Performance Studies The Basics
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Performance Studies
Performance Studies: The Basics offers an overview of the multiple, often overlapping definitions of performance, from performance art, performance as everyday life, and rituals, to the performative dimensions of identity, such as gender, race and sexuality. This book defines the interdisciplinary field of performance studies as it has evolved over the past four decades at the intersection of academic scholarship and artistic and activist practices. It discusses performance as an important means of communicating and of understanding the world, highlighting its intersections with critical theory and arguing for the importance of performance in the study of human behaviour and social practices. Complete with a helpful glossary and bibliography, as well as suggestions for further reading, this book is an ideal starting point for those studying performance studies as well as for general readers with an interest in the subject.
Theatre Studies: The Basics
Now in a second edition, Theatre Studies: The Basics is a fully updated guide to the wonderful world of theatre. The practical and theoretical dimensions of theatre – from acting to audience – are woven together throughout to provide an integrated introduction to the study of drama, theatre and performance. Topics covered include: dramatic genres, from tragedy to political documentary theories of performance the history of the theatre in the West acting, directing and scenography With a glossary, chapter summaries and suggestions for further reading throughout, Theatre Studies: the Basics remains the ideal starting point for anyone new to the subject.
Ambiguous Topicality
Author: Árpád Kékesi Kun
language: en
Publisher: Editions L'Harmattan
Release Date: 2021-01-01
This monograph examines the Hungarian theatre between 1949 and 1989 and uses Philther as the method of writing theatre history. In line with the Philther categories, the twelve performance analyses comprise six units: the context of the performance in theatre culture; dramatic text and dramaturgy; staging; acting; stage design and sound; the impact and posterity. They focus on the beginning, middle and end of state socialism through the productions of three different theatres. The first four chapters examine shows of the Operetta Theatre in Budapest immediately following the nationalization of cultural institutions. The next six chapters deal with performances of the National Theatre during the consolidation of the Kádár regime, and the last two chapters present productions of the Katona József Theatre shortly before the regime change. They all address the question of topicality, the adaptation of stories to contemporary expectations, which often involved the emergence of ambiguity and the involuntary shift of interpreting stage events in the light of the spectactors own situation.