Focusing on the cultural history of modern movement training for actors, Evans traces the development of the `neutral¿ body as a significant area of practice within drama school training and the relationship between movement pedagogy and the operation of discipline and power in shaping the professional identity of the actor.
Focusing on the cultural history of modern movement training for actors, Evans traces the development of the `neutral¿ body as a significant area of practice within drama school training and the relationship between movement pedagogy and the operation of discipline and power in shaping the professional identity of the actor.
Mark Evans is Associate Dean of the Coventry School of Art and Design at Coventry University. He recently published Jacques Copeau (Routledge Performance Practitioners series, 2006).
Inhaltsangabe
Acknowledgments Introduction: Movement Training for Actors Chapter One: Educating Efficient Labor for the Acting Profession Chapter Two: The 'Neutral' Body, the 'Natural' Body and Movement Training for Actors Chapter Three: Movement Training for Actors and the Docile Body Chapter Four: Movement Training and the Unruly Body Conclusion: Overview and Projections Bibliography Index
Acknowledgments Introduction: Movement Training for Actors Chapter One: Educating Efficient Labor for the Acting Profession Chapter Two: The 'Neutral' Body, the 'Natural' Body and Movement Training for Actors Chapter Three: Movement Training for Actors and the Docile Body Chapter Four: Movement Training and the Unruly Body Conclusion: Overview and Projections Bibliography Index
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