the audience becomes openly aware of the actor's method and becomes too conscious of the actor's artistry, the wonder of performance dies. The audience must never see the actor but only his or her performance. Throughout Lorna Marshall provides contextual commentary on Yoshi Oida's work and methods. In a new foreword to accompany the Bloomsbury Revelations edition, Yoshi Oida revisits the questions that have informed his career as an actor and explores how his skilful approach to acting has shaped the wider contours of his life.
A passionate exploration of the process of comprehending and speaking the words of William Shakespeare. Detailing exercises and analyzing characters' speech and rhythms, Linklater provides the tools to increase understanding and make Shakespeare's words one's own.
Focused on the contemporary Anglophone adoption from the 1960s onwards, Beyond Scenography explores the porous state of contemporary theatre-making to argue a critical distinction between scenography (as a crafting of place orientation) and scenographics (that which orientate acts of worlding, of staging). With sections on installation art and gardening as well as marketing and placemaking, this book is an argument for what scenography does: how assemblages of scenographic traits orientate, situate, and shape staged events. Established stage orthodoxies are revisited - including the symbiosis of stage and scene and the aesthetic ideology of 'the scenic' - to propose how scenographics are formative to all staged events. Consequently, one of the conclusions of this book is that there is no theatre practice without scenography, no stages without scenographics. Beyond Scenography offers a manifesto for a renewed theory of scenographic practice for the student and professional theatrical designer.
Actors and playwrights, can self-produce. There is notable precedence for self-producing, from Moliere to Shaw, from Shepard to the hundreds of playwrights and actors backing their work today. The How to Produce a Play without a Producer: A Survival Guide for Actors and Playwrights will empower the actor or writer by clarifying the intricacies of theatre production. Topics include budgeting, theatre spaces, building artistic and technical teams, legal and tax issues, box office management, marketing, publicity, press agents, and transferring the play to a higher production level.
How stage directions convey not what a given moment looks like--but how it feels