Despite influential contemporary British playwright and director Howard Barker's active involvement in the design of set, costume, lighting and sound, no in-depth published study on this aspect of his work exists to date. This monograph therefore offers the first comprehensive and detailed analysis of Barkerâ s scenographic practice.
Despite influential contemporary British playwright and director Howard Barker's active involvement in the design of set, costume, lighting and sound, no in-depth published study on this aspect of his work exists to date. This monograph therefore offers the first comprehensive and detailed analysis of Barkerâ s scenographic practice.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
Produktdetails
Routledge Advances in Theatre & Performance Studies
Lara Maleen Kipp is an early career researcher, scenographer, and theatre practitioner. Her PhD at Aberystwyth University engaged in an aesthetic analysis of Howard Barker's scenography. Previously, she completed a Master's degree in Practising Theatre & Performance and a joint BA (Hons) in Scenography & Theatre Design and Drama & Theatre Studies. Her work experiences include Vivienne Westwood Studios, the Salzburg Opera Festival, and a lectureship at the University of Derby. She has published with Intellect, De Gruyter, Palgrave Macmillan, Sorbonne University, and Taylor & Francis. Her research interests include scenography, voice and performance, and contemporary European Theatre.
Inhaltsangabe
Table of Contents Acknowledgements Introduction: Two Decades of Scenographic Imagination Approaching Scenographic Analysis through Aesthetics From Wagner, Appia, and Craig to Wilson, Goebbels, and Barker Chapter 1: Space and Place 1.1. Landscape Plays 1.2. Chamber plays: 1.3. Conclusion: not nowhere, but... Chapter 2: Light and Darkness 2.1. Chiaroscuro and Side-Lighting 2.2. The Ganzfeld effect and the Limits of Perception Chapter 3: Costume and Styling 3.1. Material Matters 3.2. The Body (Un)Dressed 3.3. Grades of Likeness Chapter 4: Sound and Silence 4.1. (In)Human Voices and De-naturalised Sounds 4.2. Ubiquity and the End of Meaning Conclusion Appendix References Index
Table of Contents Acknowledgements Introduction: Two Decades of Scenographic Imagination Approaching Scenographic Analysis through Aesthetics From Wagner, Appia, and Craig to Wilson, Goebbels, and Barker Chapter 1: Space and Place 1.1. Landscape Plays 1.2. Chamber plays: 1.3. Conclusion: not nowhere, but... Chapter 2: Light and Darkness 2.1. Chiaroscuro and Side-Lighting 2.2. The Ganzfeld effect and the Limits of Perception Chapter 3: Costume and Styling 3.1. Material Matters 3.2. The Body (Un)Dressed 3.3. Grades of Likeness Chapter 4: Sound and Silence 4.1. (In)Human Voices and De-naturalised Sounds 4.2. Ubiquity and the End of Meaning Conclusion Appendix References Index
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