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The Laban Workbook is a compendium of unique exercises inspired by the concepts and principles of movement theorist and artist, Rudolf Laban. Written by five internationally recognized movement experts, this textbook is divided into single-authored chapters, each of which includes a short contextual essay followed by a series of insight-bearing exercises. These expert views, honed in the creation of individual approaches to training and coaching actors, provide a versatile range of theory and practice in the creative process of crafting theatre. Readers will learn: Enhanced expressivity of body and voice; Clearer storytelling, both physical and vocal, facilitating the embodiment of playwrights' intentions; Imaginative possibilities for exploring an existing play or for creating devised theatre. Featuring many exercises exploring the application of Laban Movement Studies to text, character, scene work, and devised performances - as well as revealing the creative potential of the body itself - The Laban Workbook is ideal for actors, teachers, directors and choreographers.
Movement (Acting) --- Mouvement (théâtre) --- Mouvement (théâtre)
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Through a study of the contemporary German film movement, the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect--all of which are viewed as critical components of live performance--can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of "slow cinema," Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers--such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler--invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema
Motion pictures --- Movement (Acting) --- History. --- Cinéma --- Mouvement (théâtre) --- Histoire --- Histoire. --- Cinéma --- Mouvement (théâtre)
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This new edition of "Physical Theatres: a Critical Introduction" continues to provide an unparalleled overview of non-text-based theatre, from experimental dance to traditional mime. It synthesizes the history, theory and practice of physical theatres for students and performers in what is both a core area of study and a dynamic and innovative aspect of theatrical practice.
Movement (Acting) --- Mime. --- Dance. --- Mouvement (théâtre) --- Danse. --- Art dramatique --- Histoire et critique.
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"Comment bouge-t-on un texte ? Pourquoi parle-t-on en bougeant ? Dans quels types d'espaces et pour combien de temps ? Pourquoi parle-t-on immobile ? De quel type d'immobilité s'agit-il ? De quel type de mouvement ? De quels types de mots en fonction de quel mouvement ? L'anthologie des écritures bougées rassemble quarante-deux textes d'écrivains, artistes, chorégraphes, poètes et performeurs qui pensent les rapports entre corps et écriture, corps et textualité." [Source : 4e de couv.]
Performance art --- Littérature expérimentale. --- Gestes --- Mouvement (théâtre) --- Art dramatique --- Mouvement --- Littérature --- Dans la littérature. --- Thèmes, motifs
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Issue d'une thèse, cette recherche développe une anthropologie du comédien en examinant la spécificité de l'expressivité corporelle dans l'espace scénique. Croisant neurophysiologie et sociologie, elle interroge la part de l'inné et de l'acquis dans l'incarnation d'un rôle, l'imitation des affects et la gestuelle de l'acteur. ©Electre 2016 Cette recherche théorico-empirique désarticule le corps et l?étudie dans ses dimensions anthropologique, anatomophysiologique, neuroscientifique, scénique. Le jeu est dans la comédie sociale et le comédien le transporte sur la scène. Les rôles dépendent de la structure de la société, de la place de l?acteur et de son individualité. Ils évoluent selon des facteurs extérieurs et intérieurs à l?humain. Certains acteurs s?approprient plus facilement leur rôle que d?autres, épousent gestuelle et discours de chaque classe, abandonnent un costume pour en revêtir un autre. Le théâtre est le domaine qui érige ce jeu des rôles en profession. Dès lors, l?interrogation sur la latitude du comédien à jouer requiert une contextualisation et appelle la question de l?inné et de l?acquis. L?humain joue-t-il d?emblée ou apprend-il à jouer ? Dans quelle mesure le corps est-il un instrument expressif théâtral et social?
Théâtre -- Anthropologie --- Corps humain -- Anthropologie --- Mouvement (théâtre) --- Anthropologie --- Theater --- Human figure in art --- Théâtre --- Corps humain dans l'art --- Anthropological aspects --- Aspect anthropologique --- Théâtre
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Movement (Acting) --- Actors --- Mouvement (Art dramatique) --- Acteurs --- Study and teaching --- Training of. --- Etude et enseignement --- Formation --- Mouvement (théâtre) --- Mouvement (esthétique) --- Guides pratiques et mémentos
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