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The alchemical actor / / Jane Gilmer
| The alchemical actor / / Jane Gilmer |
| Autore | Gilmer Jane |
| Pubbl/distr/stampa | Leiden, Netherlands ; ; Boston, Massachusetts : , : Brill Rodopi, , [2021] |
| Descrizione fisica | 1 online resource (262 pages) |
| Disciplina | 792.01 |
| Collana | Consciousness, literature and the arts |
| Soggetto topico | Theater - Philosophy |
| ISBN |
9004449426
9789004449428 |
| Classificazione | ELECTRONIC BOOK |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Artaud's alchemical theatre : earth and the nigredo -- Alchemical imaginatio : water and the albedo -- Alchemical actor : air and the citrino -- Alchemical magnum opus : fire and the rubedo -- Dance of the elements : quintessence. |
| Record Nr. | UNINA-9910794560603321 |
Gilmer Jane
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| Leiden, Netherlands ; ; Boston, Massachusetts : , : Brill Rodopi, , [2021] | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The alchemical actor / / Jane Gilmer
| The alchemical actor / / Jane Gilmer |
| Autore | Gilmer Jane |
| Pubbl/distr/stampa | Leiden, Netherlands ; ; Boston, Massachusetts : , : Brill Rodopi, , [2021] |
| Descrizione fisica | 1 online resource (262 pages) |
| Disciplina | 792.01 |
| Collana | Consciousness, literature and the arts |
| Soggetto topico | Theater - Philosophy |
| ISBN |
9004449426
9789004449428 |
| Classificazione | ELECTRONIC BOOK |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Artaud's alchemical theatre : earth and the nigredo -- Alchemical imaginatio : water and the albedo -- Alchemical actor : air and the citrino -- Alchemical magnum opus : fire and the rubedo -- Dance of the elements : quintessence. |
| Record Nr. | UNINA-9910821357203321 |
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Gilmer Jane
|
||
| Leiden, Netherlands ; ; Boston, Massachusetts : , : Brill Rodopi, , [2021] | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Anatomy live : performance and the operating theatre / / edited by Maaike Bleeker [[electronic resource]]
| Anatomy live : performance and the operating theatre / / edited by Maaike Bleeker [[electronic resource]] |
| Pubbl/distr/stampa | Amsterdam : , : Amsterdam University Press, , 2008 |
| Descrizione fisica | 1 online resource (270 pages) : digital, PDF file(s) |
| Disciplina | 792.01 |
| Collana | MediaMatters |
| Soggetto topico |
Theater - Philosophy
Performance art Theater - History |
| ISBN |
1-282-17125-9
9786612171253 90-485-0122-9 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Frontmatter -- Contents -- Acknowledgements -- Prologue Men with Glass Bodies / Barker, Francis -- Introduction / Bleeker, Maaike -- Performance Documentation 1: Holoman; Digital Cadaver / Tyler, Mike -- Digital Cadavers and Virtual Dissection / Dijck, José van -- 'Who Were You?': The Visible and the Visceral / Maxwell, Ian -- Performance Documentation 2: Excavations : Fresh but Rotten / Boulogne, Marijs -- The Anatomy Lesson of Professor Moxham / Ingham, Karen -- 'Be not faithless but believing': Illusion and Doubt in the Anatomy Theatre / Bouchard, Gianna -- Performance Documentation 3: De Anatomische Les / Tetley, Glen -- Of Dissection and Technologies of Culture in Actor Training Programs - an Example from 1960's West Germany / Klöck, Anja -- Ocular Anatomy, Chiasm, and Theatre Architecture as a Material Phenomenology in Early Modern Europe / Camp, Pannill -- Performance Documentation 4: Camillo - Memo 4.0: The Cabinet of Memories - A Tear Donnor Session / Hrvatin, Emil -- Martin , Massumi , and The Matrix / Bleeker, Maaike -- Performance Documentation 5: sensing presence no. 1: performing a hyperlink system / Copraij / Jenniches / Kunzmann -- 'Where Are You Now?': Locating the Body in Contemporary Performance / Foster, Susan Leigh -- Performance Documentation 6: Under My Skin / Müller, Ivana -- Anatomies of Live Art / Norman, Sally Jane -- Performance Documentation 7: Crash / Joris, Eric -- Restaging the Monstrous / Kunst, Bojana -- Delirium of the Flesh: 'All the Dead Voices' in the Space of the Now / Kobialka, Michal -- Performance Documentation 8: Körper / Waltz, Sasha -- Operating Theatres: Body-bits and a Post-apartheid Aesthetics / Fensham, Rachel -- Index |
| Record Nr. | UNISA-996465268703316 |
| Amsterdam : , : Amsterdam University Press, , 2008 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. di Salerno | ||
| ||
Anatomy live : performance and the operating theatre / / edited by Maaike Bleeker [[electronic resource]]
| Anatomy live : performance and the operating theatre / / edited by Maaike Bleeker [[electronic resource]] |
| Pubbl/distr/stampa | Amsterdam : , : Amsterdam University Press, , 2008 |
| Descrizione fisica | 1 online resource (270 pages) : digital, PDF file(s) |
| Disciplina | 792.01 |
| Collana | MediaMatters |
| Soggetto topico |
Theater - Philosophy
Performance art Theater - History |
| ISBN |
1-282-17125-9
9786612171253 90-485-0122-9 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Frontmatter -- Contents -- Acknowledgements -- Prologue Men with Glass Bodies / Barker, Francis -- Introduction / Bleeker, Maaike -- Performance Documentation 1: Holoman; Digital Cadaver / Tyler, Mike -- Digital Cadavers and Virtual Dissection / Dijck, José van -- 'Who Were You?': The Visible and the Visceral / Maxwell, Ian -- Performance Documentation 2: Excavations : Fresh but Rotten / Boulogne, Marijs -- The Anatomy Lesson of Professor Moxham / Ingham, Karen -- 'Be not faithless but believing': Illusion and Doubt in the Anatomy Theatre / Bouchard, Gianna -- Performance Documentation 3: De Anatomische Les / Tetley, Glen -- Of Dissection and Technologies of Culture in Actor Training Programs - an Example from 1960's West Germany / Klöck, Anja -- Ocular Anatomy, Chiasm, and Theatre Architecture as a Material Phenomenology in Early Modern Europe / Camp, Pannill -- Performance Documentation 4: Camillo - Memo 4.0: The Cabinet of Memories - A Tear Donnor Session / Hrvatin, Emil -- Martin , Massumi , and The Matrix / Bleeker, Maaike -- Performance Documentation 5: sensing presence no. 1: performing a hyperlink system / Copraij / Jenniches / Kunzmann -- 'Where Are You Now?': Locating the Body in Contemporary Performance / Foster, Susan Leigh -- Performance Documentation 6: Under My Skin / Müller, Ivana -- Anatomies of Live Art / Norman, Sally Jane -- Performance Documentation 7: Crash / Joris, Eric -- Restaging the Monstrous / Kunst, Bojana -- Delirium of the Flesh: 'All the Dead Voices' in the Space of the Now / Kobialka, Michal -- Performance Documentation 8: Körper / Waltz, Sasha -- Operating Theatres: Body-bits and a Post-apartheid Aesthetics / Fensham, Rachel -- Index |
| Record Nr. | UNINA-9910139781203321 |
| Amsterdam : , : Amsterdam University Press, , 2008 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Approaching theatre / / Andre Helbo [and three others]
| Approaching theatre / / Andre Helbo [and three others] |
| Autore | Helbo Andre |
| Pubbl/distr/stampa | Bloomington : , : Indiana University Press, , [1991] |
| Descrizione fisica | 1 online resource (ix, 223 pages) : illustrations |
| Disciplina | 792.01 |
| Soggetto topico |
Theater - Philosophy
Theater - Production and direction |
| ISBN | 0-253-05341-2 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Record Nr. | UNINA-9910524678903321 |
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Helbo Andre
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| Bloomington : , : Indiana University Press, , [1991] | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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The art of theater [[electronic resource] /] / James R. Hamilton
| The art of theater [[electronic resource] /] / James R. Hamilton |
| Autore | Hamilton James R |
| Pubbl/distr/stampa | Malden, MA ; ; Oxford, : Blackwell Pub., 2007 |
| Descrizione fisica | 1 online resource (244 p.) |
| Disciplina | 792.01 |
| Collana | New directions in aesthetics |
| Soggetto topico | Theater - Philosophy |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-281-06905-1
9786611069056 0-470-69087-9 0-470-76610-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Contents; Prologue; Part I:The Basics; 1 The Emergence of the Art of Theater:Background and History; 1.1 The backstory:1850s to 1950s; 1.2 The decisive in . uences:Brecht,Artaud,Grotowski; 1.3 The decisive years:1961 to 1985; 1.4 The final threads:absorption of new practices into the profession and the academy; 2 Theatrical Performance is an Independent Form of Art; 2.1 Theatrical performance as radically independent of literature; 2.2 Theatrical performance as a form of art; 3 Methods and Constraints; 3.1 Idealized cases that help focus on features needing analysis
3.2 Three general facts about theatrical performances and the constraints they impose on any successful account of theatrical performances4 Theatrical Enactment:The Guiding Intuitions; 4.1 Enactment:something spectators and performers do; 4.2 The crucial concept:"attending to another "; 4.3 What it is to "occasion " responses; 4.4 Audience responses:willing suspension of disbelief, acquired beliefs,or acquired abilities?; 4.5 Relativizing the account by narrowing its scope to narrative performances; Part II:The Independence of Theatrical Performance; 5 Basic Theatrical Understanding 5.1 Minimal general success conditions for basic theatrical understanding5.2 Physical and affective responses of audiences as non-discursive evidence of understanding; 5.3 The success conditions for basic theatrical understanding met by moment-to-moment apprehension of performances; 5.4 "Immediate objects," "developed objects," and "cogency "; 5.5 Objects of understanding having complex structures; 5.6 Generalizing beyond plays; 5.7 The problem of "cognitive uniformity "; 6 The Mechanics of Basic Theatrical Understanding 6.1 The "feature-salience " model of spectator convergence on the same characteristics6.2 What it is to respond to a feature as salient for some characteristics or a set of facts; 6.3 A thin common knowledge requirement; 6.4 A plausibly thickened common knowledge requirement; 6.5 The feature-salience model,"reader-response theory," and "intentionalism "; 6.6 Generalizing the salience mechanism to encompass non-narrative performances; 6.7 Some important benefits of the feature-salience model: double-focus,slippage,"performer power," "character power," and t 6.8 The feature-salience model and explaining how basic theatrical understanding occurs7 What Audiences See; 7.1 Identifying characters,events,and other objects in narrative performances; 7.2 Re-identification of characters and other objects in narrative performances; 7.3 The special nature of theatrical (uses of )space: performances and performance space; 7.4 Cross-performance re-identification; 7.5 Identifying and re-identifying objects in non-narrative performances; 7.6 Added benefits of the demonstrative and recognition- based approach to identification and re-identification 7.7 Theatrical performance as a fully independent practice |
| Record Nr. | UNINA-9910145294103321 |
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Hamilton James R
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| Malden, MA ; ; Oxford, : Blackwell Pub., 2007 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The art of theater [[electronic resource] /] / James R. Hamilton
| The art of theater [[electronic resource] /] / James R. Hamilton |
| Autore | Hamilton James R |
| Pubbl/distr/stampa | Malden, MA ; ; Oxford, : Blackwell Pub., 2007 |
| Descrizione fisica | 1 online resource (244 p.) |
| Disciplina | 792.01 |
| Collana | New directions in aesthetics |
| Soggetto topico | Theater - Philosophy |
| ISBN |
1-281-06905-1
9786611069056 0-470-69087-9 0-470-76610-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Contents; Prologue; Part I:The Basics; 1 The Emergence of the Art of Theater:Background and History; 1.1 The backstory:1850s to 1950s; 1.2 The decisive in . uences:Brecht,Artaud,Grotowski; 1.3 The decisive years:1961 to 1985; 1.4 The final threads:absorption of new practices into the profession and the academy; 2 Theatrical Performance is an Independent Form of Art; 2.1 Theatrical performance as radically independent of literature; 2.2 Theatrical performance as a form of art; 3 Methods and Constraints; 3.1 Idealized cases that help focus on features needing analysis
3.2 Three general facts about theatrical performances and the constraints they impose on any successful account of theatrical performances4 Theatrical Enactment:The Guiding Intuitions; 4.1 Enactment:something spectators and performers do; 4.2 The crucial concept:"attending to another "; 4.3 What it is to "occasion " responses; 4.4 Audience responses:willing suspension of disbelief, acquired beliefs,or acquired abilities?; 4.5 Relativizing the account by narrowing its scope to narrative performances; Part II:The Independence of Theatrical Performance; 5 Basic Theatrical Understanding 5.1 Minimal general success conditions for basic theatrical understanding5.2 Physical and affective responses of audiences as non-discursive evidence of understanding; 5.3 The success conditions for basic theatrical understanding met by moment-to-moment apprehension of performances; 5.4 "Immediate objects," "developed objects," and "cogency "; 5.5 Objects of understanding having complex structures; 5.6 Generalizing beyond plays; 5.7 The problem of "cognitive uniformity "; 6 The Mechanics of Basic Theatrical Understanding 6.1 The "feature-salience " model of spectator convergence on the same characteristics6.2 What it is to respond to a feature as salient for some characteristics or a set of facts; 6.3 A thin common knowledge requirement; 6.4 A plausibly thickened common knowledge requirement; 6.5 The feature-salience model,"reader-response theory," and "intentionalism "; 6.6 Generalizing the salience mechanism to encompass non-narrative performances; 6.7 Some important benefits of the feature-salience model: double-focus,slippage,"performer power," "character power," and t 6.8 The feature-salience model and explaining how basic theatrical understanding occurs7 What Audiences See; 7.1 Identifying characters,events,and other objects in narrative performances; 7.2 Re-identification of characters and other objects in narrative performances; 7.3 The special nature of theatrical (uses of )space: performances and performance space; 7.4 Cross-performance re-identification; 7.5 Identifying and re-identifying objects in non-narrative performances; 7.6 Added benefits of the demonstrative and recognition- based approach to identification and re-identification 7.7 Theatrical performance as a fully independent practice |
| Record Nr. | UNISA-996201833003316 |
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Hamilton James R
|
||
| Malden, MA ; ; Oxford, : Blackwell Pub., 2007 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. di Salerno | ||
| ||
The art of theater / / James R. Hamilton
| The art of theater / / James R. Hamilton |
| Autore | Hamilton James R |
| Pubbl/distr/stampa | Malden, MA ; ; Oxford, : Blackwell Pub., 2007 |
| Descrizione fisica | 1 online resource (244 p.) |
| Disciplina | 792.01 |
| Collana | New directions in aesthetics |
| Soggetto topico | Theater - Philosophy |
| ISBN |
1-281-06905-1
9786611069056 0-470-69087-9 0-470-76610-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Contents; Prologue; Part I:The Basics; 1 The Emergence of the Art of Theater:Background and History; 1.1 The backstory:1850s to 1950s; 1.2 The decisive in . uences:Brecht,Artaud,Grotowski; 1.3 The decisive years:1961 to 1985; 1.4 The final threads:absorption of new practices into the profession and the academy; 2 Theatrical Performance is an Independent Form of Art; 2.1 Theatrical performance as radically independent of literature; 2.2 Theatrical performance as a form of art; 3 Methods and Constraints; 3.1 Idealized cases that help focus on features needing analysis
3.2 Three general facts about theatrical performances and the constraints they impose on any successful account of theatrical performances4 Theatrical Enactment:The Guiding Intuitions; 4.1 Enactment:something spectators and performers do; 4.2 The crucial concept:"attending to another "; 4.3 What it is to "occasion " responses; 4.4 Audience responses:willing suspension of disbelief, acquired beliefs,or acquired abilities?; 4.5 Relativizing the account by narrowing its scope to narrative performances; Part II:The Independence of Theatrical Performance; 5 Basic Theatrical Understanding 5.1 Minimal general success conditions for basic theatrical understanding5.2 Physical and affective responses of audiences as non-discursive evidence of understanding; 5.3 The success conditions for basic theatrical understanding met by moment-to-moment apprehension of performances; 5.4 "Immediate objects," "developed objects," and "cogency "; 5.5 Objects of understanding having complex structures; 5.6 Generalizing beyond plays; 5.7 The problem of "cognitive uniformity "; 6 The Mechanics of Basic Theatrical Understanding 6.1 The "feature-salience " model of spectator convergence on the same characteristics6.2 What it is to respond to a feature as salient for some characteristics or a set of facts; 6.3 A thin common knowledge requirement; 6.4 A plausibly thickened common knowledge requirement; 6.5 The feature-salience model,"reader-response theory," and "intentionalism "; 6.6 Generalizing the salience mechanism to encompass non-narrative performances; 6.7 Some important benefits of the feature-salience model: double-focus,slippage,"performer power," "character power," and t 6.8 The feature-salience model and explaining how basic theatrical understanding occurs7 What Audiences See; 7.1 Identifying characters,events,and other objects in narrative performances; 7.2 Re-identification of characters and other objects in narrative performances; 7.3 The special nature of theatrical (uses of )space: performances and performance space; 7.4 Cross-performance re-identification; 7.5 Identifying and re-identifying objects in non-narrative performances; 7.6 Added benefits of the demonstrative and recognition- based approach to identification and re-identification 7.7 Theatrical performance as a fully independent practice |
| Record Nr. | UNINA-9910678285503321 |
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Hamilton James R
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| Malden, MA ; ; Oxford, : Blackwell Pub., 2007 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Le cadre : approches croisées entre arts & médias / / Collectif DAEM
| Le cadre : approches croisées entre arts & médias / / Collectif DAEM |
| Soggetto topico |
Motion pictures - Philosophy
Theater - Philosophy Painting - Philosophy Aesthetics |
| ISBN | 2-336-37170-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | fre |
| Record Nr. | UNINA-9910157494103321 |
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Choreographing agonism : politics, strategies and performances of the left / / Goran Petrović-Lotina
| Choreographing agonism : politics, strategies and performances of the left / / Goran Petrović-Lotina |
| Autore | Petrović-Lotin Goran |
| Pubbl/distr/stampa | Cham, Switzerland : , : Palgrave Macmillan, , [2021] |
| Descrizione fisica | 1 online resource (193 pages) |
| Disciplina | 792 |
| Soggetto topico |
Theater - Political aspects
Theater - Philosophy Performance art - Political aspects |
| ISBN | 3-030-79446-6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Record Nr. | UNINA-9910502593703321 |
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Petrović-Lotin Goran
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| Cham, Switzerland : , : Palgrave Macmillan, , [2021] | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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