Intercultural acting and performer training

著者

書誌事項

Intercultural acting and performer training

edited by Phillip B. Zarrilli, T. Sasitharan and Anuradha Kapur

Routledge, 2019

  • : pbk

大学図書館所蔵 件 / 全3件

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注記

Includes bibliographical references and index

内容説明・目次

内容説明

Intercultural Acting and Performer Training is the first collection of essays from a diverse, international group of authors and practitioners focusing on intercultural acting and voice practices worldwide. This unique book invites performers and teachers of acting and performance to explore, describe, and interrogate the complexities of intercultural acting and actor/performer training taking place in our twenty-first century, globalized world. As global contexts become multi-, inter- and intra-cultural, assumptions about what acting "is" and what actor/performer training should be continue to be shaped by conventional modes, models, techniques and structures. This book examines how our understanding of interculturalism changes when we shift our focus from the obvious and highly visible aspects of production to the micro-level of training grounds, studios, and rehearsal rooms, where new forms of hybrid performance are emerging. Ideal for students, scholars and practitioners, Intercultural Acting and Performer Training offers a series of accessible and highly readable essays which reflect on acting and training processes through the lens offered by "new" forms of intercultural thought and practice.

目次

List of Figures Introduction in three parts: Part 1: Re-framing intercultural acting and actor training in the 21st century by Phillip Zarrilli Part 2: Recalibrating intercultural acting/training today by Anuradha Kapur Part 3: The "hot crucible" of Intercultural Actor Training: The Singaporean Context by T. Sasitharan Chapter 1: Actor training at the Intercultural Theatre Institute of Singapore by Giorgia Ciampi Tsolaki Chapter 2: From the flower to madness: the ontology of the actor in the work of SuzukiTadashi by Glenn Odom Chapter 3: Dancing Hamlet in a world of frogs: butoh and the actor's inner landscape by Tanya Calamoneri Chapter 4: Stepping out of the frame: contemporary jingju actor training in Taiwan by JasmineYu-Hsing Chen Chapter 5: Re-considering intercultural actor training in South Africa today: 'borrowing on our own terms' by David Peimer Chapter 6: The actor's process of negotiating difference and particularity in intercultural theatre practice by Sunhee Kim and Jeungsook Yoo Chapter 7: The role of 'presence' in training actors' voices by Tara McAllister-Viel Chapter 8: Training a performer's voices by Electa Behrens Chapter 9: Grasping the bird's tail: Inspirations and starting points by Christel Weiler Chapter 10: Embodying Imagination: butoh and performer training. by Frances Barbe Chapter 11: Arifin and Putu: Teater Modern acting in New Order Indonesia by Kathy Foley Chapter 12: RENDRA 2.0: Cross-cultural theatre, the actor's work and politics in dictatorial Indonesia by Marco Adda Chapter 13: Bali in Brazil by Carmencita Palermo Chapter 14: Traditional Opera in a 'Modern' Society: Institutional Change in Taiwanese xiqu Education by Tai Hsin-Hsin and Josh Stenberg Index

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