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Full Product Details

Author:   Rachel Fensham (University of Melbourne, Australia) ,  Kim Solga (Professor of Theatre Studies, Western University, Canada) ,  Susan Bennett (University of Calgary, Canada)
Publisher:   Bloomsbury Publishing PLC
Imprint:   Methuen Drama
Weight:   0.331kg
ISBN:  

9781350026377

ISBN 10:   1350026379
Pages:   208
Publication Date:   25 February 2021
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

Series Preface Acknowledgements Movement: Introduction Movement of vital beings: Aristotle Movement as bodily technique: Mauss Rhythmic movement: Lefebvre Case Study: Pina Bausch This book SECTION ONE Movement as History Movement of the chorus: Ancient Greek theatre Movement of 'the flower': Noh aesthetics Case Study #1: Satoshi Miyagi's Antigone (2017) Gestural movement: Roman rhetoric Case Study #2: I Am My Own Wife (2003) Movement as style: The Natyasastra Case Study #3: Zero Degrees (2005) Processional movement Hostility to movement: The anti-theatrical prejudice Renaissance movement - from the vernacular to the cosmos Case Study #4: The Tempest (1611, 2016) Movement of the automaton Case Study #5: War Horse (2007) Conclusion SECTION TWO Movement Systems and Embodied Action Holistic Systems: Craig, Delsarte and Dalcroze Case Study #1: Operation Orfeo (1993) Movement vitality: Phenomenology Movement plasticity: Stanislavski and Ibsen Case Study #2: Hedda Gabler (2005) Movement mechanics: Meyerhold Case Study #3, part a: The Constant Prince (1915) Movement dynamics: Laban Movement arrangement: Brecht Case Study #4: Mother Courage and Her Children (1949, 2006) Movement somatics: Grotowski Case Study #3, part b: The Constant Prince (1965) Movement assemblage: Butoh Movement Sociology: Crowds Conclusion SECTION THREE Movement in Contemporary Theatre Speed: Attempts on Her Life (1997, 2007) Slowness: The Artist is Present (2010) Animation: Blackie Blackie Brown (2018) Force: World Factory (2014), Made in Bangladesh (2015) and World Factory (2016) Conclusion Notes References Further Reading Index

Reviews

This book convincingly demonstrates why a focus on the kinaesthetics of theatre-and theatrical embodiment more generally-is as important as the study of dramatic writing, acting, and scenography. The author writes with considerable erudition about the topic, but in a way that is almost always immediately accessible. -- Peter Dickinson, Simon Fraser University, Canada

Author Information

Rachel Fensham is Director of the Digital Studio at the University of Melbourne, Australia, where she is Professor of Theatre and Dance. Her key publications include To Watch Theatre: Essays in Genre and Corporeality (2009); and Dancing Naturally: Nature, Neo-Classicism and Modernity in Early Twentieth Century Dance (2011).

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