Towards Embodied Performance
Routledge (Verlag)
978-1-032-37772-8 (ISBN)
Through historical context, the author’s 30-plus years of experience, and original interviews with leading theatre artists, this book sets the stage for a new generation of artists building boundary-breaking work. Directors are often categorized into one of only two frameworks: the Stanislavskian director, whose method is based on text analysis and character wants and needs, and the “auteur” director, whose work might focus on visual spectacle at the expense of text or character objectives. This book argues that the director of embodied performance fuses these two approaches, acting as the author of the event. In Part I, readers will explore the core elements of embodied performance – space, time, body, language, and action – through a lens that bridges traditional directing methodology with experimental, devised, collaborative theatre-making. Part II provides examples of this embodied practice by multi-disciplinary artists in visual and sound installation, video and film, dance-theatre, and new music/opera, including such artists as Shirin Neshat, James Turrell, Bill T. Jones, Janet Cardiff, Okwui Okpokwasili, William Kentridge, and Heather Christian. Part III suggests creative prompts and exercises for performance makers to engage the visual, physical, textual, and sonic in compositional storytelling on stage.
Towards Embodied Performance is an invaluable resource for theatre directors, devisers, and generative artists at all levels from students to teachers, from early-career to mid-career artists. Directors, actors, choreographers, designers, composers, writers, scholars, and engaged audience members can all use this text to explore collaboratively created performance that invites its audience into the ripest version of the present moment.
Rachel Dickstein is Associate Professor and Chair of Theatre and Performance at Purchase College, SUNY. She is a director, writer, and choreographer of opera, theatre, and dance-based performance, as well as the founding Artistic Director of the Obie-winning theatre company Ripe Time. Recent work includes the world premieres of Compass (ASU Gammage), Haruki Murakami’s Sleep (BAM Next Wave Festival, Yale Rep, Annenberg), The World Is Round (BAM-Fisher, Obie Award), and Septimus and Clarissa (Drama Desk, Drama League nominations, BPAC). Rachel also directs plays, chamber opera, and new music theatre. Recent work includes Blood Moon (Beth Morrison Projects, Prototype), Desire (with Jack Quartet, Miller Theatre, Columbia), Thumbprint (LA Opera, Prototype), and In What Language? (Asia Society, REDCAT, PICA TBA Festival).
Part 1: The Core Elements of Embodied Performance 1. Space 2. Body 3. Time 4. Language 5. Action Part 2: Directing as Composition-Building Learning from models of cross disciplinary performance investigation 6. Seeing, Listening, Experiencing: Immersive installations of Visual Art, Sound art, and media/ video 7. Directing the Composition: Dance as Theatre and Theatre as Dance 8. Embodying Music: Composers and Directors re-envisioning Opera and New Music Part III: Building your own Embodied Performance 9. Exercises for creating in the studio and teaching/learning in the classroom
| Erscheinungsdatum | 13.06.2024 |
|---|---|
| Zusatzinfo | 16 Halftones, black and white; 16 Illustrations, black and white |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 152 x 229 mm |
| Gewicht | 453 g |
| Themenwelt | Kunst / Musik / Theater ► Theater / Ballett |
| ISBN-10 | 1-032-37772-0 / 1032377720 |
| ISBN-13 | 978-1-032-37772-8 / 9781032377728 |
| Zustand | Neuware |
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