The term 'theatre laboratory' has entered the regular lexicon of theatre artists, producers, scholars and critics alike. Bryan Brown offers two archetypes of group organisation that can be applied across the arts and sciences, and reveals a complex history of the laboratory's characteristics and functions that support the term's use in theatre.
The term 'theatre laboratory' has entered the regular lexicon of theatre artists, producers, scholars and critics alike. Bryan Brown offers two archetypes of group organisation that can be applied across the arts and sciences, and reveals a complex history of the laboratory's characteristics and functions that support the term's use in theatre.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Bryan Brown is an artist-scholar, currently a Lecturer at the University of Exeter and co-director of visual theatre company ARTEL (American Russian Theatre Ensemble Laboratory). Recent writing includes "Educating the Director", a co-authored, extended chapter on Meyerhold for The Great European Stage Directors Vol. 2.
Inhaltsangabe
List of Figures Transliteration & Translation Acknowledgements Abbreviations Glossary Introduction 1 An Organisational History 2 What's in a Name 3 Why Russia 4 Retracing the Name The Prototype 5 The Skete The Studio 6 From Study to Studio 7 The Studio in Visual Art: Cobra, a Collective Vitality 8 The Studio in Science: the Copenhagen Spirit 9 The Studio in Russian Theatre: 10 Creating a Commune: the First Studio's Theatre-Obshchina 11 Oases of Curiosity: the Holidays of Slava Polunin 12 A New Camaraderie in Faith: the Theatre Art Studio 13 For the Sake of What: the Studio as Laboratory of Communion The Masterskaya 14 From Workshop to Masterskaya 15 The Masterskaya in Visual Art: Rembrandt, the Master as Auteur 16 The Masterskaya in Science: Thomas Edison and the Contradictory Positions of his Invention Factory 17 The Masterskaya in Russian Theatre: 18 The Visionary Authority of Vsevolod Meyerhold 19 I Need Them to Fear Me: Anatoli Vassiliev and the School of Dramatic Art 20 The Ecstasy of Togetherness: the Laboratory of Dmitry Krymov 21 For the Sake of What? The Masterskaya as Laboratory of Authority Conclusion 22 The Value of a Theatre Laboratory
List of Figures Transliteration & Translation Acknowledgements Abbreviations Glossary Introduction 1 An Organisational History 2 What's in a Name 3 Why Russia 4 Retracing the Name The Prototype 5 The Skete The Studio 6 From Study to Studio 7 The Studio in Visual Art: Cobra, a Collective Vitality 8 The Studio in Science: the Copenhagen Spirit 9 The Studio in Russian Theatre: 10 Creating a Commune: the First Studio's Theatre-Obshchina 11 Oases of Curiosity: the Holidays of Slava Polunin 12 A New Camaraderie in Faith: the Theatre Art Studio 13 For the Sake of What: the Studio as Laboratory of Communion The Masterskaya 14 From Workshop to Masterskaya 15 The Masterskaya in Visual Art: Rembrandt, the Master as Auteur 16 The Masterskaya in Science: Thomas Edison and the Contradictory Positions of his Invention Factory 17 The Masterskaya in Russian Theatre: 18 The Visionary Authority of Vsevolod Meyerhold 19 I Need Them to Fear Me: Anatoli Vassiliev and the School of Dramatic Art 20 The Ecstasy of Togetherness: the Laboratory of Dmitry Krymov 21 For the Sake of What? The Masterskaya as Laboratory of Authority Conclusion 22 The Value of a Theatre Laboratory
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