{"product_id":"encountering-ensemble-9781408152003","title":"Encountering Ensemble","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe first book to attempt to define and analyse the nature of ensemble theatre with case studies and contributions from companies and practitioners around the globe.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eEncountering Ensemble draws attention to the reality that ensemble invites and demands from practitioners, students and audience members alike ... For students, practitioners, educators and researchers who are interested in understanding the extent to which ensemble theatre has contributed, and can continue to contribute, towards the purpose and practice of theatre in contemporary society, this book is invaluable. * South African Theatre Journal *\u003cbr\u003eThis welcome contribution to performance studies provides a rich and significant resource for students, teachers and practitioners. -- Jayne Richards * Studies in Theatre and Performance *\u003cbr\u003eA thoughtful, practical guide that celebrates \u003ci\u003eensemble\u003c\/i\u003e as an intersection of historical knowledge shaping the relationships we craft both with one another and the audience. -- Rebecca Hewett * Theatre Topics *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePart One\u003c\/b\u003e: \u003ci\u003eIntroduction;\u003c\/i\u003e John Britton; \u003cb\u003eChapter 1: \u003c\/b\u003eBryan Brown\u003ci\u003e : The Emergence of Studiinost: the ethics and processes of ensemble in the Russian theatre studio\u003c\/i\u003e; \u003cb\u003eChapter 2: \u003c\/b\u003eAmy Skinner\u003ci\u003e: More than the Sum of their Parts: Reflections on Vsevolod Meyerhold's Theatrical Ensemble; \u003c\/i\u003e\u003cb\u003eChapter 3: \u003c\/b\u003eFranc Chamberlain:\u003ci\u003e Michael Chekhov's Ensemble Feeling; \u003c\/i\u003e\u003cb\u003eChapter 4: \u003c\/b\u003eJonathan Pitches:\u003ci\u003e Star or Team? Theodore Komisarjevsky's early developments in ensemble playing in the UK\u003c\/i\u003e; \u003cb\u003eChapter 5: \u003c\/b\u003eMark Evans: \u003ci\u003eThe French Ensemble Tradition: Jacques Copeau, Michel Saint-Denis and Jacques Lecoq; \u003c\/i\u003e\u003cb\u003eChapter 6: \u003c\/b\u003eDavid Barnett:\u003ci\u003e The Berliner Ensemble\u003c\/i\u003e. \u003cb\u003ePartTwo:\u003c\/b\u003e \u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e1: \u003c\/b\u003eChris Johnstone: \u003ci\u003eEnsemble; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e2: \u003c\/b\u003eMichael Boyd \u003ci\u003e(\u003c\/i\u003eIntroduced by Duška Radosavljevic\u003ci\u003e) \u003c\/i\u003e :\u003ci\u003eThe RSC Ensemble; \u003c\/i\u003e\u003cb\u003eChapter 7: \u003c\/b\u003eAdam J. Ledger\u003ci\u003e: Stan's Cafe: the Vision of the Ensemble\u003c\/i\u003e; \u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e3: \u003c\/b\u003ePeter Harrop \u0026amp; Evelyn Jamieson: \u003ci\u003eCollaboration, ensemble, devising; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e4: \u003c\/b\u003ePaul Carr \u0026amp; Richard J. Hand: \u003ci\u003eEnsemble\/Improvisation; Drama\/Music: An Experiment in Interdisciplinarity\u003c\/i\u003e; \u003cb\u003eChapter 8: \u003c\/b\u003eBryan Brown: \u003ci\u003eAs important as blood and shelter: extending \u003c\/i\u003estudiinost \u003ci\u003einto \u003c\/i\u003eobshchnost; \u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e5: \u003c\/b\u003eJulia Varley: \u003ci\u003eEnsembles, groups, networks; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e6: \u003c\/b\u003eMalgorzata Jablonska :\u003ci\u003eTeatr CHOREA: Synchrony in Action; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e7: \u003c\/b\u003eAnna Porubcansky: \u003ci\u003eSong of the Goat Theatre (Teatr Piesn Kozla)\u003c\/i\u003e; \u003cb\u003eChapter 9: \u003c\/b\u003eRebecca Loukes: \u003ci\u003eTowards a Syncretic Ensemble? RedCape Theatre's 'The Idiot Colony'; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e8: \u003c\/b\u003eMark Valdez\u003ci\u003e: Network of Ensemble Theaters; \u003c\/i\u003e\u003cb\u003eChapter 10: \u003c\/b\u003eBrad Krumholz\u003ci\u003e: Locating the Ensemble: NACL Theatre and the Ethics of Collaboration; \u003c\/i\u003e\u003cb\u003eChapter 11: \u003c\/b\u003ePaz Hilfinger-Pardo\u003ci\u003e: Building Chartres in the Desert: The TEAM, Collective Intelligence, and the Failure of Ideals\u003c\/i\u003e; \u003cb\u003eChapter 12: \u003c\/b\u003eJohn Collins: \u003ci\u003eElevator Repair Service and The Wooster Group: Ensembles Surviving Themselves\u003c\/i\u003e; \u003cb\u003eChapter 13: \u003c\/b\u003eMarianne Sharp: \u003ci\u003e'Whose Fantasy?' Five Voices on Rachel Rosenthal's TOHUBOHU! Extreme Theater Ensemble\u003c\/i\u003e; \u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e9: \u003c\/b\u003eKate Hunter: \u003ci\u003eThe Waiting Room: Practicing Embodied Cognition in Performance; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e10: \u003c\/b\u003eFrank Camilleri: \u003ci\u003eIngemar Lindh and the Institutet för Scenkonst\u003c\/i\u003e. \u003cb\u003ePart Three\u003c\/b\u003e: John Britton\u003ci\u003e: Introduction\u003c\/i\u003e; \u003cb\u003eChapter 14: \u003c\/b\u003eJohn Britton\u003ci\u003e: Self-With-Others: Training individuals ensemble; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e11: \u003c\/b\u003eEilon Morris: \u003ci\u003eCollaborating in Time\u003c\/i\u003e\u003ci\u003e: The formation of ensemble through rhythm; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e12: \u003c\/b\u003eTanya Gerstle\u003ci\u003e: Delicate Codes and Invisible Lines. 'Pulse': An Approach to Training an Ensemble; \u003c\/i\u003e\u003cb\u003eChapter 15: \u003c\/b\u003ePhillip Zarrilli: \u003ci\u003ePsychophysical Training and the formation of an Ensemble\u003c\/i\u003e; \u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e13: \u003c\/b\u003eAntje Diedrich\u003ci\u003e: Suzuki Training as Ensemble Training; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e14: \u003c\/b\u003eTerence Henry Chapman: \u003ci\u003eEnsemble Training and Meyerhold's Biomechanics; \u003c\/i\u003e\u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e15: \u003c\/b\u003eChris Johnstone: \u003ci\u003eNarrative Images; \u003c\/i\u003e\u003cb\u003eChapter 16: \u003c\/b\u003eSusan Thompson\u003ci\u003e: \u003c\/i\u003e\u003ci\u003eFreedom and Constraints: Jacques Lecoq and the Theater of Ensemble Creation\u003c\/i\u003e; \u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e16: \u003c\/b\u003eBryan Brown\u003ci\u003e: Birthdays Make the Best Training\u003c\/i\u003e; \u003cb\u003eSnapshot \u003c\/b\u003e#\u003cb\u003e17: \u003c\/b\u003ePatrick Stewart\u003ci\u003e: \u003c\/i\u003e\u003ci\u003eWhere I'll Be On Armageddon; \u003c\/i\u003eJohn Britton\u003ci\u003e: Afterword: What is it?\u003c\/i\u003e","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":48739000713559,"sku":"9781408152003","price":25.64,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781408152003.jpg?v=1720050843","url":"https:\/\/bookcurl.com\/products\/encountering-ensemble-9781408152003","provider":"Book Curl","version":"1.0","type":"link"}