| Description |
320 pages : illustrations (some color) ; 30 cm |
| Contents |
Theatre anthropology / Eugenio Barba 6 -- Similar principles, different performances 6 -- Lokadharmi and Natyadharmi 7 -- Balance in action 8 -- The dance of oppositions 10 -- The virtue of omission 12 -- Intermezzo 14 -- A decided body 16 -- A fictive body 17 -- A million candles 18 -- Anatomy -- Can the sea rise above the mountain tops? / Nicola Savarese 22 -- Apprenticeship -- Western examples / Fabrizio Cruciani 24 -- Founding fathers and pedagogical theatre at the beginning of the twentieth century 24 -- Creative process, theatre school and theatre culture 24 -- Author's pedagogy 26 -- An Indian example / Rosemary Jeanes Antze 28 -- Guru as parent, honoured preceptor 28 -- Guru-kula, study in the guru's home 29 -- Guru-dakshina, gifts and fees 30 -- Ekalavya, disciple extraordinaire 31 -- Gurushishya-parampara 31 -- Balance -- Extra-daily balance 32 -- Luxury balance 32 -- Extra-daily technique: the search for a new posture 35 -- Generalisations regarding balance 36 -- Balance in action 39 -- Steel and cotton 40 -- Why does the performer aim for a luxury balance? What does the performer's alteration of balance mean for the spectator? 43 -- Balance and imagination 44 -- Brecht's unknown dance 46 -- Dilation -- The dilated body / Eugenio Barba 52 -- The bridge 53 -- Peripeteias 54 -- The negation principle 56 -- To think the thought 57 -- Twin logics 58 -- Seven-gated Thebes 59 -- The dilated mind / Franco Ruffini 62 -- Dramaturgy -- Actions at work / Eugenio Barba 66 -- Energy -- Kung-fu 72 -- Energy and continuity 74 -- Koshi, ki-hai, bayu 75 -- Animus, anima 76 -- Keras and manis 81 -- Lasya and tandava 82 -- Santai, the actor's three bodies 86 -- Tame 84 -- Energy in space and energy in time 84 -- Braking the action 88 -- The performer's presence 92 -- Equivalence -- The equivalence principle 93 -- Dhanu: archery in Indian odissi dance 97 -- How one shoots an arrow in Japanese kyogen theatre 98 -- Shooting with a bow 100 -- Eurasian Theatre -- Eurasian theatre / Eugenio Barba 102 -- Dawn 102 -- Eurasian theatre 102 -- Anti-tradition 102 -- Why 103 -- Roots 103 -- Village 104 -- To interpret a text or to create a context 104 -- Spectator 104 -- Incomprehensions and inventions: from the Silk Road to Seki Sano / Nicola Savarese 106 -- Score and subscore: the significance of exercise in the actor's dramaturgy / Eugenio Barba 112 -- A physical action: the smallest perceptible action 112 -- The age of exercises 112 -- Inner life and interpretation 113 -- The complexity of emotion 114 -- The real relationship 116 -- Sport as dance 116 -- The physical dialogue with the spectators 116 -- The real action 117 -- Meyerhold's theatre fission 118 -- The exercise: a model of organic and dynamic dramaturgy 120 -- Form, rhythm, flow 120 -- Tacit knowledge 121 -- Face and eyes -- Physiology and codification 122 -- The concrete gaze 126 -- The action of seeing 129 -- Showing that one is seeing 130 -- The natural face 134 -- The provisional face 136 -- The painted face 138 -- Feet -- Microcosm, macrocosm 140 -- On point 141 -- Foot grammar 146 -- Hands -- Physiology and codification of the hands 150 -- The hands: pure sound or silence 151 -- How to invent hands in movement 154 -- India: hands and meaning 156 -- Hands and the Peking Opera 158 -- Hands and Balinese dance 159 -- Hands and the Japanese theatre 160 -- Hands and classical dance 161 -- Two examples from contemporary Western theatre 162 -- Historiography -- Energetic language / Ferdinando Taviani 164 -- Henry Irving under the microscope 165 -- Living marble 166 -- Underneath Harlequin's costume 168 -- Stanislavsky's 'system' / Franco Ruffini 170 -- Stanislavsky's words 170 -- 'The simplest human condition': the organic body-mind 170 -- The mind makes demands: perezhivanie 171 -- The body responds appropriately: personification 171 -- Organic body-mind, character, role 172 -- Conditions for meaning and the pre-expressive level 172 -- Meyerhold: the grotesque; that is, biomechanics / Eugenio Barba 174 -- A plasticity that does not correspond to the words 174 -- The grotesque 175 -- Biomechanics 176 -- Montage -- The performer's montage and the director's montage / Eugenio Barba 178 -- The performer's montage 180 -- The director's montage 180 -- Further montage by the director 182 -- Nostalgia -- Nostalgia or the passion for a return / Nicola Savarese 185 -- Omission -- Fragmentation and reconstruction 191 -- The virtue of necessity 193 -- To perform absence 194 -- The virtue of omission 195 -- Opposition -- The dance of oppositions 196 -- The beauty line 200 -- Tribhangi, or the three arches 201 -- The shadow test 204 -- Organicity -- Organic effect / Eugenio Barba 206 -- Organicity, presence, scenic bios 206 -- That which is organic for the actor / that which is organic for the spectator 206 -- Natural and organic / Mirella Schino 208 -- Organic and natural 208 -- Performance as an organic unity 208 -- Always nature, but a different nature 209 -- Working languages 210 -- Presence 210 -- Axe, shinmyong, taksu 211 -- Matah, mi-juku, kacha 211 -- At work with physical actions: the double articulation / Marco De Marinis 212 -- The first articulation 212 -- The second articulation 213 -- Pre-expressivity -- Totality and its levels of organisation 216 -- Inculturation and acclturation technique 219 -- Physiology and codification 221 -- Codification in the East and the West 222 -- The fictive body 225 -- Martial arts and theatricality in the East 227 -- Martial arts and theatricality in the West 230 -- Body architecture 233 -- The spectator's preinterpretation 234 -- Restoration of behaviour -- Restoration of behaviour / Richard Schechner 235 -- Bharatanatyam 236 -- Purulia chhau 237 -- Trance and dance in Bali 239 -- Rhythm -- Carved time 241 -- Jo-ha-kyu 243 -- Biological motions and the body's micro-rhythms 244 -- Meyerhold: rhythm is essential 246 -- Set and costume design -- The costume is the set 248 -- Daily clothing, extra-daily costume 255 -- The water sleeves 256 -- Technique -- The notion of body techniques 258 -- Biographical list of body techniques / Marcel Mauss 258 -- 1 Techniques of birth and obstertrics 259 -- 2 Techniques of infancy: rearing and feeding the child 259 -- 3 Techniques of adolescence 259 -- 4 Techniques of adult life 260 -- Consumption techniques 262 -- The spine: energy's helm 264 -- The silent scream 266 -- Pragmatic laws / Jerzy Grotowski 268 -- Sats 268 -- Logos and bios 269 -- Text and stage -- The culture of the text and the culture of the stage / Franco Ruffini 270 -- The sound of two hands clapping 270 -- 'Poor' text and 'rich' stage 271 -- Dramaturgy 272 -- Role type and character 274 -- Training -- From 'learning' to 'learning to learn' / Eugenio Barba 276 -- The myth of technique 276 -- A decisive phase 276 -- Total presence 277 -- The period of vulnerability 278 -- Training interculturally / Richard Schechner 279 -- Training and the point of departure / Nicola Savarese 281 -- Exercise models 281 -- Acrobatics 282 -- Training with the master 286 -- Views -- The view of the performer and the view of the spectator / Ferdinando Taviani 288 -- Previous editions of this dictionary 302 -- Collective works 302 -- ISTA: International School of Theatre Anthropology 312 -- Invited artists 312 -- Scientific staff and special guests 313 -- Photos 313 |
| Summary |
"A Dictionary of Theatre Anthropology juxtaposes visual demonstrations of the performer's craft, from a wealth of Eastern and Western sources. More than just a dictionary, this is a handbook for theatre practitioners and a guide for students and scholars of transcultural performance. It is the result of many years of research conducted by Eugenio Barba and the International School of Theatre Anthropology (ISTA) based in Denmark, and is now a classic foundational text. Whereas most Western research is concerned with naturalism and psychological realism in acting, the Dictionary focuses on the actor's arduous and eclectic craft. The Dictionary aims to expand our knowledge of the possibilities of the scenic body, and of the spectator's response to the dynamics of performance." "Containing over 650 photographs and diagrams, this illustrated and entirely original sourcebook on Western and non-Western theatre is a tribute to the secret art of the performer."--Jacket |
| Notes |
Previous edition published under title: The secret art of the performer. 1991 |
| Bibliography |
Includes bibliographical references (pages 302-311) and index |
| Notes |
Translated from the Italian |
| Subject |
Acting.
|
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Dance.
|
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Performance art.
|
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Theater -- Anthropological aspects.
|
| Author |
Savarese, Nicola, 1945-
|
| LC no. |
2005051690 |
| ISBN |
0415378613 |
|
9780415378611 |
|
