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First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Presence in Play: A Critique of Theories of Presence in the Theatre is the first comprehensive survey and analysis of theatrical presence to be published. Theatre as an art form has often been associated with notions of presence. The 'live' immediacy of the actor, the unmediated unfolding of dramatic action and the 'energy' generated through an actor-audience relationship are among the ideas frequently used to explain theatrical experience – and all are underpinned by some understanding of 'presence.' Precisely what is meant by presence in the theatre is part of what Presence in Play sets out to explain. While this work is rooted in twentieth century theatre and performance since modernism, the author draws on a range of historical and theoretical material. Encompassing ideas from semiotics and phenomenology, Presence in Play puts forward a framework for thinking about presence in theatre, enriched by poststructuralist theory, forcefully arguing in favour of 'presence' as a key concept for theatre studies today.
THE FRUITS OF HIS LABOR: The true story of Professor Edmond Jefferson Oliver, Principal of Fairfield Industrial High School, it's staff, it's students, community, state of Alabama, the Nation and the World!!! By John B. Davis, Class of 1951 Fruit results from planted seeds, when seeds grow, they bear fruit, Galations 5:22, 23 We were taught that the fruit that you have to reach for is the sweetest!! The fruits of his labor are many: the world is blessed with Fairfield Industrial High School (F.I.H.S.) graduates eschewing their accomplishments through serving others!! As one of our graduates, Lois Macon, eloquently proclaimed, "There was a place called FAIRFIELD INDUSTRIAL HIGH SCHOOL and a m...
How do women set up institutions? How has higher education helped or hindered women in the world of dance? These are some of the questions addressed through interviews and researched by the educators and dancers Sharon E. Friedler and Susan B. Glazer in Dancing Female . In dealing with some of the tensions, joys, frustrations, and fears women experience at various points of their creative lives, the contributors strike a balance between a theoretical sense of feminism and its practice in reality. This book presents answers to basic questions about women, power, and action. Why do women choreographers choose to create the dances they do in the manner they do? How do women in dance work independently and organizationally?
Exploring dance from the rural villages of Africa to the stages of Lincoln Center, Judith Lynne Hanna shows that it is as human to dance as it is to learn, to build, or to fight. Dance is human thought and feeling expressed through the body: it is at once organized physical movement, language, and a system of rules appropriate in different social situations. Hanna offers a theory of dance, drawing on work in anthropology, semiotics, sociology, communications, folklore, political science, religion, and psychology as well as the visual and performing arts. A new preface provides commentary on recent developments in dance research and an updated bibliography.
This collection reflects not only the multidisciplinary nature of current thinking about performance, but also the complex and contested nature of the concept itself.
Beginning with Aristotle and the Greeks and ending with semiotics and post-structuralism, Theories of the Theatre is the first comprehensive survey of Western dramatic theory. In this expanded edition the author has updated the book and added a new concluding chapter that focuses on theoretical developments since 1980, emphasizing the impact of feminist theory.
A discussion of current practices in modern dance training
Looks at the development of American avant-garde art, including performance art, environmental art, conceptual art, video, and photo-realism.
The Billy Henderson story . . . a Georgia football legend.