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Author: Nicholas Ridout Publisher: Cambridge University Press ISBN: 1139458272 Category : Drama Languages : en Pages : 127
Book Description
Why do actors get stage fright? What is so embarrassing about joining in? Why not work with animals and children, and why is it so hard not to collapse into helpless laughter when things go wrong? In trying to answer these questions - usually ignored by theatre scholarship but of enduring interest to theatre professionals and audiences alike - Nicholas Ridout attempts to explain the relationship between these apparently unwanted and anomalous phenomena and the wider social and political meanings of the modern theatre. This book focuses on the theatrical encounter - those events in which actor and audience come face to face in a strangely compromised and alienated intimacy - arguing that the modern theatre has become a place where we entertain ourselves by experimenting with our feelings about work, social relations and about feelings themselves.
Author: Nicholas Ridout Publisher: Cambridge University Press ISBN: 1139458272 Category : Drama Languages : en Pages : 127
Book Description
Why do actors get stage fright? What is so embarrassing about joining in? Why not work with animals and children, and why is it so hard not to collapse into helpless laughter when things go wrong? In trying to answer these questions - usually ignored by theatre scholarship but of enduring interest to theatre professionals and audiences alike - Nicholas Ridout attempts to explain the relationship between these apparently unwanted and anomalous phenomena and the wider social and political meanings of the modern theatre. This book focuses on the theatrical encounter - those events in which actor and audience come face to face in a strangely compromised and alienated intimacy - arguing that the modern theatre has become a place where we entertain ourselves by experimenting with our feelings about work, social relations and about feelings themselves.
Author: Nicholas Peter Ridout Publisher: ISBN: 9780511245978 Category : Acting Languages : en Pages : 197
Book Description
Things nearly always go wrong in the theatre. This study looks at the things that shouldn't happen: stage fright, embarrassment, animals on stage, getting the giggles and bumping into the furniture. All these turn out to be neither anomalies nor accidents, but are instead what makes theatre, theatre.
Author: Julian Barnes Publisher: Vintage ISBN: 0307957330 Category : Fiction Languages : en Pages : 158
Book Description
BOOKER PRIZE WINNER • NATIONAL BESTSELLER • A novel that follows a middle-aged man as he contends with a past he never much thought about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. A novel so compelling that it begs to be read in a single setting, The Sense of an Ending has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning achievement in Julian Barnes's oeuvre. Tony Webster thought he left his past behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.
Author: Jeremy Jones Publisher: Cambridge University Press ISBN: 1107009405 Category : History Languages : en Pages : 305
Book Description
The ideal introduction to the history of modern Oman from the eighteenth century to the present, this book combines the most recent scholarship on Omani history with insights drawn from a close analysis of the politics and international relations of contemporary Oman. Jeremy Jones and Nicholas Ridout offer a distinctive new approach to Omani history, building on post-colonial thought and integrating the study of politics and culture. The book addresses key topics including Oman's historical cosmopolitanism, the distinctive role of Omani Islam in the country's social and political life, Oman's role in the global economy of the nineteenth century, insurrection and revolution in the twentieth century, the role of Sultan Qaboos in the era of oil and Oman's unique regional and diplomatic perspective on contemporary issues.
Author: Martin Puchner Publisher: JHU Press ISBN: 0801877768 Category : Performing Arts Languages : en Pages : 247
Book Description
Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama—a theatrical piece intended to be read rather than staged—whose long-overlooked significance Puchner traces from the theatrical texts of Mallarmé and Stein to the dramatic "Circe" chapter of Joyce's Ulysses. At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Nôh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scène. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.
Author: Sara Solovitch Publisher: Bloomsbury Publishing ISBN: 1408854562 Category : Self-Help Languages : en Pages : 219
Book Description
Stage fright is one of the human psyche's deepest fears. Over half of British adults name public speaking as their greatest fear, even greater than heights and snakes. Laurence Olivier learned to adapt to it, as have actors Salma Hayek and Hugh Grant. Musicians such as Paul McCartney and Adele have battled it and learned to cope. Playing Scared is Sara Solovitch's journey into the myriad causes of stage fright and the equally diverse ways we can overcome it. As a young child, Sara studied piano and fell in love with music. As a teen, she played Bach and Mozart at her hometown's annual music festival, but was overwhelmed by stage fright, which led her to give up aspirations of becoming a professional pianist. In her late fifties, Sara gave herself a one-year deadline to tame performance anxiety and play before an audience. She resumed music lessons, while exploring meditation, exposure therapy, cognitive therapy, biofeedback and beta blockers, among many other remedies. She practiced performing in airports, hospitals and retirement homes. Finally, the day before her sixtieth birthday, she gave a formal recital for an audience of fifty. Using her own journey as inspiration, Sara has written a thoughtful and insightful cultural history of performance anxiety and a tribute to pursuing personal growth at any age.
Author: Elly Konijn Publisher: Amsterdam University Press ISBN: 9789053564448 Category : Performing Arts Languages : en Pages : 216
Book Description
Actors and actresses play characters such as the embittered Medea, or the lovelorn Romeo, or the grieving and tearful Hecabe. The theatre audience holds its breath, and then sparks begin to fly. But what about the actor? Has he been affected by the emotions of the character he is playing? What'sgoing on inside his mind? The styling of emotions in the theatre has been the subject of heated debate for centuries. In fact, Diderot in his Paradoxe sur le comedien, insisted that most brilliant actors do not feel anything onstage. This greatly resembles the detached acting style associated with Bertolt Brecht, which, in turn, stands in direct opposition to the notion of the empathy-oriented "emotional reality" of the actor which is most famously associated with the American actingstyle known as method acting. The book's survey of the various dominant acting styles is followed by an analysis of the current state of affairs regarding the psychology of emotions. By uniting the psychology of emotions with contemporary acting theories, the author is able to come to the conclusion that traditional acting theories are no longer valid for today's actor. Acting Emotions throws new light on the age-old issue of double consciousness, the paradox of the actor who must nightly express emotions while creating the illusion of spontaneity. In addition, the book bridges the gap between theory and practice by virtue of the author's large-scale field study of the emotions of professional actors. In Acting Emotions, the responses of Dutch and Flemish actors is further supplemented by the responses of a good number of American actors. The book offers a unique view of how actors act out emotions and how this acting out is intimately linked to the development of contemporary theatre.
Author: Richard Schechner Publisher: University of Pennsylvania Press ISBN: 0812200926 Category : Drama Languages : en Pages : 357
Book Description
In performances by Euro-Americans, Afro-Americans, Native Americans, and Asians, Richard Schechner has examined carefully the details of performative behavior and has developed models of the performance process useful not only to persons in the arts but to anthropologists, play theorists, and others fascinated (but perhaps terrified) by the multichannel realities of the postmodern world. Schechner argues that in failing to see the structure of the whole theatrical process, anthropologists in particular have neglected close analogies between performance behavior and ritual. The way performances are created—in training, workshops, and rehearsals—is the key paradigm for social process.
Author: Barbara McAfee Publisher: Berrett-Koehler Publishers ISBN: 1605099228 Category : Business & Economics Languages : en Pages : 234
Book Description
Vocal expression is a part of nearly everyone's workday, yet most of us are unaware of how much influence our voice exerts over our effectiveness. McAfee's work shows how we can deliberately marshal the power of our voices to support our intentions, aspirations, and relationships.
Author: Nicholas Ridout
Author: Nicholas Ridout
Author: Nicholas Peter Ridout
Author: Nicholas Ridout
Author: Julian Barnes
Author: Jeremy Jones
Author: Martin Puchner
Author: Sara Solovitch
Author: Elly Konijn
Author: Richard Schechner
Author: Barbara McAfee