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Theatre Practitioners
A theatre practitioner is someone who creates theatrical performances and/or produces a theoretical discourse that informs his or her practical work. A theatre practitioner may be a director, dramatist, actor, designer or a combination of these traditionally separate roles. ''Theatre practice'' describes the collective work that various theatre practitioners do. The term was not ordinarily applied to theatre-makers prior to the rise of modernism in the theatre. Instead, theatre praxis from Konstantin Stanislavski's development of his system is described through Vsevolod Meyerhold's biomechanics, Antonin Artaud's Theatre of cruelty, Bertolt Brecht's epic, and Jerzy Grotowski's poor theatre. Contemporary theatre practitioners include Augusto Boal with his Theatre of the Oppressed, Dario Fo's popular theatre, Eugenio Barba's theatre anthropology, and Anne Bogart's viewpoints Viewpoints is a technique of dance composition that acts as a medium for thinking about and acting upon mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theatre
Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. The specific place of the performance is also named by the word "theatre" as derived from the Ancient Greek θέατρον (théatron, "a place for viewing"), itself from θεάομαι (theáomai, "to see", "to watch", "to observe"). Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. Theatre artist Patrice ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Epic Theatre
Epic theatre (german: episches Theater) is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of new political dramas. Epic theatre is not meant to refer to the scale or the scope of the work, but rather to the form that it takes. Epic theatre emphasizes the audience's perspective and reaction to the piece through a variety of techniques that deliberately cause them to individually engage in a different way. The purpose of epic theatre is not to encourage an audience to suspend their disbelief, but rather to force them to see their world as it is. History The term " epic theatre" comes from Erwin Piscator who coined it during his first year as director of Berlin's Volksbühne (1924–27).Wiles (1980). Piscator aimed to encourage playwrights to address issues related to "contemporary existence." This new subject matter would ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Entertainment Occupations
Entertainment is a form of activity that holds the attention and interest of an audience or gives pleasure and delight. It can be an idea or a task, but is more likely to be one of the activities or events that have developed over thousands of years specifically for the purpose of keeping an audience's attention. Although people's attention is held by different things because individuals have different preferences, most forms of entertainment are recognisable and familiar. Storytelling, music, drama, dance, and different kinds of performance exist in all cultures and were supported in royal courts and developed into sophisticated forms, over time becoming available to all citizens. The process has been accelerated in modern times by an entertainment industry that records and sells entertainment products. Entertainment evolves and can be adapted to suit any scale, ranging from an individual who chooses a private entertainment from a now enormous array of pre-recorded produc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
20th-century Theatre
Twentieth-century theatre describes a period of great change within the theatrical culture of the 20th century, mainly in Europe and North America. There was a widespread challenge to long-established rules surrounding theatrical representation; resulting in the development of many new forms of theatre, including modernism, expressionism, impressionism, political theatre and other forms of Experimental theatre, as well as the continuing development of already established theatrical forms like naturalism and realism. Throughout the century, the artistic reputation of theatre improved after being derided throughout the 19th century. However, the growth of other media, especially film, has resulted in a diminished role within the culture at large. In light of this change, theatrical artists have been forced to seek new ways to engage with society. The various answers offered in response to this have prompted the transformations that make up its modern history. Developments in ar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theatre Theorists
Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. The specific place of the performance is also named by the word "theatre" as derived from the Ancient Greek θέατρον (théatron, "a place for viewing"), itself from θεάομαι (theáomai, "to see", "to watch", "to observe"). Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. Theatre artist Patrice P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theatre Practitioners
A theatre practitioner is someone who creates theatrical performances and/or produces a theoretical discourse that informs his or her practical work. A theatre practitioner may be a director, dramatist, actor, designer or a combination of these traditionally separate roles. ''Theatre practice'' describes the collective work that various theatre practitioners do. The term was not ordinarily applied to theatre-makers prior to the rise of modernism in the theatre. Instead, theatre praxis from Konstantin Stanislavski's development of his system is described through Vsevolod Meyerhold's biomechanics, Antonin Artaud's Theatre of cruelty, Bertolt Brecht's epic, and Jerzy Grotowski's poor theatre. Contemporary theatre practitioners include Augusto Boal with his Theatre of the Oppressed, Dario Fo's popular theatre, Eugenio Barba's theatre anthropology, and Anne Bogart's viewpoints Viewpoints is a technique of dance composition that acts as a medium for thinking about and acting upon mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viewpoints
Viewpoints is a technique of dance composition that acts as a medium for thinking about and acting upon movement, gesture and creative space. Originally developed in the 1970s by master theater artist and educator Mary Overlie, the Six Viewpoints has been studied and practiced for decades in theatre and dance. Overlie's practice and theory profoundly enables access to the source of inspiration and creativity. The Six Viewpoints, if practiced in the purest form, is found to be indescribably powerful and effective in all areas of investigation of, and for making art. In the simplest form, it is a practice for improvisation. The Six Viewpoints theory was adapted by directors Anne Bogart and Tina Landau over the course of 10 years, ultimately resulting in the delineation of nine "physical" Viewpoints and 5 "vocal" ones. Bogart and Overlie were on the faculty of ETW at NYU in the late 1970s and early 1980s, during which time Bogart was influenced by Overlie's innovations. Overlie's S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anne Bogart
Anne Bogart (born September 25, 1951) is an American theatre and opera director. She is currently one of the Artistic Directors of SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is a professor at Columbia University where she runs the Graduate Directing Concentration and is the author of four books of essays on theater making: ''A Director Prepares''; ''And Then, You Act''; ''What's the Story''; and ''The Art of Resonance''. She is a co-author, with Tina Landau of ''The Viewpoints Book'', a "practical guide" to Viewpoints training and devising techniques. ''Conversations with Anne'', a collection of interviews she has conducted with various notable artists was published in March 2012. Bogart's influence is felt throughout the contemporary theatre: through the widespread adoption of SITI's training methods of Viewpoints and Suzuki, her oeuvre of groundbreaking productions, and her guidance at SITI and including at Columbia University of such di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eugenio Barba
Eugenio Barba (born 29 October 1936) is an Italian author and theatre director based in Denmark. He is the founder of the Odin Theatre and the International School of Theatre Anthropology, both located in Holstebro, Denmark. Biography Barba was born in Brindisi and grew up in Gallipoli, Lecce Province, Italy. After leaving the Nunziatella military academy of Naples in 1954, he emigrated to Norway to work as a welder and sailor. He also took degrees in French, Norwegian literature, and history of religion at Oslo University. In 1961 he went to Warsaw in Poland to study theatre direction at the State Theatre School, but left one year later to join Jerzy Grotowski, who at that time was the leader of Teatr 13 Rzedow in Opole. Barba stayed with Grotowski for three years. In 1963 he traveled to India where he had his first encounter with Kathakali. He wrote an essay on the form which was published in Italy, France, the U. S. and Denmark. His first book, ''In Search of a Lost Theatre' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dario Fo
Dario Luigi Angelo Fo (; 24 March 1926 – 13 October 2016) was an Italian playwright, actor, theatre director, stage designer, songwriter, political campaigner for the Italian left wing and the recipient of the 1997 Nobel Prize in Literature. In his time he was "arguably the most widely performed contemporary playwright in world theatre".Mitchell 1999, p. xiii Much of his dramatic work depends on improvisation and comprises the recovery of "illegitimate" forms of theatre, such as those performed by '' giullari'' (medieval strolling players) and, more famously, the ancient Italian style of ''commedia dell'arte''. His plays have been translated into 30 languages and performed across the world, including in Argentina, Bulgaria, Canada, Chile, Iran, the Netherlands, Poland, Romania, South Africa, South Korea, Spain, Sri Lanka, Sweden, the United Kingdom, the United States and Yugoslavia. His work of the 1960s, 1970s and 1980s is peppered with criticisms of assassinations, corruption ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theatre Of The Oppressed
The Theatre of the Oppressed (TO) describes theatrical forms that the Brazilian theatre practitioner Augusto Boal first elaborated in the 1970s, initially in Brazil and later in Europe. Boal was influenced by the work of the educator and theorist Paulo Freire and his book ''Pedagogy of the Oppressed''. Boal's techniques use theatre as means of promoting social and political change in alignment originally with radical-left politics and later with centre-left ideology. In the Theatre of the Oppressed, the audience becomes active, such that as "spect-actors" they explore, show, analyse and transform the reality in which they are living. History Although it was first officially adopted in the 1970s, Theatre of the Oppressed, a term coined by Augusto Boal, is a series of theatrical analyses and critiques was first developed in the 1950s. Boal was an avid supporter of using interactive techniques, especially in the context of theatre. Many of his ideas are considered as "a new media p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augusto Boal
Augusto Boal (16 March 1931 – 2 May 2009) was a Brazilian theatre practitioner, drama theorist, and political activist. He was the founder of Theatre of the Oppressed, a theatrical form originally used in radical left popular education movements. Boal served one term as a ''Vereador'' (the Brazilian equivalent of a city councillor) in Rio de Janeiro from 1993 to 1997, where he developed legislative theatre.Paterson, Doug.A Brief Biography of Augusto Boal ptoweb.or Biography Early life Augusto Boal studied at Columbia University in New York with the critic John Gassner. Gassner introduced Boal to the techniques of both Bertolt Brecht and Konstantin Stanislavski, and encouraged Boal to form links with theatre groups like the Black Experimental Theatre. In 1955 Boal staged productions of two of his own plays, ''The Horse and the Saint'' and ''The House Across the Street''.Eckersley, M. (1995). "A Matter of Style – The Theatre of Augusto Boal". ''Mask Magazine''. Vol. 18 No. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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