Format:
1 online resource (321 pages)
Edition:
2nd ed.
ISBN:
9780203863954
Note:
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 culture -- Author'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 dance -- Dilation -- 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 -- Santai, the actor's three bodies -- Tame -- Energy in space and energy in time -- Braking the action -- The performer's presence -- Equivalence -- The equivalence principle -- Dhanu: archery in Indian odissi dance
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How one shoots an arrow in japanese kyogen theatre -- Shooting 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 spectators -- The 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 -- Hands and classical dance -- Two examples from contemporary Western theatre -- Historiography -- Energetic language - Ferdinando Taviani -- Henry Irving under the microscope -- Living marble -- Underneath Harlequin's costume -- Stanislavsky's 'system - Franco Ruffini -- Stanislavsky's words -- The simplest human condition': the organic body-mind -- The mind makes demands: perezhivanie -- The body responds appropriately: personification -- Organic body-mind, character, rôle -- Conditions for meaning and the pre-expressive level
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Meyerhold: the grotesque -- that is, biomechanics - Eugenio Barba -- A plasticity that does not correspond to the words -- The grotesque -- Biomechanics -- Montage -- The performer's montage and the director's montage - Eugenio Barba -- The performer's montage -- The director's montage -- Further montage by the director -- Nostalgia -- Nostalgia or the passion for a return - Nicola Savarese -- Omission -- Fragmentation and reconstruction -- The virtue of necessity -- To perform absence -- The virtue of omission -- Opposition -- The dance of oppositions -- The beauty line -- Tribhangi, or the three arches -- The shadow test -- Organicity -- Organic effect - Eugenio Barba -- Organicity, presence, scenic bios -- That which is organic for the actor / that which is organic for the spectator -- Natural and organic - Mirella Schino -- Organic and natural -- Performance as an organic unity -- Always nature, but a different nature -- Working languages -- Presence -- Axé, shinmyong, taksu -- Matah, mi-juku, kacha -- At work with physical actions: the double articulation - Marco De Marinis -- The first articulation -- The second articulation -- General principles -- Pre-expressivity -- Totality and its levels of organisation -- Inculturation and acculturation technique -- Physiology and codification -- Codification in the east and the west -- The fictive body -- Martial arts and theatricality in the east -- Martial arts and theatricality in the west -- Body architecture -- The spectator's pre-interpretation -- Restoration of behaviour -- Restoration of behaviour - Richard Schechner -- Bharatanatyam -- Purulia chhau -- Trance and dance in Bali -- Rhythm -- Carved time -- Jo-ha-kyu -- Biological motions and the body's micro-rhythms -- Meyerhold: rhythm is essential -- Set and costume design -- The costume is the set -- Daily clothing, extra-daily costume
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The water sleeves -- Technique -- The notion of body techniques -- Biographical list of body techniques - Marcel Mauss -- 1. Techniques of birth and obstetrics -- 2. Techniques of infancy: rearing and feeding the child -- 3. Techniques of adolescence -- 4. Techniques of adult life -- Consumption techniques -- General considerations -- The spine: energy's helm -- The silent scream -- Pragmatic laws - Jerzy Grotowski -- Sats -- Logos and bios -- Text and stage -- The culture of the text and the culture of the stage - Franco Ruffini -- The sound of two hands clapping -- 'Poor' text and 'rich' stage -- Dramaturgy -- Rôle type and character -- Training -- From 'learning' to 'learning to learn' - Eugenio Barba -- The myth of technique -- A decisive phase -- Total presence -- The period of vulnerability -- Training interculturally - Richard Schechner -- Training and the point of departure - Nicola Savarese -- Preliminary considerations -- Exercise models -- Acrobatics -- Training with the master -- Views -- The view of the performer and the view of the spectator - Ferdinando Taviani -- Bibliography -- Previous editions of the dictionary -- Collective works -- General bibliography -- Acknowledgements -- ISTA, International School of Theatre Anthropology -- Invited artists -- Scientific staff and special guests -- Illustrations -- Photos -- Authors' Biographies -- Index
Additional Edition:
Print version Barba, Eugenio A Dictionary of Theatre Anthropology Oxford : Taylor & Francis Group,c2005 ISBN 9780415378611
Language:
English
Keywords:
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