Physical Theatres A Critical Reader 1st Edition by John Keefe, Simon Murray 0415362512 9780415362511
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ISBN 10: 0415362512
ISBN 13: 9780415362511
Author: John Keefe, Simon Murray
Physical Theatres: A Critical Reader is an invaluable resource for students of physically orientated theatre and performance. This book aims to trace the roots and development of physicality in theatre by combining practical experience of the field with a strong historical and theoretical underpinning. In exploring the histories, cross-overs and intersections of physical theatres, this critical Reader provides: six new, specially commissioned essays, covering each of the book’s main themes, from technical traditions to contemporary practises discussion of issues such as the foregrounding of the body, training and performance processes, and the origins of theatre in both play and human cognition a focus on the relationship and tensions between the verbal and the physical in theatre contributions from Augusto Boal, Stephen Berkoff, Étienne Decroux, Bertolt Brecht, David George, J-J. Rousseau, Ana Sanchez Colberg, Michael Chekhov, Jeff Nuttall, Jacques Lecoq, Yoshi Oida, Mike Pearson, and Aristotle.
Physical Theatres A Critical Reader 1st Table of contents:
Section 1 Genesis, Contexts, Namings
Essay 1 Claire Heggen Goes Fishing
Claire Heggen Goes Fishing
Chapter 1 My definition of theatre
Partial Incarnation of The Future Actor
Chapter 2 Altered States and Subliminal Spaces: Charting the Road Towards a Physical Theatre
I
II
III
Chapter 3 Performance epistemology
Chapter 4 Letter to M. d’Alembert on the theatre
Chapter 5 Theatre, Human Beings
1 Theatre, The First Human Invention
2 Human Beings, A Passion and A Platform: The ‘aesthetic Space’
Chapter 6 Body Techniques
1 The Notion of Body Techniques
4 General Considerations
Chapter 7 Morality
Section 2 Roots:routes
Essay 2 Roots or routes; the technical traditions of contemporary physical theatre
Introduction
Copeau and the French Tradition
Stanislavsky and The Russian Tradition
Conclusion
A Deep Traditions: Classical and Popular
Chapter 8 The art of poetry
4
6
Chapter 9 The performer
The Choral Dancers of Tragedy
Chapter 10 Irving
Chapter 11 Improvisation: Methods and models
Introduction
A Survey of Pertinent Research
Motor Control and Skilled Performance …
Skill Classification
Feedback and Error Correction
Anticipation, Preselection, and Feedforward …
Time Scales For The Control of Movement
Timing and Movement Invariants
Motor Memory
Studies and Theories of Musical Improvisation …
Intuition and Creativity
The Development of Improvisational Skill …
Conclusions
Chapter 12 Lazzi: The comic routines of the Commedia dell’Arte
Definition of lazzi
Function of lazzi
Sources of lazzi
Stage Properties As lazzi
Stupidity/inappropriate Behaviour
Transformation lazzi
Scenario
scene Ten: (The Same With Gabba and Tristizia)
Chapter 13 A Jewel on the Nation’s Arse
Chapter 14 Sport, the aesthetic and art: Further thoughts
Three Categories of Activities In Relation To Sport and Dance
Chapter 15 Goodbye note from Joan
B Hybrid Pathways
Chapter 16 German Expressionist acting
Theory and Roots of Expressionist Acting
Modes of Expressionist Acting and Performance
Chapter 17 The theatre and the plague
Chapter 18 A Statement (Rewritten from a recorded interview)
Chapter 19 Surviving the performance: An interview with Franko B.
Chapter 20 The angel’s hideout Between dance and theatre
1 Diana’s Bath: Dance and Virginity
Choreographic Theatre
Choreographic Theatre: The Sex of Angels
Section 3 Contemporary Practices
Essay 3 Gesturing Towards Post-physical Performance
Chapter 21 East, Scene 4
Producer’s Note
Chapter 22 Act without words A mime for one player
Chapter 23 Re-dressing the Girls
Chapter 24 Bluebeard
Chapter 25 Club of No Regrets
Structure of The Performance
Chapter 26 ‘On Brith Gof’, A Montage of Material About and Concerning The Work of Brith Gof, A Welsh Theatre Company
My Balls/your Chin,* Mike Pearson
Y Llyfyr Glas
Brith Gof, Arturius Rex, Cardiff, November 1994
Chasing Shadows: Stories of Stories of Stories … Impressions From Two Documenters
Brith Gof, Tri Bywyd (Three Lives), Lampeter, October 1995
Chapter 27 Mag — the next five years 1997–2002
Vision and Definition
Afterword (July 2006)
Section 4 Preparation and Training
Essay 4 Reframing the Journey
Chapter 28 Photo essay: Sports Photographs by Étienne Bertrand Weill
Chapter 29 To the actor; Appendix: A Practical Guide to the Application of the Michael Chekhov Psychological Gesture (PG) Technique. Translation and commentary by Andrei Malaev-Babel
Fantastic Pg
Chapter 30 The articulate body: The physical training of the actor
The Actor’s Physical Language: Important Concepts In Preparing The Articulate Body
The Neutral — A Beginning
Immobility — ‘a Living Immobility’ (Decroux)
Breath — Communicator of Feeling
Three Elements of Movement — The Basis of The Actor’s Grammar
The Body In Space — Using The Theatrical Space To Make Clear Dramatic Statements
Chapter 31 Movement Technique
Physical and Vocal Preparation
Chapter 32 Circus and the actor: An interview with Hovey Burgess
Chapter 33 Moving
Directions of Movement
Section 5 Physicality and The Word
Essay 5 Physical Theatre and Text
How I Inadvertently Became Involved In Physical Theatre
Physical Theatre In The Mid-eighties
Physical Theatre Enters The Mainstream
There Was No Physical Theatre Movement
I Don’t Like Physical Theatre
What Is The Mainstream Perception of Physical Theatre?
What Was Good About Physical Theatre?
Wrestling With Text
Improvisation Is More Interesting Than Plays
A Scripted Play Must Be Made Up Every Night
Dead Collaborators Are Easier To Work With
Whelan Recording Technique — The Missing Link
The Physical Message In The Ritual of The Curtain Call
Provocative Statements For Adventures In Physical Theatre
Chapter 34 On Everyday Theatre (Poems of the Crisis Years 1929–1933)
Chapter 35 Rockaby and the Art of Inadvertent Interpretation, and Considerations of acting in the early plays
Rockaby and The Art of Inadvertent Interpretation
Considerations of Acting In The Early Plays
Chapter 36 A Shared Experience: The actor as story-teller
Chapter 37 US ‘Narrative one’, Albert Hunt, and ‘Narrative two’, Michael Kustow
Narrative One
Narrative Two
Chapter 38 Comedians
Chapter 39 ‘Introductory essay’, by Robert Kimball and ‘Beautiful’, ‘Sunday’ (Sunday in the Park with George), by Stephen Sondheim
Introductory Essay
Section 6 Bodies and Cultures
Essay 6 Assembling Our Differences Bridging Identities-in-motion In Intercultural Performance
Chapter 40 Towards a theory of interculturalism in theatre
Definition 1
Definition 2
Definition 3
Definition 4
Intercultural Theatre
Multicultural Theatre
Cultural Collage
Syncretic Theatre
Post-colonial Theatre
The ‘theatre of The Fourth World’
Chapter 41 Pre-Expressivity
Inculturation and Acculturation Technique
Chapter 42 The World As a Can Opener
Chapter 43 What is Art?
Chapter 44 Orientalism Now
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