This book addresses the impact of ethnography and communication on the cutting edge of performance studies. Ranging from digital performance, improvisation and the body, to fieldwork and collaboration, this volume is divided into two main sections, Embodied Technique and Practice, and Oral History and Personal Narrative Performance.
This book addresses the impact of ethnography and communication on the cutting edge of performance studies. Ranging from digital performance, improvisation and the body, to fieldwork and collaboration, this volume is divided into two main sections, Embodied Technique and Practice, and Oral History and Personal Narrative Performance.
D. Soyini Madison is Professor of Performance Studies at Northwestern University, USA.
Inhaltsangabe
List of figures AcknowledgmentsPrologue Introduction PART 1 Embodied technique and practice Chapter 1 Embodied technique and practice * Technique * Practice * Interview with Ben Spatz * Examples of technique and practice * Case study one: Digital Portobelo with Renee Alexander Craft Chapter 2 Improvisation 1. The inherited body we bring to performance practice 2. Key concepts in improvisational acting and performance 3. Examples Chapter 3 Devised theatre * Ethnographic data and process * Suggested stages for devised performance * In summary * Interview with Honey Pot Performance * Case study two: the digital in dialogic performance across two continents Chapter 4 Movement and scenes of body work 4. Warm-up improvisations for neutral mask 5. Efforts and factors from Laban/Bartenieff 6. Improvisation exercises for efforts and factors 7. Improvisational exercises for BESS 8. The 5Rhythms from Gabrielle Roth 9. Augusto Boal and Newspaper Theatre PART 2 Oral history and personal narrative performance Chapter 5 The value of oral history and life story 10. Who owns the story? 11. Interview with E. Patrick Johnson 12. Oral history as permission, public pedagogy, and provocation 13. On truth Chapter 6 The narrative/narrated event and the anatomy of emotion * The narrative event * The narrated event * Case study three: holograms in a live staging of history: Triangle Shirtwaist Factory fire Chapter 7 Anatomy of emotion: the brain, performance, and oral history * Proprioception * Mirror neurons and simulation theory Chapter 8 Performing oral history and life stories 14. Solo performance 15. Exercises Chapter 9 Viewpoints in rehearsal 16. Examples 17. Selected viewpoints for oral history and performance 18. Case study four: the storyteller's magnified embodiments in real-time telling Chapter 10 Jerzy Grotowski's plastiques and Viola Spolin's speech and sound * The brain of the body and the body of the brain * Interview with Stephen Wangh * Examples Epilogue: the intermix of performance, ethnography, and communication Appendix: illustration of creativity and the brain Bibliography Index
List of figures AcknowledgmentsPrologue Introduction PART 1 Embodied technique and practice Chapter 1 Embodied technique and practice * Technique * Practice * Interview with Ben Spatz * Examples of technique and practice * Case study one: Digital Portobelo with Renee Alexander Craft Chapter 2 Improvisation 1. The inherited body we bring to performance practice 2. Key concepts in improvisational acting and performance 3. Examples Chapter 3 Devised theatre * Ethnographic data and process * Suggested stages for devised performance * In summary * Interview with Honey Pot Performance * Case study two: the digital in dialogic performance across two continents Chapter 4 Movement and scenes of body work 4. Warm-up improvisations for neutral mask 5. Efforts and factors from Laban/Bartenieff 6. Improvisation exercises for efforts and factors 7. Improvisational exercises for BESS 8. The 5Rhythms from Gabrielle Roth 9. Augusto Boal and Newspaper Theatre PART 2 Oral history and personal narrative performance Chapter 5 The value of oral history and life story 10. Who owns the story? 11. Interview with E. Patrick Johnson 12. Oral history as permission, public pedagogy, and provocation 13. On truth Chapter 6 The narrative/narrated event and the anatomy of emotion * The narrative event * The narrated event * Case study three: holograms in a live staging of history: Triangle Shirtwaist Factory fire Chapter 7 Anatomy of emotion: the brain, performance, and oral history * Proprioception * Mirror neurons and simulation theory Chapter 8 Performing oral history and life stories 14. Solo performance 15. Exercises Chapter 9 Viewpoints in rehearsal 16. Examples 17. Selected viewpoints for oral history and performance 18. Case study four: the storyteller's magnified embodiments in real-time telling Chapter 10 Jerzy Grotowski's plastiques and Viola Spolin's speech and sound * The brain of the body and the body of the brain * Interview with Stephen Wangh * Examples Epilogue: the intermix of performance, ethnography, and communication Appendix: illustration of creativity and the brain Bibliography Index
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