Observing Theatre : Spirituality and Subjectivity in the Performing Arts.
Başlık:
Observing Theatre : Spirituality and Subjectivity in the Performing Arts.
Yazar:
Meyer-Dinkgräfe, Daniel.
ISBN:
9789401210294
Yazar Ek Girişi:
Fiziksel Tanımlama:
1 online resource (229 pages)
Seri:
Consciousness, Literature and the Arts ; v.36
Consciousness, Literature and the Arts
İçerik:
Cover -- Title Page -- Copyright Page -- Contents -- Acknowledgments -- Introduction -- Consciousness Studies -- Contents and scope -- Chapter One: Nostalgia -- Introduction -- Studying nostalgia in drama and theatre -- The term and concept -- Nostalgia and Foucault's concept of power -- Related concepts: melancholy, yearning, and déjà vu -- Nostalgia and ageing -- Nostalgia for the future -- Constellations of nostalgia in drama -- Revivals -- Re-enactment -- Nostalgia in the context of popular culture -- Haunted by the past: critical positions towards nostalgia -- Christmas -- The Victorians -- Yearning for the 1960s -- The one moment in life -- From critique to ambiguity -- Recent developments -- Nostalgia, exile and choice -- Nostalgia and new historical narratives -- Recovery, return and creation -- Recent developments -- Relevant plays on doollee.com -- Chapter Two: Towards intuitive collaboration as a concept for discussing intercultural performance -- Introduction -- Who we are -- The outward frame of the project -- Motivations -- Phase one: Gayathri and Daniel -- Phase two: Gayathri, Shrikant and Daniel -- The showcase -- The intercultural dimension and the concept of intuitive collaboration -- Chapter Three: Appropriate forms of praise of acting in theatre criticism -- Hierarchy: the performer comes last -- Vocabulary in theatre criticism -- Virtues of critics and of good acting -- The wider philosophical context of praise -- The way ahead -- Summary -- Sample review: Medea / Macbeth / Cinderella -- Sample review: Tristan und Isolde -- Chapter Four: New dimensions of consciousness studies -- The Vedanta model of consciousness -- Hans Binder-biography and approaches to knowledge and consciousness -- Chapter Five Principles of consciousness and theatre contexts -- Spiritual development -- Principles -- Theatre context -- Resonance.
Principles -- Theatre context: coping with demanding roles -- Resonance and time -- Principles -- Theatre context (1): The canon -- Theatre context (2): Nostalgia -- Theatre context (3): theatre and philosophy as experience -- Theatre context (4): simultaneity of space and time -- Theatre context (5): digital performance -- Intuition -- Principles (Hans Binder) -- Theatre context (1): Intuitive collaboration -- Theatre context (2): Practice as Research -- Criticism -- Principles -- Theatre context -- Help for self-help -- Principles -- Theatre context (1): applied theatre -- Theatre context (2): Neuro Linguistic Programming (NLP) as an intervention against stage fright -- Chapter Six: Feedback from contributors and discussion -- Nostalgia -- Coping with demanding roles -- Intuitive Collaboration -- Theatre Criticism -- Digital Performance -- Applied Theatre -- Neuro Linguistic Programming -- Summary and Outlook -- Bibliography -- Contributors -- Index.
Özet:
Daniel Meyer-Dinkgräfe and co-authors take the exploration of the subjective dimension of theatre, its spiritual context, its relation to consciousness and natural law, further than ever before, thanks to the context provided by the thinking of German geobiologist Hans Binder. We present relevant aspects of Binder's approach as precisely as possible, then take Binder's approach for granted to tease out the implications of that approach to the issues of theatre, including nostalgia, intercultural theatre, theatre criticism, dealing with demanding roles, the canon, theatre and philosophy, digital performance, practice as research, and applied theatre. Overall, the book proposes an overarching emphasis on the importance of living in the present and the concomitant need to abandon obsolete but still powerful patterns of the past. In this context, theatre, according to Binder, has a global responsibility for the new world in which humans are liberated from the scourge of the past. Theatre has the power and thus the responsibility to be path-breaking for a new "fiction", to show to people, in a playful and creative manner, the direction in which the new consciousness can move.Daniel Meyer-Dinkgräfe is Professor of Drama at the Lincoln School of Performing Arts, University of Lincoln. He has numerous publications on the topic of 'Theatre and Consciousness' to his credit, and is founding editor of the peer-reviewed web-journal Consciousness, Literature and the Arts and the book series of the same title with Rodopi.
Notlar:
Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2017. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
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