Download Free Encounter Theatre Book in PDF and EPUB Free Download. You can read online Encounter Theatre and write the review.

A play that traces a journey into the depths of the Amazon rainforest, incorporating innovative technology into a solo performance.
The book examines the various ways in which theatre responds to our psychological needs. It begins with how we present our own personal drama and goes on to look at theatre as the means by which we give events personal and corporate significance. Theatre enables us to overcome our reluctance to face psychological pain and so helps us towards healing, concentrating on its balance of protection and exposureits principal contribution to health and its significance for human relationship.
In this study, Gould argues that it was in the imperial capital’s theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public’s interest in Britain’s Empire by producing a wide variety of plays set in colonial locales: India, Australia, and—to a lesser extent—Africa. These plays recreated the battles that consolidated Britain’s hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.
In this study, Gould argues that it was in the imperial capital’s theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public’s interest in Britain’s Empire by producing a wide variety of plays set in colonial locales: India, Australia, and—to a lesser extent—Africa. These plays recreated the battles that consolidated Britain’s hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.
As an overworked employee of the Ministry of Magic, a husband, and a father, Harry Potter struggles with a past that refuses to stay where it belongs while his youngest son, Albus, finds the weight of the family legacy difficult to bear.
Noël Coward's Brief Encounter is remembered as one of the most haunting love stories on screen ever. Drawing on the characteristic wit and musicality of Kneehigh, Emma Rice, former Joint Artistic Director of the Company, has adapted Coward's classic 1945 screenplay, and the one-act play Still Life on which it was based, into a richly theatrical, imaginative and vibrant piece of theatre. From an original idea by David Pugh & Dafydd Rogers, Kneehigh's production received its world premiere in 2008. This edition is published to coincide with the production's run live at the Empire Cinema in London's West End for 2018, co-produced by Steve and Jenny Wiener and The Old Vic. With an updated foreword by Emma Rice. 'Surely the most enchanting work of stagecraft ever inspired by a movie.' Ben Brantley, The New York Times 'Moving, funny, gripping and even at its most inventive, true to the original and its all-English heart' The Times
This book is the first full-length monograph to focus on Punchdrunk, the internationally-renowned theatre company known for its pioneering approach to immersive theatre. With its promises of empowerment, freedom and experiential joy, immersive theatre continues to gain popularity - this study brings necessary critical analysis to this rapidly developing field. What exactly do we mean by audience “immersion”? How might immersion in a Punchdrunk production be described, theorised, situated or politicised? What is valued in immersive experience - and are these values explicit or implied? Immersive Theatre and Audience Experience draws on rehearsals, performances and archival access to Punchdrunk, providing new critical perspectives from cognitive studies, philosophical aesthetics, narrative theory and computer games. Its discussion of immersion is structured around three themes: interactivity and game; story and narrative; environment and space. Providing a rigorous theoretical toolkit to think further about the form’s capabilities, and offering a unique set of approaches, this book will be of significance to scholars, students, artists and spectators.
Samuel Beckett and the Theatre of the Witness explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work: the affective power of the human body; the doubtful capacity of language as a means of communication; the aesthetic and ethical functioning of the theatre medium; and the vexed question of intersubjective empathy. Alongside the wartime and post-war plays of fellow Francophone writers Albert Camus, Eugène Ionesco, Pablo Picasso, and Marguerite Duras, this study resituates Beckett's early plays in a new conceptualising of le théâtre du témoin or a 'theatre of the witness'. These are plays concerned with the epistemological and ethical uncertainties of witnessing another's pain, rather than with the sufferer's own direct experience. They raise troubling questions about our capacity to comprehend and respond to another being's pain. Drawing on an interdisciplinary framework of extant criticism, recorded historical audience response, theatre and affect theory, and medical understandings of bodily pain, Hannah Simpson argues that these plays do not offer any easily negotiable encounter with physical suffering, pushing us to recognise the very 'otherness' of another being's pain, even as it invades our own affective sphere. In place of any comforting transcendence or redemption of endured pain, they offer a starkly sceptical, even pessimistic probing of what it is to witness another's suffering.