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Fundamentals of movement for actors, conductors, musicians, yogis . . . and everyone else
Creativity and the Performing Artist: Behind the Mask synthesizes and integrates research in the field of creativity and the performing arts. Within the performing arts there are multiple specific domains of expertise, with domain-specific demands. This book examines the psychological nature of creativity in the performing arts. The book is organized into five sections. Section I discusses different forms of performing arts, the domains and talents of performers, and the experience of creativity within performing artists. Section II explores the neurobiology of physiology of creativity and flow. Section III covers the developmental trajectory of performing artists, including early attachment, parenting, play theories, personality, motivation, and training. Section IV examines emotional regulation and psychopathology in performing artists. Section V closes with issues of burnout, injury, and rehabilitation in performing artists. Discusses domain specificity within the performing arts Encompasses dance, theatre, music, and comedy performance art Reviews the biology behind performance, from thinking to movement Identifies how an artist develops over time, from childhood through adult training Summarizes the effect of personality, mood, and psychopathology on performance Explores career concerns of performing artists, from injury to burn out
This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues.
The performing arts represent a significant part of the artistic production in our culture. Correspondingly the fields of drama, film, music, opera, dance and performance studies are expanding. However, these arts remain an underexplored territory for aesthetics and the philosophy of art. Expression in the Performing Arts tries to contribute to this area. The volume collects essays written by international scholars who address a variety of themes concerning the core philosophical topic of expression in the theory of the performing arts. Specific questions about the ontology of art, the nature of the performances, the role of the performer, and the relations between spectators and works emerge from the study of the performing arts. Besides, these arts challenge the unchanging physicality of other kinds of works of art, usually the direct result of creative individual artist, and barely affected by the particular circumstances of their exhibition. Expression is one of the issues that adopt a special character in the performing arts. Do singers, dancers or actors express the feelings a work is expressive of? How does the performer contribute to the expressive content of the work? How does the spectator emotionally respond to the physical proximity of the performers? Is aesthetic distance avoided in the understanding of the performing arts? How are the expressive properties of work, performance and characters related? And how are the subjectivities they embody revealed? The contributions presented here are not all in agreement on the right answers to theses questions, but they offer a critical and exciting discussion of them. In addition to original proposals on the theoretical aspect of expression in the performing arts, the collection includes analyses of individual artists, historical productions and concrete works of art, as well as reflections on performative practice.
This book explores the new performativity in art theory and practice, examining ways of rethinking interpretive processes in visual culture. Since the 1960s, visual art practices - from body art to minimalism - have taken contemporary art outside the museum and gallery; by embracing theatricality and performance and exploding the boundaries set by traditional art criticism. The contributors argue that interpretation needs to be recognised as much more dynamic and contingent. Offering its own performance script, and embracing both canonical fine artists such as Manet, De Kooning and Jasper Johns, and performance artists such as Vito Acconci and Gunter Brus, this book offers radical re-readings of art works and points confidently towards new models for understanding art.
A tight throat; held breath; stiff muscles; stage fright: impediments to performance come in many guises, but they all spring from the same source-tension. In Physical Expression on Stage and Screen Bill Connington, a renowned teacher of the Alexander Technique, shows you how to recognize and release the tension that keeps you from performing at your best. If you're ever not certain of what to do with your hands or how to make a meaningful gesture, or if your movement feels fine in daily life but then you suddenly become self-conscious when onstage or in front of a camera, this book is here to help. More than one hundred clear, accessible exercises-including many filmed tutorials available online-will enable you to • Move more naturally and easily • Breathe more freely • Speak more clearly • Free your creative impulses • Play a character with an unfamiliar physicality
Actor Movement: Expression of the Physical Being is a textbook and video resource for the working actor, the student and all those who lead and witness movement for the actor, including movement tutors, movement directors and directors. Great actors are not simply great interpreters of text; they are also great interpreters of movement; able to 'embody' all aspects of a character's life, with body and imagination as their instruments. In their work they are expected to become many bodies, all behaving differently from their own. Actors have to construct, inhabit and offer each character's body, with its multiplicity of known and unknown physical expression. Featuring: Over 155 exercises Four full actor movement processes for creating character Over 20 illustrations and images Complementary online footage supporting 26 of the practical elements Inspiring confidence in the actor to make fully owned physical choices and develop a love of movement, this essential new textbook is ideal for those actors seeking to give to their movement all the complexity and range possible for great acting.
As stage and screen artists explore new means to enhance their craft, a new wave of interest in expressive movement and physical improvisation has developed. And in order to bring authenticity and believability to a character, it has become increasingly vital for actors to be aware of movement and physical acting. Stage and screen artists must now call upon physical presence, movement on stage, non-verbal interactions, and gestures to fully convey themselves. In Bringing the Body to the Stage and Screen, Annette Lust provides stage and screen artists with a program of physical and related expressive exercises that can empower their art with more creativity. In this book, Lust provides a general introduction to movement, including definitions and differences between movement on the stage and screen, how to conduct a class or learn on one's own, and choosing a movement style. Throughout the book and in the appendixes, Lust incorporates learning programs that cover the use of basic physical and expressive exercises for the entire body. In addition, she provides original solo and group pantomimes; improvisational exercises; examples of plays, fiction, poetry, and songs that may be interpreted with movement; a list of training centers in America and Europe; and an extensive bibliography and videography. With 15 interviews and essays by prominent stage and screen actors, mimes, clowns, dancers, and puppeteers who describe the importance of movement in their art and illustrated with dozens of photos of renowned world companies and artists, Bringing the Body to the Stage and Screen will be a valuable resource for theater teachers and students, as well as anyone engaged in the performing arts.
Artists as performers have radically altering our notion of what constitutes visual art. This text puts forward a method for teaching the subject as a discipline distinct from dance, drama, painting or sculpture.
Wake up your body with this unique program of solo, pair-work and ensemble exercises, inspired by the writings of the great directors from Stanislavsky onwards. Delve into the physical side of characterization with Laban, and learn practical ways of organizing rehearsals and movement improvisations. Topics include the power of physical expression, the motion of emotion, the plasticity of the body, and techniques for expanding reach-space. There are also illustrations, movement charts, and reference sections including mini-biographies of Copeau, Decroux, Barba and other prominent figures of the 20th century theater. Every performer needs to establish a connection with the audience, and the key to this is body language. Learn from the writings of the theater greats to develop as a professional, and as a person.