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Zusatztext This book convincingly demonstrates why a focus on the kinaesthetics of theatre—and theatrical embodiment more generally—is as important as the study of dramatic writing, acting, and scenography. The author writes with considerable erudition about the topic, but in a way that is almost always immediately accessible. Informationen zum Autor Rachel Fensham is Director of the Digital Studio at the University of Melbourne, Australia, where she is Professor of Theatre and Dance. Her key publications include To Watch Theatre: essays in genre and corporeality (2009); and Dancing Naturally: nature, neo-classicism and modernity in early twentieth century dance (2011). Kim Solga is Associate Professor of English and Writing Studies at Western University, Canada. Susan Bennett is University Professor in the Department of English at the University of Calgary, Canada. She is the author of Theatre Audiences: A Theory of Production and Reception (1997, 2nd edition), Performing Nostalgia (1996), and Theatre & Museums (2013). Among her edited volumes are Shakespeare Beyond English (co-edited with Christie Carson, 2013) and Performing Environments: Site-Specificity on the Early Modern Stage (co-edited with Mary Polito, 2014). She was editor of Theatre Journal from 1997-2001 and has also edited or co-edited special issues of other theatre and performance journals. Vorwort A foundational text for students of theatre and performance, introducing theories of movement as they have been understood in critical discussions of theatrical productions and performances and underpinned by case studies. Zusammenfassung How do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance concept. These include analysis of Satoshi Miyagi's production of Sophocles' Antigone (2017), Thomas Ostermeier's production of Ibsen’s Hedda Gabler (2008), the Berliner Ensemble’s Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatre’s production of War Horse (2007). The final section considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States, and United Kingdom. The volume is supported by further online resources including video material, questions, and exercises. Inhaltsverzeichnis Series Preface Acknowledgements Movement: Introduction Movement of vital beings: AristotleMovement as bodily technique: MaussRhythmic movement: LefebvreCase Study: Pina BauschThis book SECTION ONE Movement as History Movement of the chorus: Ancient Greek theatreMovement of ‘the flower’: Noh aestheticsCase Study #1: Satoshi Miyagi’s Antigone (2017) Gestural movement: Roman rhetoricCase Study #2: I Am My Own Wife (2003) Movement as style: The NatyasastraCase Study #3: Zero Degrees (2005) Processional movementHostility to movement: T...
