LEADER 05459oam 2200757I 450 001 9910789602603321 005 20200520144314.0 010 $a1-283-10221-8 010 $a9786613102218 010 $a1-135-17635-3 010 $a1-135-17634-5 010 $a0-203-86395-X 024 7 $a10.4324/9780203863954 035 $a(CKB)2670000000082254 035 $a(EBL)668433 035 $a(OCoLC)764571345 035 $a(SSID)ssj0000517831 035 $a(PQKBManifestationID)11913627 035 $a(PQKBTitleCode)TC0000517831 035 $a(PQKBWorkID)10491656 035 $a(PQKB)11693523 035 $a(MiAaPQ)EBC668433 035 $a(Au-PeEL)EBL668433 035 $a(CaPaEBR)ebr10471799 035 $a(CaONFJC)MIL310221 035 $a(OCoLC)958103986 035 $a(EXLCZ)992670000000082254 100 $a20180706d2006 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 12$aA dictionary of theatre anthropology $ethe secret art of the performer /$fEugenio Barba, Nicola Savarese ; translated by Richard Fowler 205 $a2nd ed. 210 1$aLondon ;$aNew York :$cRoutledge,$d2006. 215 $a1 online resource (321 p.) 300 $aDescription based upon print version of record. 311 $a1-138-47298-0 311 $a0-415-37861-3 320 $aIncludes bibliographical references and index. 327 $aFront 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 327 $aCreative 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 327 $aBrecht'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 327 $aHow 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 327 $aThe 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 327 $aHands and the Japanese theatre 330 $aThis 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. 517 3 $aDictionary of theatre anthropology 606 $aTheater$xAnthropological aspects 606 $aActing 606 $aDance 615 0$aTheater$xAnthropological aspects. 615 0$aActing. 615 0$aDance. 676 $a795/.03 700 $aBarba$b Eugenio.$0220773 701 $aFowler$b Richard$01512045 701 $aSavarese$b Nicola$f1945-$0268199 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910789602603321 996 $aA dictionary of theatre anthropology$93745696 997 $aUNINA