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This study originates in the observation that improv comedy or improvised theater has such a vast majority of white people practicing it, while other improvisational or comedic art forms (jazz, freestyle rap, stand up) are historically grounded in and marked as Black cultural production. What it is about improv that makes it such a white space? Can an absence be an object of study? If so, what is there to study? Where should one look?.
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"Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes, and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: - age/aging and children in the training context - how training impacts over a lifetime - the duration of training and the impact of training regimes over time - concepts of timing and the 'right' time - how time is viewed from a range of international training perspectives - collectives, ensembles and fashions in training, their decay, or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces, and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars, and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance"--
Acting. --- Actors --- Space and time in the theater. --- Training of.
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Fascinating survey of acting styles and the psychology of emotions in acting.
Actors --- Acting --- Acteurs --- Art dramatique --- Psychology. --- Psychological aspects. --- Psychologie --- Aspect psychologique --- Psychological aspects --- Psychology --- Acting - Psychological aspects --- Actors - Psychology
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American Frictions presents cutting-edge research in the field of American cultural studies.The series explores manifold complexities and frictions in the Americas, building on existing scholarship and propelling it in new directions. It challenges nation-based approaches by offering perspectives that are polyvocal, including interdisciplinary and transnational viewpoints from North America, the Caribbean, and Europe.Volumes in the series - peer reviewed monographs and collections - delve into literature, culture, theory, and the arts, situating them in historical contexts of global networks and migrations. They contribute to epistemologies of difference, diversity, and inequality, including gender, queer, decolonial, indigenous, and critical race studies.
Improvisation (Acting) --- Comedy plays. --- Impromptu theater --- Theater, Impromptu --- Acting --- Amateur theater --- Commedia dell'arte --- Comedy sketches. --- Sketch comedy --- Comedy
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This spirited volume explores the history and diversity of improvisation in the cinema, including works by Jean Renoir, Jean-Luc Godard, and Nobuhiro Suwa. Gilles Mouëllic examines improvisational practices that can be specifically attributed to the cinema and argues in favors of their powers as instigators of unprecedented forms of expression. Improvising Cinema reflects both on the permanence of attempting improvisation and the relationship between technology and aesthetics. Mouëllic concludes preservation becomes even more invaluable in the case of improvisation, as the creative act exists only within the brief time span of the performance.
Improvisation (Acting) --- Experimental films --- Documentary films --- Motion pictures --- History and criticism. --- History. --- Impromptu theater --- Theater, Impromptu --- Acting --- Amateur theater --- Commedia dell'arte --- History and criticism
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Théâtre et cinéma interrogent le monde, s’offrant mutuellement des représentations nouvelles, des formes pour réfléchir, des œuvres pour modifier leurs visions. Double Jeu accueille chercheurs permanents et contributeurs occasionnels afin d’instaurer entre les spécialistes des arts du spectacle un dialogue aussi fructueux que celui qu’ont engagé depuis longtemps les praticiens et les créateurs. Ainsi, plutôt que de juxtaposer théâtre et cinéma, la revue entend éprouver ces deux arts à des problématiques, des regards qui leur soient communs, et bien entendu se placer là où les jonctions et les passerelles sont possibles, là où des frottements se font sentir, là où il y a du jeu.
Theater --- Motion pictures --- Acting --- Acting. --- Motion pictures. --- Theater. --- History and criticism --- History --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Actors --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Elocution
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Theater --- Performing arts --- Theater. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors --- Show business --- Arts --- Performance art --- Philosophy --- Philosophy.
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Soil dynamics --- Soil pesticides --- Soil dynamics. --- Soil pesticides. --- Soil-acting pesticides --- Soil-applied pesticides --- Pesticides --- Dynamics, Soil --- Soil mechanics
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Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in the late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice -- an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze's ongoing explorations of what she terms the 'epistemology of practice as research.' IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called "criticism." The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the "itinerate spectator." Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible "flaneuse." The methodology of the book takes inspiration from the writings of W.G. Sebald and his employment of something Skantze describes as "a staging of memory," a way to offer the reader an example of how memory works in the midst of a description of a particular recollection. This construction invites the reader/participant to 'discover,' to 'remember' alongside the writer. Further, this methodology invites the reader to incorporate her/his own ideas and memories of the practice of spectating through an openness in the language of remembering and description. Individual sections of the book demonstrate spectating as itinerant 'on the job training' in various modes of reception. Topics include: the idea of reparation in performance about nations, the past and injustice; the power of sound and the intricacies of seeing/hearing performance in many languages; the architectural information absorbed by the spectator and its role in fashioning story; the shifts made in spectating at festivals between theatre and dance; and the political consequences and traps of mobility and immobility.
Acting --- Actors --- Theater audiences --- Theater --- Psychological aspects. --- Philosophy. --- Study and teaching. --- theater --- performance studies --- cultural studies --- drama
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Incontestably, Future Narratives are most conspicuous in video games: they combine narrative with the major element of all games: agency. The persons who perceive these narratives are not simply readers or spectators but active agents with a range of choices at their disposal that will influence the very narrative they are experiencing: they are players. The narratives thus created are realizations of the multiple possibilities contained in the present of any given gameplay situation. Surveying the latest trends in the field, the volume discusses the complex relationship of narrative and game
Acting games. --- Role playing. --- Video games. --- Video games --- Acting games --- Role playing --- Social Sciences --- Recreation & Sports --- Role enactment --- Role-taking ability --- Roleplaying --- Drama games --- Theater games --- Television games --- Videogames --- Social role --- Acting --- Games --- Electronic games --- Study and teaching --- Computer games --- Internet games --- Computer Games. --- Narration. --- Narrative. --- Video Games.
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