Description
Book SynopsisFirst Published in 2005. A Dictionary of Theatre Anthropology subtly juxtaposes visual demonstrations of the performer's craft, from a wealth of Eastern and Western sources. More than just a dictionary, this is a handbook for theatre practitioners and a guide for students and scholars of transcultural performance. It is the result of many years of research conducted by Eugenio Barba and the International School of Theatre Anthropology (ISTA) based in Denmark, and is now a classic foundational text. Whereas most Western research is concerned with naturalism and psychological realism in acting, the Dictionary focuses on the actor's arduous and eclectic craft. The Dictionary aims to expand our knowledge of the possibilities of the scenic body, and of the spectator's response to the dynamics of performance. The Dictionary has practical sections on balance, opposition and montage among other techniques, and discusses issues including The Text and the Stage, The Dilated Body and Energetic La
Trade Review'The entries in the Dictionary are fascinating flashbulbs, shedding light on myriad ways of performing – breathing in noh, eye movement in kathakali, balance in Indian bharatanatyam ... For actors grounded in 20th-Century American realism, this plethora of body-based ... information could prove (literally) eye-opening. Particularly persuasive is Schechner's essay on "restoration of behavior".' – American Theatre
Table of ContentsIntroduction; Part 1 A Z; Chapter 1 Anatomy; Chapter 2 Apprenticeship; Chapter 3 Balance; Chapter 4 Dilation; Chapter 5 Dramaturgy; Chapter 6 Energy; Chapter 7 Equivalence; Chapter 8 Eurasian Theatre; Chapter 9 Exercises; Chapter 10 Face and Eyes; Chapter 11 Feet; Chapter 12 Hands; Chapter 13 Historiography; Chapter 14 Montage; Chapter 15 Nostalgia; Chapter 16 Omission; Chapter 17 Opposition; Chapter 18 Organicity; Chapter 19 Pre-Expressivity; Chapter 20 Restoration of Behaviour; Chapter 21 Rhythm; Chapter 22 Set and Costume Design; Chapter 23 Technique; Chapter 24 Text and Stage; Chapter 25 Training; Chapter 26 Views;
