LEADER 04151nam 2200553 450 001 9910162940703321 005 20230807210048.0 010 $a1-4081-8425-7 010 $a1-4081-8599-7 035 $a(CKB)2670000000603472 035 $a(EBL)1997174 035 $a(SSID)ssj0001459007 035 $a(PQKBManifestationID)11967554 035 $a(PQKBTitleCode)TC0001459007 035 $a(PQKBWorkID)11456336 035 $a(PQKB)11329982 035 $a(MiAaPQ)EBC1997174 035 $a(MiAaPQ)EBC6163215 035 $a(EXLCZ)992670000000603472 100 $a20200723d2015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aHoward Barker's theatre $ewrestling with catastrophe /$fedited by James Reynolds, Andrew Smith 210 1$aLondon, England :$cBloomsbury,$d[2015] 210 4$dİ2015 215 $a1 online resource (297 p.) 225 1 $aMethuen drama engage 300 $aIncludes index. 311 $a1-4081-8431-1 311 $a1-336-22660-9 327 $aCover; Half Title; Series; Title; Copyright; Dedication; Contents; List of Photographic Plates; Notes on Contributors; Acknowledgements; Introduction to Howard Barker's Theatre: Wrestling with Catastrophe; Part One Howard Barker and The Wrestling School; 1 A Company and Its Origins; 2 From the Actor, to the Actor; Nicholas Le Prevost; Philip Franks; James Clyde; Sean O'Callaghan; Jules Melvin; Victoria Wicks; Suzy Cooper; 3 Directing Slowly; 4 Amplifying Catastrophe; Considerations of form; Pakhuis 17 - A new aesthetic emerges; Bespoke subversion; Lighting techniques for enhanced presence 327 $aProduction rehearsal with The Wrestling SchoolThe exordium; 5 On Discipline; Part Two Readings/Inversions; 6 'To experience a thing as beautiful': The Photographic Practice of Howard Barker; Bodies; Objects; The mysterious Eduardo Houth; 7 Vintage Barker: New Writing in Old Bottles; Waves and brands; The dramaturgy of New Writing; Legacy; 8 Howard Barker and the Return of Religion; Barker and Genesis: Return to the beginning; Christianity and Islam in The Castle; Apocalypse and rebirth in The Europeans; Meister Eckhart; The One; Conclusion; 9 Going Underground; 'Stage space' 327 $a'Presentational space''Fictional place'; Going underground . . .; Part Three Other Barkers; 10 Acting Barker; 11 Staging Barker in America; 12 Barker from a Viewpoint: Staging Ursula: Fear of the Estuary; A physical tension; Setting the tone; Gesture; Source work; What is the hat?; Future considerations; 13 Staging Barker at Scotland's Conservatoire; 14 'A Gallery of Images': From the Aberystwyth Students; Welcome stranger; The 1980s; The 1990s and 2000s; Pot of Thieves, 2011-12; The Forty (Few Words): 'In mid-wickedness'; Inconclusion: 'I will say it and go'; Notes; Index; Plates 330 $a"Howard Barker and The Wrestling School have been seen as marginal to the major concerns of British theatre, problematic in their staging and challenging in the ideas they explore. Yet Barker's writing career spans six decades, he is the only living writer to have been accorded an entire season with the Royal Shakespeare Company, and The Wrestling School produces theatre of such a striking quality that it earned continuous Arts Council funding for nearly 20 years. Wrestling with Catastrophe challenges existing ways of reading Barker's theatre practice and plays and provides new ways into his work. The book brings together the full range of Barker's aesthetic concerns - including text, direction, design, acting, narrative form, poetry, appropriation, painting, photography, electronic media, technology, puppetry, and theatre space - and in doing so, makes a radical re-evaluation possible"--$cProvided by publisher. 410 0$aMethuen drama engage. 676 $a822.914 686 $aPER011020$2bisacsh 702 $aReynolds$b James 702 $aSmith$b Andrew 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910162940703321 996 $aHoward Barker's theatre$92786269 997 $aUNINA