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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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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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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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Experimental theater --- Street theater --- Theater --- History --- Political aspects --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Alternative theater --- Avant-garde theater

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Kreativ-künstlerische Methoden schaffen Räume für Formen des Wissens, (Ver-)Lernens, Erinnerns und Handelns, die dominante und verräumlichte Machtverhältnisse hinterfragen. Kunst ist dabei nicht nur ein methodisches Werkzeug und Forschung kein bloßes Kunstprojekt: Stattdessen bringt die Schnittstelle dazwischen multiskalare Fragen und Antworten auf aktuelle gesellschaftliche Prozesse hervor, die sich im Begriff artographies treffen. Die Beiträger*innen schreiben u.a. zu Sounds, Zines, Figurentheater, Skulptur, Film, Malen sowie Pantomime - und zeigen so neben den Möglichkeiten und Grenzen kreativ-künstlerischer Praktiken auch deren Beitrag zu einer machtkritischen und raumbezogenen Forschung und Lehre auf.

SOCIAL SCIENCE / Sociology / General. --- Acting. --- Aesthetics. --- Art. --- City. --- Creativity. --- Cultural Geography. --- Film. --- Geography. --- Knowledge. --- Learning. --- Remembering. --- Research. --- Sculpture. --- Sound. --- Theory of Art. --- Visuality.