| ISBN |
9780230551657 (pbk.) |
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0230551653 (pbk.) |
| Description |
xiv, 361 pages ; 24 cm |
| Series |
Palgrave student companions |
| Note |
Includes index. |
| Contents |
Introduction: this book and how to use it -- Acknowledgements -- Part 1. Drama, Theatre and Performance: the subject and its study -- 1.1. The context of the subject -- A dramatized society -- Two traditions -- A degree in 'Drama' -- Curriculum developments -- 1.2. Your course and what to expect from it -- Course structures -- Strands and pedagogies -- Teaching and assessment -- Workshop practice and practical work -- Ensemble and group work -- Researching -- 1.3. Study skills for drama, theatre and performance students -- A range of skills -- Self-organization and time management -- Using the library -- Essay writing 1: using your reading intelligently -- Essay writing 2: practicalities -- Writing a dissertation -- Logbooks and reflective portfolios -- A productive tension -- |
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Part 2. Core topics in Drama, Theatre and Performance -- 2.1. Developments and directions -- Dramas, Theatres and Performances as the objects of study -- 'How much practical work do you do?': making - and learning how to make - performance -- 2.2. Working practically 1: acting -- Introduction: 'what do you mean by practical?' -- Acting, not-acting and actor training -- Systems and methods -- Vitality (breath) -- Connectedness (body) -- Expression (voice) -- Imagination and emotion -- 2.3. Working practically 2: devising -- Communal endeavour -- Some starting points -- Rules and rapport -- Improvisation and devising -- Why? -- 2.4. Working practically 3: directing -- Directing and other specialist skills -- Better directions? -- Working with actors -- Technical processes -- Artistic choices -- Models and examples -- Conclusions? -- 2.5. Theatre histories -- Prehistories: roots, origins and essences -- Standard maps: theatre history and theatre historiography -- Western theatre's origins in the religious and civic ceremonies of Athens and Attic Greece in the fourth and fifth centuries BC -- The revival of theatre and drama in Europe during the middle ages -- In England, Puritan-led Parliamentarians closed all the theatres at the time of the English Civil War -- Historiography -- 2.6. Analysing texts -- The dramatic text -- Stage-centred criticism -- The theatrical text: analysing the performance -- 2.7. Questions of 'theory' -- The rise of critical theory -- Postmodernism -- Applying theories -- 2.8. Theatre and gender -- Sex and gender -- Feminisms -- Explicit bodies -- Two key concepts: gender as performance and the male gaze -- Spectators, presence and desire -- Tm not a feminist, but -- 2.9. Theatre and the world: globalization, interculturalism and postcolonialism -- Crossroads of cultures -- Intercultural theatre practice -- Globalization -- Postcolonial theatres -- 2.10. The uses of drama: applying performance -- Augusto Boal (1931-2009) -- Healing -- The use of theatre within the prison and probation service -- 2.11. Mediating performance: from the machine age to the digital age -- Mechanical reproductions -- Screens, robots and laboratories -- |
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Part 3. Key concepts -- Part 4. Landmarks: key practitioners, theorists and performances -- 4.1. The beginnings of the Western canon -- 4.2. Theatrical origins, dramatic categories and performance reception -- 4.3. Performance and performance theory in the Middle Ages -- 4.4. The spirit of Noh theatre -- 4.5. Dialogues between fantasy and reality -- 4.6. Eighteenth-century acting -- 4.7. Research and realism -- 4.8. Savage gods and stuffed crocodiles -- 4.9. Creative misreading -- 4.10. Building a system -- 4.11. The director as author -- 4.12. Theory and practice -- 4.13. 'A man who is astounded and contradicts' -- 4.14. Art into performance -- 4.15. Theatre as counter-culture -- 4.16. Dance as theatre, theatre as dance -- 4.17. The imperialized strike back -- 4.18. Personal and political -- 4.19. Gurpreet Kaur Bhatti, Bezhti (2004) -- 4.20. The wedding of Prince William and Kate Middleton and the opening ceremony of the London Olympics -- |
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Part 5. Frameworks for research: key writings on Drama, Theatre and Performance -- 5.1. Jerzy Grotowski, Towards a Poor Theatre (1969) -- 5.2. Peter Brook, The Empty Space (1968) -- 5.3. Cicely Berry, Voice and the Actor (1973) and The Actor and The Text (1991) -- 5.4. Anne Bogart (with Tina Landau), The Viewpoints Book (2005) -- 5.5. Keir Elam, The Semiotics of Theatre and Drama (1980) -- 5.6. Patrice Pavis, Theatre at the Crossroads of Culture (1992) -- 5.7. Tracy C. Davis, Actresses as Working Women (1991) -- 5.8. Susan Bennett: Theatre Audiences (1990) -- 5.9. Philip Auslander, Liveness (1999) -- 5.10. Hans-Thies Lehmann, Postdramatic Theatre (2006) -- 5.11. Bruce McConachie, Engaging Audiences (2008) -- Part 6. What next? -- 6.1. The creative industries: a few facts and figures, and a comic song -- 6.2. Graduate destinations, employers and transferable skills: making the most of your knowledge -- 6.3. Applying for a job: the CV -- 6.4. Further study -- 6.5. Conclusions -- Part 7. Resources for studying Drama, Theatre and Performance -- 7.1. Online learning -- 7.2. Libraries -- 7.3. Journals -- 7.4. And of course -- Bibliography -- Index. |
| Subject |
Theater -- Study and teaching (Higher)
|
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Drama
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