In (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a â questionâ to be explored in the studio, and then reflected upon. This book is a vital response to Jerzy Grotowskiâ s essential question: "How does the actor â touch that which is untouchable?â "
In (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a â questionâ to be explored in the studio, and then reflected upon. This book is a vital response to Jerzy Grotowskiâ s essential question: "How does the actor â touch that which is untouchable?â "Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Phillip Zarrilli is Artistic Director of The Llanarth Group and Emeritus Professor of Performance Practice at Exeter University, UK. He directs, performs, and teaches internationally, with recent professional productions in the UK, Singapore, Costa Rica, Ireland, and Norway. Zarrilli is widely known for his publications on acting including Psychophysical Acting: An Intercultural Approach After Stanislavski (2009, 2010 Outstanding Book of the Year, ATHE); Intercultural Acting and Performer Training, co-editor; Acting (Re)Considered: Theories and Practices, editor; and Acting: Interdisciplinary and Intercultural Perspectives, co-author.
Inhaltsangabe
List of Figures Foreword by Evan Thompson Acknowledgements Introduction: Acting as a process of phenomenological enquiry in the studio 1. First person accounts of embodied practice: sensing as "living communication" 2. The actor's 'lived/living' bodymind 3. Attention and perception in action 4. Subjectivity, self, and character/figure in performance 5. The voicing body and sonorous speech 6. Imagining 7. Toward an intersubjective ethics of acting Afterword Appendix References Index
List of Figures Foreword by Evan Thompson Acknowledgements Introduction: Acting as a process of phenomenological enquiry in the studio 1. First person accounts of embodied practice: sensing as "living communication" 2. The actor's 'lived/living' bodymind 3. Attention and perception in action 4. Subjectivity, self, and character/figure in performance 5. The voicing body and sonorous speech 6. Imagining 7. Toward an intersubjective ethics of acting Afterword Appendix References Index
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