Chapter Six Directing
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Desmontando Shakespeare Dos
INDICE SINOPSIS MEMORIA DISEÑO DE VESTUARIO FICHA ARTISTICA EL DIRECTOR MR.KUBIK PRODUCCIONES CONTACTO SINOPSIS Los cuatro actores de La Compañía han decidido continuar sus estudios de interpretación en una prestigiosa academia en Viena, la aclamada Academia Mmmáscara (máscara con tres emes). Una vez presentado su trabajo fin del primer curso - una inesperada versión de Otelo, el moro de Venecia, de William Shakespeare-, son inmediatamente expulsados de la Academia; por no cejar en su vocación rinden un nuevo homenaje al Bardo Inmortal con un realmente particular visión de Romeo y Julieta, esta vez en la calle ya que no tienen el respaldo de la academia. Pero los eruditos deciden darles una nueva oportunidad y ellos se atreven con Hamlet, príncipe de Dinamarca... y ahora son finalmente deportados. MEMORIA Los cuatro actores se las arreglan para interpretar todos los personajes de las abreviadas adaptaciones de Otelo, Romeo y Julieta y Hamlet, de William Shakespeare. Lo que no es poco. Más bien es muchísimo:. porque a cada uno le toca encarnar en escenas sucesivas y a veces sin solución de continuidad, papeles masculinos y femeninos como en el antiguo teatro isabelino; porque la propuesta exige un dinamismo interpretativo, pues el humor se cuela constantemente por los pliegues más imprevisibles de las secuencias trágicas o dramáticas; porque el dinamismo alcanza también el despliegue físico que incluye saltos, caídas, desplazamientos acrobáticos o escenas de esgrima, todo resuelto con un inobjetable rigor técnico; porque el tratamiento escénico saca el mejor partido de un espacio aparentemente desangelado y que termina pareciendo ideal; y porque los actores muestran a lo largo del espectáculo que la irreverencia se justifica plenamente en la seriedad técnica y conceptual con que se aborda esta aireada y desmitificadora puesta de tres monumentos shakesperianos. -
Descargar Dossier
CLÁSICOS EN ALCALÁ 12 de junio – 6 de julio 2014 TEATRO Teatro de la Abadía Entremeses Dirección: José Luis Gómez 12 y 13 de junio, 21:00 Teatro Salón Cervantes Primas de Riesgo El mágico prodigioso Dirección: Karina Garantivá 13 y 14 de junio, 20:00 Corral de Comedias Estreno absoluto Ron Lalá en coproducción con la Compañía Nacional de Teatro Clásico (CNTC – INAEM) En un lugar del Quijote (versión libre de la novela de Miguel de Cervantes) Dirección: Yayo Cáceres 14 y 15 de junio, 21:00 Teatro Salón Cervantes Jotacción y Teatro del Temple Arte de las Putas, una historia de amor Dirección: Carlos Martín 14 y 15 de junio, 22:30 Colegio del Rey, Instituto Cervantes Estreno absoluto Pérez de la Fuente Producciones Las confesiones de San Agustín (Tarde te amé) Dirección: Juan Carlos Pérez de la Fuente 17 y 18 de junio, 21:00 Capilla de San Ildefonso Estreno absoluto Clara Pérez Distribución El jardín del temblor Dirección: Mateo Feijóo 19 y 20 de junio, 20:00 Corral de Comedias 1 Teatro de la Danza El lenguaje de tus ojos o el príncipe travestido Dirección: Amelia Ochandiano 19 y 20 de junio, 21:00 Teatro Salón Cervantes Compañía José Estruch Fuenteovejuna Dirección: Pedro Casas 19 y 20 de junio, 22:30 Colegio del Rey, Instituto Cervantes SetzeFetges Associats y Ring de Teatro Shakespeare en Benicasim. Lectura escenificada Dirección: Jorge Picó 21 y 22 de junio, 20:00 Corral de Comedias Estreno en castellano Taller de la Academia del Verso de Alcalá 2014 J. (Variaciones sobre Don Juan) Dirección: Yayo Cáceres y Álvaro Tato 22, 23 y 24 de junio, 22:30 Colegio del Rey, Instituto Cervantes Estreno absoluto Mephisto Teatro El burgués gentilhombre Dirección: Liuba Cid 26 y 27 de junio, 20:00 Corral de Comedias Compañía Nacional de Teatro Clásico / FEI (Factoría Escènica Internacional) Las dos bandoleras Dirección: Carme Portaceli 26 y 27 de junio, 21:00 Teatro Salón Cervantes VOADORA La Tempestad Dirección: Marta Pazos 28 y 29 de junio, 20:00 Corral de Comedias Producciones Andrea D’Odorico Así es si así fue. -
LATE 20Th and EARLY 21St CENTURY CLOWNING's
CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE by David W Peterson BA, University of Michigan, 2007 Masters, Michigan State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by David W Peterson It was defended on April 16, 2014 and approved by Dr. Attilio “Buck” Favorini, Professor Emeritus, Theatre Arts Dr. Bruce McConachie, Professor, Theatre Arts Dr. Jennifer Waldron, Associate Professor, English Dissertation Advisor: Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts ii Copyright © by David Peterson 2014 iii CLOWNING ON AND THROUGH SHAKEPEARE: LATE 20th AND EARLY 21st CENTURY CLOWNING’S TACTICAL USE IN SHAKESPEARE PERFORMANCE David Peterson, PhD University of Pittsburgh, 2014 This dissertation argues that contemporary clown performance (as developed in the latter half of the 20th century) can be understood in terms of three key performance practices: the flop, interruption, and audience play. I further argue that these three features of flop, interruption, and audience play are distinctively facilitated by Shakespeare in both text and performance which, in turn, demonstrates the potential of both clown and Shakespeare to not only disrupt theatrical conventions, but to imagine new relationships to social and political power structures. To this end, I ally the flop with Jack Halberstam’s sense of queer failure to investigate the relationship between Macbeth and 500 Clown Macbeth. -
BODY and MOVEMENT – Ponders About Physicality in Theatre
Bachelor’s thesis Performing arts | Theatre NESTAS12TE 2016 Tuulia Lindholm BODY AND MOVEMENT – ponders about physicality in theatre BACHELOR’S THESIS | ABSTRACT TURKU UNIVERSITY OF APPLIED SCIENCES Performing arts | Theatre 2016 | 30 Ari Ahlholm Tuulia Lindholm BODY AND MOVEMENT • ponders about physicality in theatre This thesis is a study about human body, gestures and movements. Especially I'm interested in how we use our body to create expressions in performing arts and in physical theatre. The starting point to this was to discover my own interest in movements and physicality as a performer -how much do we express ourselves through body language? The study will start from the physical body and how gestures and movements grow into us through the environment. I will also present some basic movement studies made by Jacques Lecoq. From the movement study I will move to physicality in theatre and to physical theatre. In the end I will make a small presentation of four theatre traditions which can be called physical theatre; mime, mask, clown and bouffon. The most relevant source materials include my own learning journal (2014-2015) and books from Jacques Lecoq; Theatre of Movement and Gesture (1987) and The Moving Body (1997), Rudolf Laban; The Mastery of Movement (1980) and Helen Thomas; Dance, Gender and Culture (1993). KEYWORDS: [Avainsanat] performing arts, movement, physical theatre, mime, mask, clown, bouffon CONTENT 1 INTRODUCTION 4 2 THE PHYSICAL BODY 5 2.1 MUSCLES AND MOVEMENT 5 2.2 GESTURES AND MOVEMENTS 6 2.3 STUDY OF MOVEMENT 6 3 MOVEMENT IN THEATRE 11 3.1 SMALL INTRODUCTION TO PHYSICAL THEATRE 11 3.2 SOME EXAMPLES OF THEATRE TRADITIONS WHICH CAN BE DESCRIBED AS PHYSICAL THEATRE 12 3.2.1 MIME 13 3.2.2 MASK 15 3.2.3 CLOWN 23 3.2.4 BOUFFON 25 4 CONCLUSION 27 REFERENCES 28 4 1 INTRODUCTION My thesis Body and Movement -ponders about physicality in theatre is a study about movement and physical expressions we use in performing arts. -
Embodied Acting: Cognitive Foundations of Performance
EMBODIED ACTING: COGNITIVE FOUNDATIONS OF PERFORMANCE by Richard J. Kemp B. A. Hon.s, in English Literature, New College, Oxford University, 1980 M. A. in English Literature, New College, Oxford University, 1990 M. F. A. in Performance Pedagogy, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of The School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in Theatre Arts University of Pittsburgh 2010 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Richard J. Kemp It was defended on June 16th, 2010 and approved by Attilio Favorini, PhD, Department of Theater Arts Kathleen George, PhD, Department of Theater Arts John Lutterbie, PhD, Department of Theater Arts, Stony Brook University Dissertation Advisor: Bruce McConachie, PhD, Department of Theater Arts ii Copyright © by Richard J. Kemp 2010 iii EMBODIED ACTING: COGNITIVE FOUNDATIONS OF PERFORMANCE Richard J. Kemp, PhD University of Pittsburgh, 2010 This dissertation applies current thinking in cognitive science to elements of the actor’s process of preparing and performing a role. Findings in the fields of neuroscience, psychology, and linguistics radically challenge the dualistic concepts that have dominated acting theory since the early twentieth century, and suggest more holistic models of the actor’s cognitive and expressive activities. Chapter 1 suggests how a vocabulary for nonverbal communication (nvc) drawn from social psychology can be used to analyze and describe actors’ communicative behavior. Chapter 2 examines the relationship of thought, language and gesture by considering Lakoff and Johnson’s (L & J) analysis of how conceptual thought is metaphorically shaped by the body’s experiences in the physical world. -
Bouffons Des Temps Modernes: Figures De Morosophes Dans Les Oeuvres
THÈSE Pour obtenir le diplôme de doctorat Spécialité LANGUE ET LITTÉRATURE FRANÇAISES Préparée au sein de l'Université de Caen Normandie Βοuffοns des temps mοdernes : figures de mοrοsοphes dans les οeuvres théâtrales d'Αlfred Jarry, Μichel de Ghelderοde, Samuel Βeckett, Rοland Dubillard & Αlain Βadiοu. Présentée et soutenue par Benjamin DANG Thèse soutenue publiquement le 16/10/2020 devant le jury composé de Professeur émérite, Sorbonne M. JEANYVES GUERIN Rapporteur du jury Université Professeur des universités, Mme NATHALIE MACE-BARBIER Université Avignon Pays du Rapporteur du jury Vaucluse Professeur des universités, Mme FLORENCE FIX Membre du jury Université Rouen Normandie Professeur des universités, Mme MARIE HELENE BOBLET Directeur de thèse Université Caen Normandie Thèse dirigée par MARIE HELENE BOBLET, Lettres, arts du spectacle, langues romanes (Caen) Bouffons des temps modernes : figures de morosophes dans les œuvres théâtrales d’Alfred Jarry, Michel de Ghelderode, Samuel Beckett, Roland Dubillard & Alain Badiou par Benjamin Dang 4242 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ À Laure V., qui me poussa un jour dans la littérature avec fureur et jubilation... 5 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ 6 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ “Pas de théâtre sans bouffon” proverbe courant dans l’Opéra chinois 7 ❇♦✉❢❢♦♥ ❞❡ ❡♠♣ ♠♦❞❡♥❡ 8 REMERCIEMENTS Mes remerciements vont d’abord à ma directrice de recherches, Madame le profes- seur Marie-Hélène Boblet, qui m’a accordé sa confiance et m’a encouragé à me lancer dans ce travail de longue haleine après m’avoir dirigé en Master. Sa bienveillance, sa disponibilité et ses conseils ne m’ont jamais fait défaut. Mon amie Mathilde occupe une place toute particulière. Ses relectures tatillonnes et ses critiques pointues m’ont permis de bénéficié d’une grande rigueur scientifique. -
Bucko: Whaleman!
PRESS RELEASE For Immediate Release April 25th, 2017 Press Contact: Ross Travis, Artistic Director (970) 846-1582 [email protected] Antic in a Drain in residence at San Francisco Maritime National Historic Park presents the World Premiere Production of Bucko: Whaleman! June 10 - 23, 2017 Tickets: $20-35 http://buckowhaleman.bpt.me Hyde Street Pier, San Francisco Maritime National Historic Park Nine performances: June 10 - 11, 14 - 18, 22 - 23 at 7-8:30PM (90 minutes) San Francisco, CA - April 3rd, 2017. Antic in a Drain (Artistic Director, Ross Travis) proudly presents its world premiere production of Bucko: Whaleman! Meet Captain Bucko and his scurvy crew, on the crest of the most bountiful whale hunt of their careers. But where does man’s ambition end? How do you lay down your harpoon and bring home the haul when the thrill of the hunt consumes you? Come join the slaughter ye salty dogs! Set in the heart of San Francisco’s historic maritime center, this site-specific original production uses the provocative humor of bouffon (a form of grotesque satirical physical theatre in which characters on the outskirts of society use subversive humor and ecstatic play to highlight ignored or marginalized issues) to investigate religion, natural resource consumption, racism and privilege in maritime history and juxtapose these subjects with our modern times. How has the legacy of Manifest Destiny and America’s relationship with God affected present day society? What has changed in the last 200 years about our relationship to the consumption of oil and natural resources -- from whale oil to the Dakota Access Pipeline? How does the hierarchy of class, privilege and racial prejudice in 19th century ship life compare to today’s subjugation of native and minority communities? Through the investigation of these urgent and divisive questions, this production combines comedy and tragedy to challenge and delight you. -
Laura Purcell Gates Dissertation
Tout Bouge [Everything Moves]: The (Re)Construction of the Body in Lecoq‐based Pedagogy A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Laura Purcell Gates IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Sonja Kuftinec Advisor September 2011 © Laura Purcell Gates 2011 Acknowledgements My research at École Philippe Gaulier was generously funded in part by the University of Minnesota Graduate School International Thesis Research Grant. I was also fortunate to receive funding during my time at the University of Minnesota through Department of Theatre Arts and Dance travel awards, the University of Minnesota Graduate and Professional Student Assembly Travel Grant, the University of Minnesota Graduate Research Partnership Program Grant, University of Minnesota College of Liberal Arts Graduate Student Support Awards, and a University of Minnesota Graduate School Fellowship. This dissertation would not have been possible without the support, advice and encouragement of my dissertation committee: Sonja Kuftinec, Margaret Werry, Cindy Garcia and Timothy Lensmire. I am particularly grateful to my advisor Sonja for her incisive advice and enthusiastic guidance. Finally, thank you to Tobi for rearranging home life around my writing, to my mother Victoria for seeing me through the defense, to my father Bill for reliable humor, and to all my friends and family for unending emotional support. i Table of Contents List of Figures iii Introduction 1 Chapter 1: Disorientation -
Failure in Clown Training at Ecole Philippe Gaulier', Theatre, Dance and Performance Training, Vol
University of Birmingham Monsieur Marcel and Monsieur Flop: Amsden, Lucy DOI: 10.1080/19443927.2017.1316304 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Amsden, L 2017, 'Monsieur Marcel and Monsieur Flop: failure in clown training at Ecole Philippe Gaulier', Theatre, Dance and Performance Training, vol. 8, no. 2, pp. 129-142. https://doi.org/10.1080/19443927.2017.1316304 Link to publication on Research at Birmingham portal Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Theatre, Dance and Performance Training on 20/07/2017, available online: http://www.tandfonline.com/10.1080/19443927.2017.1316304 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
Canadian Women Director's Catalogue
The Canadian Women Director’s Catalogue A COMPREHENSIVE LIST OF WOMEN DIRECTING IN CANADA Copyright © 2011 Nightwood Theatre and the Professional Association of Canadian Theatres. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, without written permission from the publishers. ISBN – 10: 0-921129-46-7 ISBN – 13: 978-0-921129-46-2 Nightwood Theatre 55 Mill Street, Suite 301 Case Goods Warehouse, Bldg. No. 74 Toronto ON Canada M5A 3C4 Professional Association of Canadian Theatres (PACT) 215 Spadina Ave, Suite 555 Toronto, ON M5T 2C7 Photo of Maggie Huculak, Gemma James-Smith, Dylan Smith, Sarah Dodd and Clare Coulter by Guntar Kravis Welcome I am so pleased to present to you with The Canadian Women Director’s Catalogue. In 2002, I co-spearheaded Equity in Canadian Theatre: the Women’s Initiative to examine the status of women in Canadian theatre. Over the last ten years Nightwood Theatre has partnered with the Playwrights Guild of Canada and the Professional Association of Canadian Theatres to continue research and advocacy for our country’s female practitioners. One of a number of disconcerting fi ndings, revealed the lack of female Artistic Directors at the country’s larger theatres. Yet another fi nding showed that those women who were Artistic Directors had better track records of hiring female playwrights and directors in their theatres. The solution seemed obvious: promote more women into AD positions across the country. But the monkey wrench, as I saw it, was that unless women had the opportunity to direct on the bigger stages they would never be considered “eligible” when those jobs came up. -
Toward a Female Clown Practice: Transgression, Archetype and Myth
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Plymouth Electronic Archive and Research Library COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. 0 Toward a Female Clown Practice: Transgression, Archetype and Myth By Maggie (Margaret) Irving A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Performing Arts Faculty of Arts Date: 26th September 2012 1 Maggie (Margaret) Irving Toward a Female Clown Practice: Transgression, Archetype and Myth Women who learn to clown within Western contemporary theatre and performance training lack recognizably female exemplars of this popular art form. This practice-as- research thesis analyses my past and present clowning experiences in order to create an understanding of a woman-centered clown practice which allows for the expression of material bodies and lived experiences. It offers a feminist perspective on Jacques Lecoq’s pedagogy, which revolves around a notion of an ‘inner clown’ and is prevalent in contemporary UK clown training and practice. The thesis draws on both the avant- garde and numerous clown types and archetypes, in order to understand clowning as a genre revealed through a range of unsocialised behaviours. It does not differentiate necessarily between clowning by men and women but suggests a re-think and reconfiguration to incorporate a wide range of values and thought processes as a means of introduction to a wider audience. -
ISTA 2019-2020 Artist in Residency (Air) Directory
ISTA 2019-2020 Artist in Residency (AiR) Directory www.ista.co.uk “This programme Welcome to the International Schools Theatre Association really helped (ISTA) Artist in Residency (AiR) directory for 2019-2020. my students in This is your ultimate guide to ISTA’s AiR programme and offers an extensive pool of 80 internationally acclaimed artists with a huge range of unique skills who are available to visit your school throughout the year. Like last year our aim has been preparing for to launch the directory as early as possible, to ensure that teachers and schools have the information as early as possible as budgets are set towards the second quarter of 2018. It is our hope that by doing this it gives you all the time you need to make bookings with the peace of mind that the decision hasn’t been their practical rushed. One of the beautiful things about this programme is that we’ll often have an assignments. They ISTA event in a town, city or country near you. If this is the case then it’s worth waiting to see which artists are attending that event and book them accordingly. This will save you money as the flights will have already been paid gained new ways for. Usually it’s just the internal travel you’d need to provide as well as the usual accommodation and meals etc. So enjoy reading through the profiles and use the index in the back of to approach their the directory to further narrow and ease your search. These pages should have all the information you need in order to bring amazing ISTA artists to your school, but if you do need more clarification or information then please do get work and left in touch.