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Author: Freddie Rokem
Publisher: University of Iowa Press
ISBN: 1587293366
Category : Literary Criticism
Languages : en
Pages : 257
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Book Description
In his examination of the ways in which theatre participates in the ongoing representations of and debates about the past, Freddie Rokem concentrates on the ways in which theatre after World War II has presented different aspects of the French Revolution and the Holocaust, showing us that by “performing history” actors bring the historical past and the theatrical present together.
Author: Freddie Rokem
Publisher: University of Iowa Press
ISBN: 1587293366
Category : Literary Criticism
Languages : en
Pages : 257
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Book Description
In his examination of the ways in which theatre participates in the ongoing representations of and debates about the past, Freddie Rokem concentrates on the ways in which theatre after World War II has presented different aspects of the French Revolution and the Holocaust, showing us that by “performing history” actors bring the historical past and the theatrical present together.
Author: Karin Tilmans
Publisher: Amsterdam University Press
ISBN: 9089642056
Category : History
Languages : en
Pages : 369
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Book Description
Karin Tilmans is an historian, and academic coordinator of the Max Weber Programme at the European University Institute, Florence. Frank van Vree is an historian and professor of journalism at the University of Amsterdam. Jay M. Winter is the Charles J. Stille Professor of History at Yale. --
Author: Karen Raber
Publisher: Penn State Press
ISBN: 0271080760
Category : History
Languages : en
Pages : 243
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Book Description
From bears on the Renaissance stage to the equine pageantry of the nineteenth-century hunt, animals have been used in human-orchestrated entertainments throughout history. The essays in this volume present an array of case studies that inspire new ways of interpreting animal performance and the role of animal agency in the performing relationship. In exploring the human-animal relationship from the early modern period to the nineteenth century, Performing Animals questions what it means for an animal to “perform,” examines how conceptions of this relationship have evolved over time, and explores whether and how human understanding of performance is changed by an animal’s presence. The contributors discuss the role of animals in venues as varied as medieval plays, natural histories, dissections, and banquets, and they raise provocative questions about animals’ agency. In so doing, they demonstrate the innovative potential of thinking beyond the boundaries of the present in order to dismantle the barriers that have traditionally divided human from animal. From fleas to warhorses to animals that “perform” even after death, this delightfully varied volume brings together examples of animals made to “act” in ways that challenge obvious notions of performance. The result is an eye-opening exploration of human-animal relationships and identity that will appeal greatly to scholars and students of animal studies, performance studies, and posthuman studies. In addition to the editors, the contributors are Todd Andrew Borlik, Pia F. Cuneo, Kim Marra, Richard Nash, Sarah E. Parker, Rob Wakeman, Kari Weil, and Jessica Wolfe.
Author: Matt Cornish
Publisher: University of Michigan Press
ISBN: 0472037560
Category : Performing Arts
Languages : en
Pages : 263
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Book Description
Since the moment after the fall of the Berlin Wall, important German theater artists have created plays and productions about unification. Some have challenged how German history is written, while others opposed the very act of storytelling. Performing Unification examines how directors, playwrights, and theater groups including Heiner Müller, Frank Castorf, and Rimini Protokoll have represented and misrepresented the past, confronting their nation’s history and collective identity. Matt Cornish surveys German-language history plays from the Baroque period through the documentary theater movement of the 1960s to show how German identity has always been contested, then turns to performances of unification after 1989. Cornish argues that theater, in its structures and its live gestures, on pages, stages, and streets, helps us to understand the past and its effect on us, our relationships with others in our communities, and our futures. Engaging with theater theory from Aristotle through Bertolt Brecht and Hans-Thies Lehmann’s “postdramatic” theater, and with theories of history from Hegel to Walter Benjamin and Hayden White, Performing Unification demonstrates that historiography and dramaturgy are intertwined.
Author: Bruce Haynes
Publisher: Scarecrow Press
ISBN: 0810841851
Category : History
Languages : en
Pages : 628
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Book Description
Haynes (U. of Montreal) traces the history of musical pitch standards over the last four centuries, linking frequency values to pitch names and telling where, when, and why various pitch levels have been used. With a focus on Italy, France, Germany, the Netherlands and the Hapsburg lands, he covers the pitches of about 1,400 historical instruments and how the design and function influenced and were influenced by changes in pitch. In addition, he studies the effect of pitch differences on musical notation and choice of key. The author has also written a book on the oboe, the instrument that plays the "A" to which a symphony orchestra tunes. Annotation copyrighted by Book News, Inc., Portland, OR
Author: D. Dean
Publisher: Palgrave Macmillan
ISBN: 9781349483730
Category : Performing Arts
Languages : en
Pages : 307
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Book Description
History, Memory, Performance is an interdisciplinary collection of essays exploring performances of the past in a wide range of trans-national and historical contexts. At its core are contributions from theatre scholars and public historians discussing how historical meaning is shaped through performance.
Author: John Butt
Publisher: Cambridge University Press
ISBN: 9780521013581
Category : Music
Languages : en
Pages : 286
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Book Description
This challenging 2002 study examines and ultimately defends the case for historically informed musical performance.
Author: Steve Dixon
Publisher: MIT Press
ISBN: 0262303329
Category : Performing Arts
Languages : en
Pages : 1052
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Book Description
The historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts. The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance—including what he calls postmodernism's denial of the new—and offers a series of boldly original arguments in their place.
Author: Nancy November
Publisher: Academic Studies PRess
ISBN: 1644694468
Category : Music
Languages : en
Pages : 293
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Book Description
The fifteen essays of Performing History glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. This book’s chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that “tell,” “enact,” or “perform” war histories; operatic works that works that “tell,” “enact,” or “perform” power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading “between the lines” to access other voices than those provided by mainstream interpretation or traditional musicology.
Author: Ann E. Birney
Publisher: Rowman & Littlefield
ISBN: 1442278919
Category : Business & Economics
Languages : en
Pages : 267
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Book Description
Performing History: How to Research, Write, Act, and Coach Historical Performance addresses those areas that are of greatest challenge to novice historical performers. Historical performers must approach the process that is their work with a respect for both subject matter (the people who made the decisions that lead to what we call history) and for audiences, whatever the knowledge level they bring to the subject. That respect requires careful, on going research (to wear the mantle of authority), while also recognizing that none of us will ever know everything there is to know (the mantle is lined with humility). It requires the crafting of stories that will interest targeted audiences, and the skill to tell those stories in a compelling manner. Performing History is crafted for people who want to develop a first person narrative, those who have created a first person narrative but want to make it better, and those who want to help others develop first person narratives--museum and historic site volunteer coordinators, program and education curators, and, of course, those who wear many hats in small staffs. It is also for teachers, parents, and partners who are providing support for historical performers.
