Performer Training: Developments Across Cultures

by Watson; Ian

• ISBN13: 9789057551222
• ISBN10: 9057551225
• Edition: 1st
• Format: Hardcover
• Copyright: 2001-09-14
• Publisher: Routledge

Summary

Performer Trainingis an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey: · Some of Asia's traditional training methods and recent experiments in performer training · Eugenio Barba's training methods · Jerzy Grotowski's most recent investigations · The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett · Descriptions of the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute · Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses · The reformulation of the use of emotions in performer training known as Alba Emoting.

Table of Contents

Introduction to the Series
List of Plates
Acknowledgments
Introduction	p. 1
Theatre Training in Poland	p. 13
The Hochschule fur Schauspielkunst "Ernst Busch" Berlin: Theatre Training in Post-GDR Berlin	p. 33
Mapping Training/Mapping Performance: Current Trends in Australian Actor Training	p. 47
Actor Training in the United States: Past, Present and Future (?)	p. 61
Invisible Training in Balinese Performance	p. 85
A Study in Motley: The Odin Actors	p. 93
Ambivalent Positionings: Grotowski's Art as Vehicle and the Paradox of Categorization	p. 117
Beckett in Kyogen Style: Lessons in Intercultural Translation	p. 133
Workshops for the World: The International Workshop Festival	p. 155
SITI - A Site of Stillness and Surprise: Ann Bogart's Viewpoints Training Meets Tadashi Suzuki's Method of Actor Training	p. 171
Entering the Political Discussion by Artistic Means: ELIA Master Class on Acting 1994	p. 191
Alba Emoting: A Revolution in Emotion for the Actor	p. 205
Notes on Contributors	p. 221
Index	p. 225
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