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1. |
Record Nr. |
UNINA9910353338503321 |
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Autore |
Armando Silvia |
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Titolo |
Le Caire dessiné et photographié au XIXe siècle / / Mercedes Volait |
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Pubbl/distr/stampa |
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Paris, : Publications de l’Institut national d’histoire de l’art, 2017 |
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ISBN |
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Altri autori (Persone) |
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AubenasSylvie |
AzizElke Pflugradt-Abdel |
BideaultMaryse |
BocardHélène |
BouchonChantal |
CazentreThomas |
DevosEmmanuelle |
de HondJan |
HerreraAntonio Urquízar |
MorlierHélène |
NěmečekMilan |
OrmosIstván |
SeifOla |
ThomasAbraham |
VolaitMercedes |
Zapata-AubéNicole |
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Soggetti |
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Architecture - Egypt - Cairo - History - 19th century |
Islamic architecture - Egypt - Cairo - History - 19th century |
Orientalism in art |
Cairo (Egypt) Buildings, structures, etc |
Cairo (Egypt) In art |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Sommario/riassunto |
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Depuis la grande expédition d’Égypte qui marqua les esprits, seuls des |
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voyageurs aussi célèbres que Maxime Du Camp et Gustave Flaubert sont restés dans les mémoires, alors que d’autres sont complètement oubliés ou connus des seuls spécialistes. Pourtant, leurs travaux restent des sources irremplaçables sur une ville en grande partie disparue. En effet, tout au long du XIXe siècle, beaucoup de monuments périrent faute d’entretien et à partir des années 1870, le khédive Ismaïl entreprit des travaux d’embellissement pour donner à la capitale de l’Égypte un aspect européen, aux prix d’importantes démolitions. Tous ces voyageurs, architectes, peintres, « antiquaires » furent subjugués par l’architecture médiévale du Caire et par le décor géométrique de ses bâtiments civils et religieux. Ils tentèrent à travers leurs dessins, photographies et relevés de faire connaître ces richesses artistiques que certains prévoyaient de publier dans des recueils, dont quelques-uns virent le jour. Ce livre a pour vocation de sortir de l’ombre ces passionnés qui offrent encore aujourd’hui des témoignages uniques assortis souvent de descriptions de dessins, de photographies ou d’écrits théoriques en règle générale peu accessibles. Un ensemble de spécialistes met ici en valeur ces documents tombés dans l’oubli et présente des synthèses de leurs œuvres et de leurs apports à la connaissance du Caire médiéval. La présente version numérique est revue et corrigée par rapport à la version publiée en 2013 aux éditions Picard. |
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2. |
Record Nr. |
UNINA9910789602603321 |
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Autore |
Barba Eugenio |
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Titolo |
A dictionary of theatre anthropology : the secret art of the performer / / Eugenio Barba, Nicola Savarese ; translated by Richard Fowler |
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Pubbl/distr/stampa |
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London ; ; New York : , : Routledge, , 2006 |
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ISBN |
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1-283-10221-8 |
9786613102218 |
1-135-17635-3 |
1-135-17634-5 |
0-203-86395-X |
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Edizione |
[2nd ed.] |
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Descrizione fisica |
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1 online resource (321 p.) |
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Altri autori (Persone) |
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FowlerRichard |
SavareseNicola <1945-> |
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Disciplina |
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Soggetti |
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Theater - Anthropological aspects |
Acting |
Dance |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front Cover; A Dictionary of Theatre Anthropology; Copyright Page; Contents; Preface: Eugenio Barba; Introduction; Theatre anthropology - Eugenio Barba; Similar principles, different performances; Lokadharmi and Natyadharmi; Balance in action; The dance of oppositions; The virtue of omission; Intermezzo; A decided body; A fictive body; A million candles; Anatomy; Can the sea rise above the mountain tops? - Nicola Savarese; Apprenticeship; Western examples - Fabrizio Cruciani; Founding fathers and pedagogical theatre at the beginning of the twentieth century |
Creative process, theatre school and theatre cultureAuthor's pedagogy; An Indian example - Rosemary Jeanes Antze; Guru as parent, honoured preceptor; Guru-kula,study in the guru's home; Guru-dakshina, gifts and fees; Ekalavya, disciple extraordinaire; Guru-shishya-parampara; Balance; Extra-daily balance; Luxury balance; Extra-daily technique: the search for a new posture; Generalisations regarding balance; Balance in action; Steel and cotton; Why does the performer aim for a luxury |
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balance? What does the performer's alteration of balance mean for the spectator?; Balance and imagination |
Brecht's unknown danceDilation; The dilated body - Eugenio Barba; The bridge; Peripeteias; The negation principle; To think the thought; Twin logics; Seven-gated Thebes; The dilated mind - Franco Ruffini; Dramaturgy; Actions at work - Eugenio Barba; Energy; Kung-fu; Energy and continuity; Koshi, ki-hai, bayu; Animus, anima; Keras and manis; Lasya and tandava; Tame; Energy in space and energy in time; Santai, the actor's three bodies; Braking the action; The performer's presence; Equivalence; The equivalence principle; Dhanu: archery in Indian odissi dance |
How one shoots an arrow in japanese kyogen theatreShooting with a bow; Eurasian theatre; Eurasian theatre - Eugenio Barba; Dawn; Eurasian theatre; Anti-tradition; Why; Roots; Village; To interpret a text or to create a context; Spectator; Incomprehensions and inventions: from the silk road to seki sano - Nicola Savarese; Exercises; Score and subscore: the significance of exercise in the actor's dramaturgy - Eugenio Barba; A physical action: the smallest perceptible action; The age of exercises; Inner life and interpretation; The complexity of emotion; The real relationship; Sport as dance |
The physical dialogue with the spectatorsThe real action; Meyerhold's theatre fission; The exercise: a model of organic and dynamic dramaturgy; Form, rhythm, flow; Tacit knowledge; Face and eyes; Physiology and codification; The concrete gaze; The action of seeing; Showing that one is seeing; The natural face; The provisional face; The painted face; Feet; Microcosm, macrocosm; On point; Foot grammar; Hands; Physiology and codification of the hands; The hands: pure sound or silence; How to invent hands in movement; India: hands and meaning; Hands and the Peking Opera; Hands and Balinese dance |
Hands and the Japanese theatre |
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Sommario/riassunto |
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This the second English language edition of the classic text, ""A Dictionary of Theatre Anthropology"" subtly juxtaposes the visual demonstrations of the performers craft, from a wealth of Oriental and Occidental sources. Whereas most Western research is concerned with naturalism and psychological realism in acting, the ""Dictionary"" focuses on the performer's arduous and eclectic craft. |
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