Based on the author’s decades of teaching, pedagogical and theatrical research, and his professional experience as actor and director, Making a Scene: Creating a Scene Study Class for Actors offers a pedagogical approach to rehearsal scenes as a primary tool for diagnosis and actor improvement. This volume carefully lays out the case for thinking deeply and critically about the nature of every facet of an acting class: the environment of the classroom, the choice of material for performing, diagnostic tools for responding to scene sessions, and means for engaging all students. This study includes suggestions for a teacher’s philosophy towards the work; a justification for implementing games, improvisations, and etudes; suggestions for resources for exercises both basic and complex; and a brief discussion on approaches to period styles material and connecting it to contemporary student life and issues. Addressed to both the beginning theatre teacher and the seasoned educator, this will be an essential book for anyone seeking to update their work with performers in private studios, high school settings, or in higher education.
This book makes the case for Bertolt Brecht’s continued importance at a time when events of the 21st century cry out for a studied means of producing theatre for social change. Here is a unique step-by-step process for realizing Brecht’s ways of working onstage using the 2015 Texas Tech University production of Brecht’s Mother Courage and Her Children as a model for exploration. Particular Brecht concepts—the epic, Verfremdung, the Fabel, gestus, historicization, literarization, the “Not...but,” Arrangement, and the Separation of the Elements—are explained and applied to scenes and plays. Brecht’s complicated relationship with Konstantin Stanislavsky is also explored in relation to their separate views on acting. For theatrical practitioners and educators, this volume is a record of pedagogical engagement, an empirical study of Brecht’s work in performance at a higher institution of learning using graduate and undergraduate students.
Based on the author’s decades of teaching, pedagogical and theatrical research, and his professional experience as actor and director, Making a Scene: Creating a Scene Study Class for Actors offers a pedagogical approach to rehearsal scenes as a primary tool for diagnosis and actor improvement. This volume carefully lays out the case for thinking deeply and critically about the nature of every facet of an acting class: the environment of the classroom, the choice of material for performing, diagnostic tools for responding to scene sessions, and means for engaging all students. This study includes suggestions for a teacher’s philosophy towards the work; a justification for implementing games, improvisations, and etudes; suggestions for resources for exercises both basic and complex; and a brief discussion on approaches to period styles material and connecting it to contemporary student life and issues. Addressed to both the beginning theatre teacher and the seasoned educator, this will be an essential book for anyone seeking to update their work with performers in private studios, high school settings, or in higher education.
The Polish-Lithuanian Commonwealth (1569–1795) was once the largest country in Europe—a multicultural republic that was home to Belarusians, Germans, Jews, Lithuanians, Poles, Ruthenians, Tatars, Ukrainians, and other ethnic and religious groups. Although long since dissolved, the Commonwealth remains a rich resource for mythmakingin its descendent modern-day states, but also a source of contention between those with different understandings of its history.Multicultural Commonwealth brings together the expertise of world-renowned scholars in a range of disciplines to present perspectives on both the Commonwealth’s historical diversity and the memory of this diversity. With cutting-edge research on the intermeshed histories and memories of different ethnic and religious groups of the Commonwealth, this volume asks how various contemporary conceptions of multiculturalism can be applied to the region through a critical lens that also seeks to understand the past on its own terms.
Until now, the poet Peter Orlovsky, who was Allen Ginsberg's lover for more than forty years, has been the neglected member of the Beat Generation. Because he lived in Ginsberg's shadow, his achievements were seldom noted and his contributions to literature have not been fully recognised. Now, this first collection of Orlovsky's writings traces his fascinating life in his own words. It also tells, for the first time, the intimate story of his relationship with Ginsberg. Drawn from previously unpublished journals, correspondence, photographs and poems, Peter Orlovsky, a Life in Words, begins as Orlovsky is discharged from the Army; follows the young man through years of self-doubt and details his first meeting with Ginsberg in San Francisco from his own perspective. In never-before-heard detail, Orlovsky describes his travels around the world with Ginsberg, Kerouac, Burroughs and Corso. The book also delves into the contradictions that ultimately defined him: best known as Ginsberg's lover, Orlovsky was heterosexual and always longed to be with women; his spirit was prescient of the flower children of the sixties - especially his inclinations toward devotion and love - but in the end his use of drugs took its toll on his body and mind, silencing one of the most original and inspiring voices of his generation.
Bill Berkson was a poet, art critic, and joyful participant in the best of postwar and bohemian American culture. Since When gathers the ephemera of a life well-lived, a collage of bold-face names, parties, exhibitions, and literary history from a man who could write "of [Truman Capote's Black and White] ball, which I attended as my mother’s escort, I have little recollection" and reminisce about imagining himself as a character from Tolstoy while tripping on acid at Woodstock. Gentle, witty, and eternally generous, this is Bill, and a particular moment in American history, at its best.
The concept of the 'person' is a crucial yet elusive component in the development of Western thought. Few concepts are as replete with definitional difficulty. Equally important is the application of a proper definition to all major Christian doctrinal commonplaces. This work, recognizing the insufficiency of modern theology to offer a cogent concept of 'person', proposes a thorough historical and theological evaluation of Trinitarian personhood presented in three critical paradigm-shifts by which one can measure the development of the idea of true personhood presented. The three watershed eras of discernment of divine personhood presented are seen here as first, the Cappadocian position of the mutual indwelling (perichoresis) of the divine persons is contrasted with Augustine's view of the place of relations in defining divine persons. Second, the ideas of Richard of St. Victor whose caritas consummata and its relational implications met the nemesis of the Thomistic category of 'subsistent relations'. And last, as an example of this important discussion in modernity, the German, Heribert Mÿhlen's dynamic phenomenological approach to Triune personhood is offered as a means of countering the implicit modalisms of Barth and Rahner. If the personhood of God is in essence Being-in-Another then Christianity must apply that ontology to all sectors of reality to be fully Christian.
In the first biography of Ginsberg since his death in 1997 and the only one to cover the entire span of his life, Ginsberg's archivist Bill Morgan draws on his deep knowledge of Ginsberg's largely unpublished private journals to give readers an unparalleled and finely detailed portrait of one of America's most famous poets. Morgan sheds new light on some of the pivotal aspects of Ginsberg's life, including the poet's associations with other members of the Beat Generation, his complex relationship with his lifelong partner, Peter Orlovsky, his involvement with Tibetan Buddhism, and above all his genius for living.
This book provides readers with a practical examination of the work of theorist, playwright, director, and poet, Bertolt Brecht. It offers fresh approaches to theatre professionals seeking new tools for analysis, staging methods, means of collaborating with production teams and ways of politically engaging with society. Engaging with Brecht: Making Theatre in the 21st Century is an essential volume for instructors, scholars and theatre artists, containing lucid explanations and modern examples of Brecht's concepts. Featuring a wide variety of hands-on exercises, it illuminates Brecht's methods for the classroom and the rehearsal hall, equipping readers with tried and tested approaches to theatrical creation. Brecht's wide-ranging interests are reflected in the model for an interdisciplinary course of study that encompasses theatre history, playwriting, dramaturgy, design, acting, and directing. Rather than serving as a prescriptive manual, Engaging with Brecht allows the teacher, student, and theatre practitioner to experiment with the various methods provided in order to realize their own aims in instruction and production, revealing the continued importance and relevance of Brecht's work in today's world. The book offers new examples of and uses for such important Brechtian concepts as Verfremdung, Haltung, Arrangement, Gestus, Historicization, and Figure and applies them to work in the classroom and on stage in order to rethink our analysis and presentation of both classic and new plays.
This is the ultimate guide to Jack Kerouac's New York, packed with photos from the '50s and '60s, and filled with information and anecdotes about the people and places that made history.
A sequel to the award-winning The Black Composer Speaks (Scarecrow Press, 1978), this exploration of the creative world of African American composers traces the lives and careers of 40 talented individuals and, in their own words, provides perspectives on a world that has been slow to recognize their remarkable contributions to classical music. The discussion places the music of these composers within the greater context of Western art music, but analyzes it through the lenses of sociology, Western concepts of art and taste, and vernacular musical forms, including spirituals, blues, jazz, and contemporary popular music. Each chapter is devoted to an individual composer, who discusses his or her musical training, compositional techniques and style, and the composer's personal philosophy as reflected in his or her music. A selected list of compositions for each composer is included, as well as a photo and sample of the composer's "hand." Banfield offers unprecedented insight into the history and influence of the African American composer with this documentary, which will appeal to everyone from the music scholar to the general reader.
This book makes the case for Bertolt Brecht’s continued importance at a time when events of the 21st century cry out for a studied means of producing theatre for social change. Here is a unique step-by-step process for realizing Brecht’s ways of working onstage using the 2015 Texas Tech University production of Brecht’s Mother Courage and Her Children as a model for exploration. Particular Brecht concepts—the epic, Verfremdung, the Fabel, gestus, historicization, literarization, the “Not...but,” Arrangement, and the Separation of the Elements—are explained and applied to scenes and plays. Brecht’s complicated relationship with Konstantin Stanislavsky is also explored in relation to their separate views on acting. For theatrical practitioners and educators, this volume is a record of pedagogical engagement, an empirical study of Brecht’s work in performance at a higher institution of learning using graduate and undergraduate students.
For the first time, the best of McKibben's essays--fiery, magical, and infused with his uniquely soulful investigations of modern life--are collected in a single volume.
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