Theatre Symposium, Volume 27 - 
      Sarah McCarroll
    
      Sarah McCarroll
    
      Cohen Ambrose
    
      Rhonda Blair
    
      Tessa W. Carr
    
      Kaja Amado Dunn
    
      Sarah McCarroll
    
      Timothy Pyles
    
      Lawrence D. Smith
    
      Travis Stern
    
      Bridget Sundin

Theatre Symposium, Volume 27

Theatre and Embodiment

Sarah McCarroll (Redaktør) ; Sarah McCarroll (Introduksjon) ; Cohen Ambrose (Innledning) ; Rhonda Blair (Innledning) ; Tessa W. Carr (Innledning) ; Kaja Amado Dunn (Innledning) ; Sarah McCarroll (Innledning) ; Timothy Pyles (Innledning) ; Lawrence D. Smith (Innledning) ; Travis Stern (Innledning) ; Bridget Sundin (Innledning)

A substantive exploration of bodies and embodiment in theatre.

Theatre is inescapably about bodies. By definition, theatre requires the live bodies of performers in the same space and at the same time as the live bodies of an audience. Les mer
Vår pris
465,-

(Paperback) Fri frakt!
Leveringstid: Sendes innen 21 dager

Paperback
Legg i
Paperback
Legg i
Vår pris: 465,-

(Paperback) Fri frakt!
Leveringstid: Sendes innen 21 dager

A substantive exploration of bodies and embodiment in theatre.

Theatre is inescapably about bodies. By definition, theatre requires the live bodies of performers in the same space and at the same time as the live bodies of an audience. And, yet, it's hard to talk about bodies. We talk about characters; we talk about actors; we talk about costume and movement. But we often approach these as identities or processes layered onto bodies, rather than as inescapably entwined with them. Bodies on the theatrical stage hold the power of transformation. Theatre practitioners, scholars, and educators must think about what bodies go where onstage and what stories which bodies to tell.

The essays in Theatre Symposium, Volume 27 explore a broad range of issues related to embodiment. The volume begins with Rhonda Blair's keynote essay, in which she provides an overview of the current cognitive science underpinning our understanding of what it means to be 'embodied' and to talk about 'embodiment.' She also provides a set of goals and cautions for theatre artists engaging with the available science on embodiment, while issuing a call for the absolute necessity for that engagement, given the primacy of the body to the theatrical act.

The following three essays provide examinations of historical bodies in performance. Timothy Pyles works to shift the common textual focus of Racinian scholarship to a more embodied understanding through his examination of the performances of the young female students of the Saint-Cyr academy in two of Racine's Biblical plays. Shifting forward in time by three centuries, Travis Stern's exploration of the auratic celebrity of baseball player Mike Kelly uncovers the ways in which bodies may retain the ghosts of their former selves long after physical ability and wealth are gone. Laurence D. Smith's investigation of actress Manda Bjoerling's performances in Miss Julie provides a model for how cognitive science, in this case theories of cognitive blending, can be integrated with archival theatrical research and scholarship.

From scholarship grounded in analysis of historical bodies and embodiment, the volume shifts to pedagogical concerns. Kaja Amado Dunn's essay on the ways in which careless selection of working texts can inflict embodied harm on students of color issues an imperative call for careful and intentional classroom practice in theatre training programs. Cohen Ambrose's theorization of pedagogical cognitive ecologies, in which subjects usually taught disparately (acting, theatre history, costume design, for example) could be approached collaboratively and through embodiment, speaks to ways in which this call might be answered.

Tessa Carr's essay on "The Integration of Tuskegee High School" brings together ideas of historical bodies and embodiment in the academic theatrical context through an examination of the process of creating a documentary theatre production. The final piece in the volume, Bridget Sundin's exchange with the ghost of Marlene Dietrich, is an imaginative exploration of how it is possible to open the archive, to create new spaces for performance scholarship, via an interaction with the body.
FAKTA
Utgitt:
Forlag: The University of Alabama Press
Innbinding: Paperback
Språk: Engelsk
ISBN: 9780817370145
Format: 23 x 15 cm
KATEGORIER:

Bla i alle kategorier

VURDERING
Gi vurdering
Les vurderinger
Introduction by Sarah McCarroll
Theatre and Embodiment by Rhonda Blair
Bodies of Theology: Racine's Esther and Athalie as Embodied Theology by Timothy Pyles
Mike Kelly's Performance of Success and Failure on the Field and on the Stage by Travis Stern
Miss Julie via Manda Bjoerling, 1906-1912: Embodiment, Conceptual Blending, and Reception by Lawrence D. Smith
Hidden Damage: When Uninformed Casting and Actor Training Disregard the Effect of Character Embodiment on Students of Color by Kaja Amado Dunn
Ecologies of Experience: John Dewey, Distributed Cognition, and the Cultural-Cognitive Ecosystem of Theatre-Training Settings by Cohen Ambrose
Embodying the Ever-Present Past: The Integration of Tuskegee High School by Tessa W. Carr
From Tuxedo to Gown: Dietrich's Haunted Dressing Room(s) by Bridget Sundin
Contributors
Sarah McCarroll is an associate professor of theatre at Georgia Southern University, where she also serves as resident designer and costume shop manager for the theatre and performance program. Her published scholarship has appeared in Theatre Symposium and in Theatre, Performance and Cognition: Languages, Bodies and Ecologies. She has also worked professionally at the Utah Shakespeare Festival and the Milwaukee Repertory Theatre.