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The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part. The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern: ■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals; ■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours; ■ the information to be provided to the public: announcements, posters, advertising, parades; ■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term; ■ sets, lighting, sound, makeup, costumes, props; ■ the relations established between actor and spectator; ■ the means of transport adopted by actors and even by spectators. Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.
Games for Actors and Non-Actors is the classic and best selling book by the founder of Theatre of the Oppressed, Augusto Boal. It sets out the principles and practice of Boal's revolutionary Method, showing how theatre can be used to transform and liberate everyone – actors and non-actors alike! This thoroughly updated and substantially revised second edition includes: two new essays by Boal on major recent projects in Brazil Boal's description of his work with the Royal Shakespeare Company a revised introduction and translator's preface a collection of photographs taken during Boal's workshops, commissioned for this edition new reflections on Forum Theatre.
" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.
Proving fruitful in various applications throughout its two millennia of predominance, the rhetorical téchne appears to have entertained a particularly symbiotic interrelation with drama. With contributions from (among others) a Classicist, historical, linguistic, musicological, operatic, cultural and literary studies perspective, this publication offers interdisciplinary assessments of specific reciprocities between the system of rhetoric and dramatic works: tracing the longue durée of this nexus—highlighting its Ancient foundations, its various Early Modern formations, as well as certain configurations enduring to this day—enables describing shifting degrees of rhetoricity; approaching it from an interdisciplinary viewpoint facilitates focusing on the often sidelined rhetorical phenomena located beyond the textual plane, specifically memoria and actio; tackling this interchange from various viewpoints and with diverse emphases, a long-lasting and highly prolific cross-fertilization between drama and rhetoric is rendered visible. In tendering a balanced panorama of both detailed case studies and descriptive overviews, this volume also points toward terrain yet to be charted in the scholarship to come. The volume was prepared in co-operation with the ERC Advanced Grant Project Early Modern European Drama and the Cultural Net (DramaNet).