Combining theory and historiography, this book presents a new consideration for rhythm in postdramatic performance by examining the creative processes of three major companies: Mime Omnibus, Dairakudakan, and SITI Company.
Combining theory and historiography, this book presents a new consideration for rhythm in postdramatic performance by examining the creative processes of three major companies: Mime Omnibus, Dairakudakan, and SITI Company.
Sebastian Samur is a multilingual performer and postdoctoral fellow at the University of Toronto's Centre for Drama, Theatre and Performance Studies, Canada. His writing can be found in Theatre Research in Canada, Asian Theatre Journal, Canadian Theatre Review, Stanislavski Studies and Jeu, among other publications.
Inhaltsangabe
Prologue Introduction Chapter 1: In Search of Rhythm: Historical Concepts for Understanding the Evanescent Chapter 2: Imagining A Rhythmanalytical Framework Chapter 3: Rhythm in Mime Omnibus' Training and Recent Performances Chapter 4: Rhythm in Dairakudakan's Training and Recent Kochuten Performances Chapter 5: Rhythm in SITI Company's Training and Recent Performances Chapter 6: General Comparisons, Evaluation, and Conclusion Bibliography Endnotes Index
Prologue Introduction Chapter 1: In Search of Rhythm: Historical Concepts for Understanding the Evanescent Chapter 2: Imagining A Rhythmanalytical Framework Chapter 3: Rhythm in Mime Omnibus' Training and Recent Performances Chapter 4: Rhythm in Dairakudakan's Training and Recent Kochuten Performances Chapter 5: Rhythm in SITI Company's Training and Recent Performances Chapter 6: General Comparisons, Evaluation, and Conclusion Bibliography Endnotes Index
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