{"product_id":"performed-ethnography-and-communication-9781138789029","title":"Performed Ethnography and Communication","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e\u003cp\u003ePerformed Ethnography and Communication explores the relationships between these three key terms, addressing the impact of ethnography and communication on the cutting edge of performance studies. Ranging from digital performance, improvisation and the body, to fieldwork and staged collaboration, this volume is divided into two main sections:\u003c\/p\u003e\u003cul\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eEmbodied technique and practice, which addresses improvisation, devised theatre-making, and body work to consider what makes bodies move, sound, behave, mean, or appear differently, and the effects of these differences on performance;\u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eOral history and personal narrative performance, which is concerned with the ways personal stories and histories might be transformed into public events, looking at questions of perspective, ownership, and reception. \u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003c\/ul\u003e\u003cp\u003eIncluding specific historical and theoretical case studies, exercises and activities, and practical applications for improvisation, ethnograp\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eList of figures\u003cbr\u003eAcknowledgments\u003c\/em\u003e\u003cem\u003ePrologue\u003cbr\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePART 1 Embodied technique and practice\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 1 Embodied technique and practice\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eTechnique\u003c\/li\u003e\n\u003cli\u003ePractice\u003c\/li\u003e\n\u003cli\u003eInterview with Ben Spatz\u003c\/li\u003e\n\u003cli\u003eExamples of technique and practice\u003c\/li\u003e\n\u003cli\u003eCase study one: Digital Portobelo with Renee Alexander Craft\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 2 Improvisation\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eThe inherited body we bring to performance practice\u003c\/li\u003e\n\u003cli\u003eKey concepts in improvisational acting and performance\u003c\/li\u003e\n\u003cli\u003eExamples\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 3 Devised theatre\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eEthnographic data and process\u003c\/li\u003e\n\u003cli\u003eSuggested stages for devised performance\u003c\/li\u003e\n\u003cli\u003eIn summary\u003c\/li\u003e\n\u003cli\u003eInterview with Honey Pot Performance\u003c\/li\u003e\n\u003cli\u003eCase study two: the digital in dialogic performance across two continents\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 4 Movement and scenes of body work\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eWarm-up improvisations for neutral mask\u003c\/li\u003e\n\u003cli\u003eEfforts and factors from Laban\/Bartenieff\u003c\/li\u003e\n\u003cli\u003eImprovisation exercises for efforts and factors\u003c\/li\u003e\n\u003cli\u003eImprovisational exercises for BESS\u003c\/li\u003e\n\u003cli\u003eThe 5Rhythms from Gabrielle Roth\u003c\/li\u003e\n\u003cli\u003eAugusto Boal and Newspaper Theatre\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003ePART 2 Oral history and personal narrative performance\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 5 The value of oral history and life story\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eWho owns the story?\u003c\/li\u003e\n\u003cli\u003eInterview with E. Patrick Johnson\u003c\/li\u003e\n\u003cli\u003eOral history as permission, public pedagogy, and provocation\u003c\/li\u003e\n\u003cli\u003eOn truth\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 6 The narrative\/narrated event and the anatomy of emotion\u003c\/strong\u003e \u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eThe narrative event\u003c\/li\u003e\n\u003cli\u003eThe narrated event\u003c\/li\u003e\n\u003cli\u003eCase study three: holograms in a live staging of history: Triangle Shirtwaist Factory fire\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 7 Anatomy of emotion: the brain, performance, and oral history\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eProprioception\u003c\/li\u003e\n\u003cli\u003eMirror neurons and simulation theory\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 8 Performing oral history and life stories\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\u003c\/ul\u003e \u003c\/li\u003e\n\u003cli\u003eSolo performance\u003c\/li\u003e\n\u003cli\u003eExercises\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cul\u003e\u003c\/ul\u003e \u003c\/li\u003e\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 9 Viewpoints in rehearsal\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\u003c\/ul\u003e \u003c\/li\u003e\n\u003cli\u003eExamples\u003c\/li\u003e\n\u003cli\u003eSelected viewpoints for oral history and performance\u003c\/li\u003e\n\u003cli\u003eCase study four: the storyteller's magnified embodiments in real-time telling\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eChapter 10 Jerzy Grotowski's plastiques and Viola Spolin's speech and sound\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eThe brain of the body and the body of the brain\u003c\/li\u003e\n\u003cli\u003eInterview with Stephen Wangh\u003c\/li\u003e\n\u003cli\u003eExamples\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cem\u003eEpilogue: the intermix of performance, ethnography, and communication\u003cbr\u003eAppendix: illustration of creativity and the brain\u003cbr\u003eBibliography\u003cbr\u003eIndex\u003c\/em\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51019525357911,"sku":"9781138789029","price":35.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138789029.jpg?v=1750780527","url":"https:\/\/bookcurl.com\/products\/performed-ethnography-and-communication-9781138789029","provider":"Book Curl","version":"1.0","type":"link"}