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Toward an intercultural/interdisciplinary approach to training actors' voicesMcAllister-Viel, Tara January 2006 (has links)
No description available.
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Devising theatre : a critical enquiry into the performer as scenographerWatson, Ian January 2004 (has links)
No description available.
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Personal stories in public places : an investigation of playback theatreRowe, Nicholas A. N. January 2005 (has links)
No description available.
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Collaborative performance systemsClarke, Paul Hale January 2001 (has links)
No description available.
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Rapport between players and audience in 15th and early 16th century English dramaElphick, Anthony Beresford 11 1900 (has links)
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audience / M.A. (English)
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Rapport between players and audience in 15th and early 16th century English dramaElphick, Anthony Beresford 11 1900 (has links)
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audience / M.A. (English)
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17 |
La dynamique du ravissement dans les écritures dramatiques contemporaines / Dynamic of rapture in contemporary playsGascuel, Adèle 20 March 2018 (has links)
À travers l’analyse d’une quinzaine de pièces issues du répertoire contemporain (1991-2017), cette étude vise à penser la dynamique du ravissement à l’œuvre dans les écritures dramatiques pour rendre compte d’un réel catastrophique. Plutôt que déplier des situations par le biais d’outils de distanciation critiques, elles opèrent un mouvement qui suspend le sens des gestes des protagonistes, ravit la possibilité de leur compréhension pour mieux enchanter le réel. L’échappée s’opère par le négatif pour faire surgir l’espoir à partir du désespoir. Ce mouvement paradoxal qui fait de la défaite la brèche par laquelle inquiéter la tyrannie de la réalité peut se penser comme passage d’une situation de sidération à une fascination qui dessine une ligne de fuite vers un point d’utopie. Le ravissement, à partir notamment de la pensée de Maurice Blanchot, Georges Didi-Huberman et Roland Barthes, peut être conçu comme échappée d’un réel insaisissable qui fait de l’ignorance le site d’une réinvention du réel par le poétique. Dans les œuvres de Marguerite Duras et Didier-Georges Gabily, la ravissante opère une suspension de toute herméneutique et de toute résolution dramatique. Dans les œuvres d’Ivana Sajko, Dorothée Zumstein, Claudine Galea et Marie Ndiaye, la fascination implique une mise en crise du sujet fasciné. Dans une deuxième partie est explorée l’échappée du réel à partir du négatif. Les œuvres de Sarah Kane servent d’appui pour penser la tension vers un centre utopique, puis l’étude est étendue à des pièces du répertoire français contemporain, de Samuel Gallet, Magali Mougel, Lancelot Hamelin, Mariette Navarro et Philippe Malone. / Through the analysis of about fifteen contemporary plays (1991-2017), this thesis opens a reflexion on the dynamic of rapture in dramatic plays and how it reflects a catastrophic reality. Rather than developing dramatic situations by critical and distancing means, they procede in a movement that suspends the meaning of the gestures of the characters, and rapts the possibility of their comprehension to better enchant reality. Escape is depicted in a negative way to let merge hope from despair. This paradoxal movement transforms defeat into a breach through which the tyranny of reality is troubled, and is raised from a situation of sideration to one of fascination, thus pointing towards utopia. The notion of rapture is based in particular on the works of Maurice Blanchot, Georges Didi-Huberman and Roland Barthes. It can be seen as an escape from an elusive reality that transforms ignorance into the site of a reinvention of reality by poetic means. In the works of Marguerite Duras and Didier-Georges Gabily, the ravishing figure suspends hermeneutics and dramatic resolution. This study is extended to plays by Ivana Sajko, Dorothée Zumstein, Claudine Galea and Marie Ndiaye where fascination implies a situation of crisis for the fascinated subject. The second part is an exploration of how negativity can lead to escaping from reality. Sarah Kane plays are a support to consider the tension towards an utopic centre, and the study is developed to contemporary french plays by Samuel Gallet, Magali Mougel, Lancelot Hamelin, Mariette Navarro and Philippe Malone.
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