In performances by Euro-Americans, Afro-Americans, Native Americans, and Asians, Richard Schechner has examined carefully the details of performative behavior and has developed models of the performance process useful not only to persons in the arts but to anthropologists, play theorists, and others fascinated (but perhaps terrified) by the multichannel realities of the postmodern world. Schechner argues that in failing to see the structure of the whole theatrical process, anthropologists in particular have neglected close analogies between performance behavior and ritual. The way performances are created—in training, workshops, and rehearsals—is the key paradigm for social process.
In this second edition, the author opens with a discussion of important developments in the discipline. His closing chapter, 'Global and Intercultural Performance', is completely rewritten in light of the post-9/11 world. Fully revised chapters with new examples, biographies and source material provide a lively, easily accessible overview of the full range of performance for undergraduates at all levels in performance studies, theatre, performing arts and cultural studies. Among the topics discussed are the performing arts and popular entertainments, rituals, play and games as well as the performances of everyday life. Supporting examples and ideas are drawn from the social sciences, performing arts, post-structuralism, ritual theory, ethology, philosophy and aesthetics. User-friendly, with a special text design, Performance Studies: An Introduction also includes the following features: numerous extracts from primary sources giving alternative voices and viewpoints biographies of key thinkers student activities to stimulate fieldwork, classroom exercises and discussion key reading lists for each chapter twenty line drawings and 202 photographs drawn from private and public collections around the world.
Few have had quite as much impact in both the academy and in the world of theatre production as Richard Schechner. For more than four decades his work has challenged conventional definitions of theatre, ritual and performance. When this seminal collection first appeared, Schechner's approach was not only novel, it was revolutionary: drama is not just something that occurs on stage, but something that happens in everyday life, full of meaning, and on many different levels. Within these pages he examines the connections between Western and non-Western cultures, theatre and dance, anthropology, ritual, performance in everyday life, rites of passage, play, psychotherapy and shamanism.
There is an actual, living relationship between the spaces of the body and the spaces the body moves through; human living tissue does not abruptly stop at the skin, exercises with space are built on the assumption that human beings and space are both alive." Here are the exercises which began as radical departures from standard actor training etiquette and which stand now as classic means through which the performer discovers his or her true power of transformation. Available for the first time in fifteen years, the new expanded edition of Environmental Theater offers a new generation of theater artists the gospel according to Richard Schechner, the guru whose principles and influence have survived a quarter-century of reaction and debate.
A leading scholar of ascetical studies, Richard Valantasis explores a variety of ascetical traditions ranging from the Greco-Roman philosophy of Musonius Rufus, the asceticism found in the Nag Hammadi Library and in certain Gnostic texts, the Gospel of Thomas, and other early Christian texts. This collection gathers historical and theoretical essays that develop a theory of asceticism that informs the analysis of historical texts and opens the way for postmodern ascetical studies. Wide-ranging in historical scope and in developing theory, these essays address asceticism for scholar and student alike. The theory will be of particular interest to those interested in cultural theory and analysis, while the historical essays provide the researcher with easy access to a significant corpus of academic writing on asceticism.
The relationship between language and music has much in common - rhythm, structure, sound, metaphor. Exploring the phenomena of song and performance, this book presents a sociolinguistic model for analysing them. Based on ethnomusicologist John Blacking's contention that any song performed communally is a 'folk song' regardless of its generic origins, it argues that folk song to a far greater extent than other song genres displays 'communal' or 'inclusive' types of performance. The defining feature of folk song as a multi-modal instantiation of music and language is its participatory nature, making it ideal for sociolinguistic analysis. In this sense, a folk song is the product of specific types of developing social interaction whose major purpose is the construction of a temporally and locally based community. Through repeated instantiations, this can lead to disparate communities of practice, which, over time, develop sociocultural registers and a communal stance towards aspects of meaningful events in everyday lives that become typical of a discourse community.
Scholars examining literature from former French colonies sometimes view it wrongly as simply an outgrowth of colonial literature. By suggesting new ways to understand the multiple voices present, this book explores how Francophone African poetry and theatre in particular, since the 1960s, constitute both an organic cultural product and a reflection of the diverse African cultures in which they originate. Themes explored in five chapters include the many kinds of African identity formation, the resistance to former notions of literary composition as art, a remapping of social responsibility, and the impact of globalization on Francophone Africa's participation in world economics, politics and culture. This study highlights the inner workings of Francophone African literature and suggests a canonization of modern Francophone works from a world perspective.
During the 1960s and 1970s in New York City, young artists exploited an industrial wasteland to create spacious studios where they lived and worked, redefining the Manhattan area just south of Houston Street. Its use fueled not by city planning schemes but by word-of-mouth recommendations, the area soon grew to become a world-class center for artistic creation—indeed, the largest urban artists’ colony ever in America, let alone the world. Richard Kostelanetz’s Artists’ SoHo not only examines why the artists came and how they accomplished what they did but also delves into the lives and works of some of the most creative personalities who lived there during that period, including Nam June Paik, Robert Wilson, Meredith Monk, Richard Foreman, Hannah Wilke, George Macuinas, and Alan Suicide. Gallerists followed the artists in fashioning themselves, their homes, their buildings, and even their streets into transiently prominent exhibition and performance spaces. SoHo pioneer Richard Kostelanetz’s extensively researched intimate history is framed within a personal memoir that unearths myriad perspectives: social and cultural history, the changing rules for residency and ownership, the ethos of the community, the physical layouts of the lofts, the types of art produced, venues that opened and closed, the daily rhythm, and the gradual invasion of “new people.” Artists’ SoHo also explores how and why this fertile bohemia couldn’t last forever. As wealthier people paid higher prices, galleries left, younger artists settled elsewhere, and the neighborhood became a “SoHo Mall” of trendy stores and restaurants. Compelling and often humorous, Artists’ SoHo provides an analysis of a remarkable neighborhood that transformed the art and culture of New York City over the past five decades.
Embedded in modern print culture, biblical scholars have been projecting the assumptions and concepts of print culture onto the texts they interpret. In the ancient world from which those texts originate, however, literacy was confined to only a small number of educated scribes. And, as recent research has shown, even the literate scribes learned texts by repeated recitation, while the nonliterate ordinary people had little if any direct contact with written scrolls. The texts that had taken distinctive form, moreover, were embedded in a broader and deeper cultural repertoire cultivated orally in village communities as well as in scribal circles. Only recently have some scholars struggled to appreciate texts that later became "biblical" in their own historical context of oral communication. Exploration of texts in oral performance--whether as scribal teachers' instruction to their proteges or as prophetic speeches of Jesus of Nazareth or as the performance of a whole Gospel story in a community of Jesus-loyalists--requires interpreters to relinquish their print-cultural assumptions. Widening exploration of texts in oral performance in other fields offers exciting new possibilities for allowing those texts to come alive again in their community contexts as they resonated with the cultural tradition in which they were embedded.
(Applause Books). "An analysis of script interpretation for the theater. The text includes theories on performance as well as examples from the works of Shelley, Ibsen and Pinter. In his new preface, Hornby laments the modernization of classic plays which he believes subverts the original text." Library Journal
Presenting higher education teaching as a performative, creative, and improvisational activity, Teaching with Confidence in Higher Education explores how skills and techniques from the performing arts can be used to increase the confidence and enhance the performance of teachers. Guiding readers to reflect on their own teaching practices, this helpful and innovative book proposes practical techniques that will improve higher education teachers’ abilities to lead and facilitate engaging and interactive learning sessions. Encouraging the creation of inclusive learning experiences, the book offers insights into how performative techniques can help place the student centre stage. Drawing on a variety of performing arts contexts, including acting, singing, stand-up comedy, and dance, as well as interviews with academics and performers, the book helps readers to: Critically analyse their own practice, identifying areas for improvement Manage their anxiety and ‘stage fright’ when it comes to teaching Become more aware of both their voice and body, establishing professional techniques to improve physical and vocal performance Learn to improvise in order to prepare for the unprepared Understand the concepts of active learning and inclusivity within the classroom. Raising awareness of good practice as well as potential areas for development, Teaching with Confidence in Higher Education is ideal for anyone new to teaching in higher education or looking to improve student engagement through the performance aspects of their teaching.
One of the most important sculptors of this century, Richard Serra has been a spokesman on the nature and status of art in our day. Best known for site-specific works in steel, Serra has much to say about the relation of sculpture to place, whether urban, natural, or architectural, and about the nature of art itself, whether political, decorative, or personal. In interviews with writers including Douglas and Davis Sylvester, he discusses specific installations and offers insights into his approach to the problem each presents. Interviews by Peter Eisenman and Alan Colquhoun elicit Serra's thoughts on the relation of architecture to contemporary sculpture, a primary component in his own work. From essays like "Extended Notes from Sight Point Road" to Serra's extended commentary on the Tilted Arc fiasco, the pieces in this volume comprise a document of one artist's engagement with the practical, philosophical, and political problems of art.
An acclaimed sociologist's exploration of the connections among performances in life, art, and politics In The Performer, Richard Sennett explores the relations between performing in art (particularly music), politics, and everyday experience. It focuses on the bodily and physical dimensions of performing, rather than on words. Sennett is particularly attuned to the ways in which the rituals of ordinary life are performances. The book draws on history and sociology, and more personally on the author's early career as a professional cellist, as well as on his later work as a city planner and social thinker. It traces the evolution of performing spaces in the city; the emergence of actors, musicians, and dancers as independent artists; the inequality between performer and spectator; the uneasy relations between artistic creation and social and religious ritual; the uses and abuses of acting by politicians. The Janus-faced art of performing is both destructive and civilizing.
Why do American children sleep alone instead of with their parents? Why do middle-aged Western women yearn for their youth, while young wives in India look forward to being middle-aged? In these essays, the author reminds us that cultural differences in mental life lie at the heart of any understanding of the human condition. Drawing on ethnographic studies of the distinctive modes of psychological functioning in communities around the world, Richard Shweder explores ethnic and cultural differences in ideals of gender, in the life of the emotions, in conceptions of mature adulthood and the stages of life, and in moral judgments about right and wrong. The knowable world, Shweder observes, is incomplete if seen from any one point of view, incoherent if seen from all points of view at once, and empty if seen from nowhere in particular. This work strives for the "view from manywheres" in a culturally diverse yet interdependent world.
In Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director. Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
This account, analysis and critical evaluation of the work of Appia demonstrates how his far-sighted imagination also embraced the fundamental reform of scenic design, the use of theatrical space, and a greatly expanded conception of the nature and possibilities of theatrical art.
Adolphe Appia swept away the foundations of traditional theatre and set the agenda for the development of theatrical practice this century. In Adolphe Appia: Texts on Theatre, Richard Beacham brings together for the first time selections from all his major writings. The publication of these essays, many of which have long been unavailable in English, represents a significant addition to our understanding of the development of theatrical art. It will be an invaluable sourcebook for theatre students and welcomed as an important contribution to the literature of the modern stage.
The future of the free market depends on fair, honest business practices. Business Ethics: Contemporary Issues and Cases aims to deepen students’ knowledge of ethical principles, corporate social responsibility, and decision-making in all aspects of business. The text presents an innovative approach to ethical reasoning grounded in moral philosophy. Focusing on corporate purpose—creating economic value, complying with laws and regulations, and observing ethical standards—a decision-making framework is presented based upon Duties-Rights-Justice. Over 40 real-world case studies allow students to grapple with a wide range of moral issues related to personal integrity, corporate values, and global capitalism. Richard A. Spinello delves into the most pressing issues confronting businesses today including sexual harassment in the workplace, cybersecurity, privacy, and environmental justice. Give your students the SAGE edge! SAGE edge offers a robust online environment featuring an impressive array of free tools and resources for review, study, and further exploration, keeping both instructors and students.
This is the first book on British theatre historiography. It traces the practice of theatre history from its origins in the Restoration to its emergence as an academic discipline in the early twentieth century. In this compelling revisionist study, Richard Schoch reclaims the deep history of British theatre history, valorizing the usually overlooked scholarship undertaken by antiquarians, booksellers, bibliographers, journalists and theatrical insiders, none of whom considered themselves to be professional historians. Drawing together deep archival research, close readings of historical texts from the seventeenth, eighteenth and nineteenth centuries, and an awareness of contemporary debates about disciplinary practice, Schoch overturns received interpretations of British theatre historiography and shows that the practice - and the diverse practitioners - of theatre history were far more complicated and far more sophisticated than we had realised. His book is a landmark contribution to how theatre historians today can understand their own history.
Born in 1915 to barely literate Jewish immigrants in the Brownsville section of Brooklyn, Alfred Kazin rose from near poverty to become a dominant figure in twentieth-century literary criticism and one of Americas last great men of letters. Biographer Ri
The subject of this book is theatre directing in four internationally famous instances. The four directors—Konstantin Stanislavsky, Bertolt Brecht, Elia Kazan, and Peter Brook—all were monarchs of the profession in their time. Without their work, theatre in the twentieth century—so often called "the century of the director" —would have a radically different shape and meaning. The four men are also among the dozen or so modern directors whose theatrical achievements have become culture phenomena. In histories, theories, hagiographies, and polemics, these directors are conferred classic stature, as are the four plays on which they worked. Chekhov's The Seagull, Brecht's Mother Courage and Her Children, and Williams's A Streetcar Named Desire have long been recognized, in the theatre and in the study, as masterpieces. They are anthologized, quoted, taught, parodied, read, and produced constantly and globally. The culturally conservative might question the presence of MaratiSade in such august company, but Peter Weiss's play stands every chance of figuring in Western repertories, classroom study, and theatrical histories until well into the twenty-first century. In their quite different ways, these are all classics of that Western drama which is part of our immediate heritage.
Placing the Manchester School at the vanguard of modern social anthropology, this book reveals the cosmopolitan distinctiveness of the intimate circle around Max Gluckman. Such distinctiveness, Richard Werbner argues, was driven by creative difference, travelling theories and innovative, interdisciplinary approaches. The expansion of social anthropology as a dynamic, open discipline became the hallmark of the Manchester School. The remarkable careers and legacies of the Manchester School anthropologists are shown for the first time through inter-linked social biography and intellectual history, to reach broadly across politics, law, ritual, development studies, comparative urbanism, social network analysis and mathematical sociology. Werbner reveals that members of the circle engaged in deep dialogue, enduring friendships, and creative collaboration. The re-discovery of the complexity of their engagement and their lasting impact illuminates the exploration of the frontiers between ethnography, the sociology of knowledge, and the anthropology of colonial to postcolonial change.
Reading the Material Theatre develops and demonstrates a method of theatrical performance analysis that takes into account the entire theatre experience, from production to reception. Beginning with semiotic and cultural materialist theory, Knowles quickly moves into detailed politicized analysis of the ways in which specific aspects of theatrical production, and specific contexts of reception, shape the audience's understanding of what they experience in the theatre. It concludes with five case studies of the cultural work performed by a major Shakespearean repertory theatre, a small nationalist theatre devoted to new play development, a major New York-based avant-garde touring theatre company, a British socialist company dedicated to the work of Shakespeare, and a range of international festivals. This accessible 2004 volume provides a first-step introduction to key terms and areas of performance theory, including reception history, performance analysis, and production analysis.
Music as a Chariot offers a multidisciplinary perspective whose primary proposition is that theatre is a type of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. Beginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. The book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this concept—namely the fundamental techniques artists use to create sound scores for theatre. With contributions from directors, playwrights, actors and designers, Music as a Chariot explores the use of music to carry ideas into the human soul—a concept that extends beyond the theatrical to include film, video gaming, dance, or anywhere art is manipulated in time.
This is the first book-length exploration of the ways art from the edges of the Roman Empire represented the future, examining visual representations of time and the role of artwork in Roman imperial systems. This book focuses on four kingdoms from across the empire: Cottius’s Alpine kingdom in the north, King Juba II’s Mauretania in the south-west, Herodian Judea in the east, and Kommagene to the north-east. Art from the imperial frontier is rarely considered through the lens of the aesthetics of time, and Roman provincial art and the monuments of allied rulers are typically interpreted as evidence of the interaction between Roman and local identities. In this interdisciplinary study, which explores statues, wall paintings, coins, monuments, and inscriptions, readers learn that these artworks served as something more: they were created to represent the futures that allied rulers and their people foresaw. The pressure of Roman imperialism drove patrons and artists on the empire’s borders to imbue their creations with increasingly sophisticated ideas about the future, as they wrestled with consequential decisions made under periods of intense political pressure. Comprehensively illustrated and providing an important new approach to Roman material culture at the edge of empire, Visions of the Future in Roman Frontier Kingdoms 100 BCE–100 CE is suitable for students and scholars working on Rome and its frontiers, as well as Roman material culture more broadly, and those studying the aesthetics of time in art and art history.
The Fourth Industrial Revolution signals a sea change in the way we lead our organisations. Moving away from relational leadership and horizontal, organisationally-led development, it is imperative that business leaders are able to adapt to more networked organisations and shift away from dated assumptions of positional power. Constructing Leadership 4.0 breaks new ground by explaining the urgent challenges facing managers and business leaders. It will teach you how to: Approach leadership development as a system rather than a programme Develop an organisational ecosystem to support leadership 4.0 Build collaborative networks Cultivate a responsive mindset through sensemaking Use non-classroom based learning methodologies for educating leaders Rooted in leadership development methodology and underpinned by cutting-edge research, this book calls for businesses to cultivate responsive leaders through a theory of connectivism and swarm intelligence that reflects the coming cybernetic revolution.
Spirituality is always developed and nurtured in community, and communities have particular spiritualities. Dazzling Bodies promotes practices and performances as the basis for individual and community spiritual formation by analyzing specific experiences and real-life situations in personal and corporate life. Three bodies are delineated as the basis for spiritual formation: the physical body, the social body, and the corporate body. Drawing on theories of communication (semiotics, social semiotics, and narrative theory), the book examines personal and corporate spiritual formation, both by plotting the ways community systems create solidarity, and by analyzing community systems for the modulation of power at work. Dazzling Bodies explores the development of a specific language system for each community, taking the sermon as the primary instrument of community formation. Liturgy and worship receive special attention. A theory of asceticism, based on specific performances, founded in renewed social relationships, and forming an alternative symbolic universe, provides parameters for individual and corporate spiritual formation.
Drama, as defined by Courtney, encompasses all kinds of dramatic action, from children's play to social roles and theatre. He shows not only that teachers have found educational drama and spontaneous improvisation to be an invaluable learning tool but that many skills required for work and leisure reflect the theatrical ability to "read" others and see things from their point of view. The main thrust of Drama and Intelligence is that drama can enhance and develop various aspects of intelligence. Courtney suggests that the "costumed player" must bring into play many levels of intelligence in the rehearsal and execution of dramatic acts and that such acts offer unsurpassed opportunities to practice and develop these cognitive skills. He uses the term intelligence to refer to the potential for specific types of mental activity and employs a theoretic-analytic method to view cognition and intelligence in a post-structuralist and semiotic mode. Courtney examines such issues as the relation of the actual to the fictional; the dramatic creation of meaning; signs, symbols, and practical hypotheses; and experi-mental logic, intuition, and tacit modes of operation. Drama and Intelligence will interest not only scholars and students of developmental drama, but also those in the fields of dramatic and performance theory, educational drama, and drama therapy.
An examination of the social setting and function of ancient Greek theatre through the thousand years of its performance history, drawing evidence from a wide range of archaeological material.
This engrossing book presents the first collection in more than three decades of one of America’s finest drama critics. Richard Gilman chronicles a major period in American theater history, one that witnessed the birth or spread of Off-Broadway, regional theater, nonprofit companies, and avant-garde performance, as well as growing interest in plays by women and minorities and in world drama. His writing, however, is more than a revealing look at an era. It is criticism for the ages. Insightful, provocative, and impassioned, the articles represent the full range of Gilman’s interests. There are essays, profiles, and book reviews dealing with such topics as the “new naturalism” in theater, Brecht’s collected plays, and the legacy of Stanislavski. There is also a generous sampling of Gilman’s comments on plays by O’Neill, Miller, Chekhov, Albee, Ibsen, Anouilh, Beckett, Ionesco, Pinter, Fugard, and many others.
Religion, Theology and the Human Sciences explores the religious consequences of the so-called 'end of history' and 'triumph of capitalism' as they have impinged upon key institutions of social reproduction in recent times. The book explores the imposition of managerial modernity upon successive sectors of society and shows why many people today feel themselves to be oppressed by systems of management that seem to leave them no option but to conform. Richard Roberts seeks to challenge and outflank such seamless, oppressive modernity, through reconfiguration of the religious and spiritual field.
Computer Vision: Algorithms and Applications explores the variety of techniques used to analyze and interpret images. It also describes challenging real-world applications where vision is being successfully used, both in specialized applications such as image search and autonomous navigation, as well as for fun, consumer-level tasks that students can apply to their own personal photos and videos. More than just a source of “recipes,” this exceptionally authoritative and comprehensive textbook/reference takes a scientific approach to the formulation of computer vision problems. These problems are then analyzed using the latest classical and deep learning models and solved using rigorous engineering principles. Topics and features: Structured to support active curricula and project-oriented courses, with tips in the Introduction for using the book in a variety of customized courses Incorporates totally new material on deep learning and applications such as mobile computational photography, autonomous navigation, and augmented reality Presents exercises at the end of each chapter with a heavy emphasis on testing algorithms and containing numerous suggestions for small mid-term projects Includes 1,500 new citations and 200 new figures that cover the tremendous developments from the last decade Provides additional material and more detailed mathematical topics in the Appendices, which cover linear algebra, numerical techniques, estimation theory, datasets, and software Suitable for an upper-level undergraduate or graduate-level course in computer science or engineering, this textbook focuses on basic techniques that work under real-world conditions and encourages students to push their creative boundaries. Its design and exposition also make it eminently suitable as a unique reference to the fundamental techniques and current research literature in computer vision.
In her cell in Rangoon's Insein prison, Nobel Peace Prize winner Aung San Suu Kyi – incarcerated by Burma's military dictatorship for almost 20 years – tells her story. Richard Shannon's powerful and moving one-woman play vividly portrays the life and message of the world's most famous prisoner of conscience. Aung San Suu Kyi was held under house arrest from 1989-1995, and again from 2000-2002. She was again arrested in May 2003 after the Depayin massacre. At the time of writing she was still being held under house arrest in Rangoon. Aung San Suu Kyi's message is a simple one – that only by “fighting fear can you truly be free” – a message Burma's military fears and aims to silence. The Lady of Burma is a Red Fighting Peacock Production presented by the Burma Campaign UK and Louise Chantal. The Burma Campaign UK is part of a global movement to promote democracy and human rights in Burma.
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