| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910820957703321 |
|
|
Autore |
Barba Eugenio |
|
|
Titolo |
A dictionary of theatre anthropology : the secret art of the performer / / Eugenio Barba, Nicola Savarese ; translated by Richard Fowler |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
London ; ; New York : , : Routledge, , 2006 |
|
|
|
|
|
|
|
ISBN |
|
1-283-10221-8 |
9786613102218 |
1-135-17635-3 |
1-135-17634-5 |
0-203-86395-X |
|
|
|
|
|
|
|
|
Edizione |
[2nd ed.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (321 p.) |
|
|
|
|
|
|
Altri autori (Persone) |
|
FowlerRichard |
SavareseNicola <1945-> |
|
|
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Theater - Anthropological aspects |
Acting |
Dance |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Nota di contenuto |
|
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 |
|
|
|
|
|
|
|
|
|
|
|
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 |
|
|
|
|
|
|
Sommario/riassunto |
|
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. |
|
|
|
|
|
|
|
| |