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This acclaimed volume is the first to provide a comprehensive overview of Jerzy Grotowski's long and multi-faceted career. It is essential reading for anyone interested in Grotowski's life and work. Edited by the two leading experts on Grotowski, the sourcebook features: *essays from the key performance theorists who worked with Grotowski, including Eugenio Barba, Peter Brook, Jan Kott, Eric Bentley, Harold Clurman, and Charles Marowitz *writings which trace every phase of Grotowski's career from his 'theatre of production' to 'objective drama' and 'art as vehicle' *a wide-ranging collection of Grotowski's own writings, plus an interview with his closest collaborator and 'heir', Thomas Richards *an array of photographs documenting Grotowski and his followers in action *a historical-critical study of Grotowski by Richard Schechner.
This collection of texts by Ludwik Flaszen, Grotowski's main collaborator and co-founder of the Teatr 13 Rzedow (later the Teatr Laboratorium), gathers together key texts, nearly all of which have never before been published in English. These include lectures, papers on issues such as actor training, as well as programme and explanatory texts on all the laboratory's performances (including Cain, Shakuntal, Forefathers' Eve, Kordian, Akropolis, The Tragical History of Dr Faustus, The Constant Prince, and Apocalypsis cum figuris). It provides insight into the concepts behind the practice of one of the twentieth-century theatre's leading lights, and will introduce the cultural, literary, and hi...
In this classic text on the 18th century and neoclassicism, Jean Starobinski pursues a subtle and brilliant meditation on the connections between art and revolution, comparing the style of the French Revolution as a political event to style in the contemporary visual arts."
This book reconstructs the history of skepticism ranging from ancient to contemporary times, from Pyrrho to Kripke. The main skeptical stances and the historical reconstruction of the concept of skepticism are connected with an analysis of their recurrent inconsistency. The author reveals that this inconsistency is not a logical contradiction but a pragmatic one. She shows that it is a contradiction between the content of the skeptical position and the implicit presumption of the act of its assertion. The thesis of global skepticism cannot be accepted as true without falling into the pragmatic inconsistency. The author explains, how skepticism was important for exposing the limits of human knowledge and inspired its development.
In the wake of failed states, growing economic and political inequality, and the ongoing US- and NATO-led wars for resources, security, and economic dominance worldwide, contemporary artists are revisiting former European colonies, considering past injustices as they haunt the living yet remain repressed in European consciousness. With great timeliness, projects by Sven Augustijnen, Vincent Meessen, Zarina Bhimji, Renzo Martens, and Pieter Hugo have emerged during the fiftieth anniversary of independence for many African countries, inspiring a kind of “reverse migration”—a return to the postcolony, which drives an ethico-political as well as aesthetic set of imperatives: to learn to live with ghosts, and to do so more justly.
The Routledge Handbook of Chinese Translation presents expert and new research in analysing and solving translation problems centred on the Chinese language in translation. The Handbook includes both a review of and a distinctive approach to key themes in Chinese translation, such as translatability and equivalence, extraction of collocation, and translation from parallel and comparable corpora. In doing so, it undertakes to synthesise existing knowledge in Chinese translation, develops new frameworks for analysing Chinese translation problems, and explains translation theory appropriate to the Chinese context. The Routledge Handbook of Chinese Translation is an essential reference work for advanced undergraduate and postgraduate students and scholars actively researching in this area.
Konrad Smolenski works with sound, and for the Polish Pavilion he has created a symphonic installation in which the hum of bronze bells mixes with sounds from full-range speakers and other devices that emit noise, and the appearance of an orchestra is as important as the music it plays. With this complicated installation the artist and curators pose questions about the finiteness of time and historical values.
Oral history and essays about the weird and wild B-movies screened at Austin's Alamo Drafthouse cinemas, and how the series later grew into today's American Genre Film Archive.