This unique collection of specially conducted interviews with key members of internationally significant companies reflects on the energies of contemporary ensemble, opening up the subject for students and practitioners alike. Ranging from the RSC to the Berliner ensemble, from text-centric ensembles to devising groups, it presents an indispensible resource for understanding the theatrical present.
This unique collection of specially conducted interviews with key members of internationally significant companies reflects on the energies of contemporary ensemble, opening up the subject for students and practitioners alike. Ranging from the RSC to the Berliner ensemble, from text-centric ensembles to devising groups, it presents an indispensible resource for understanding the theatrical present.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
PART I: Redefinitions of Ensemble 1.1. MICHAEL BOYD (Royal Shakespeare Company): A 'Contingent Community' in a Free Market Economy 1.2. GABOR TOMPA (Hungarian Theatre of Cluj): Between the East and the West Today 1.3. HERMANN WÜNDRICH (The Berliner Ensemble): How the Berliner Ensemble Changes With Time 1.4. YURI BUTUSOV (guest director Satirikon Theatre): Directing as an Art of Composition 1.5. MAX STAFFORD-CLARK (Out of Joint): A Tried and Tested Ensemble Methodology 1.6. ELIZABETH LECOMPTE (The Wooster Group): 'A Group of People Around a Place' 1.7. LYN GARDNER (The Guardian Newspaper): On Regional Theatre-Making PART 2: Working Processes 2.1. ANTON ADASSINSKY and ELENA YAROVAYA (Derevo): Beyond Words 2.2. EMMA RICE (Kneehigh Theatre): From a Community to the West End 2.3. JOANNA HOLDEN (freelance actor, Northern Stage, Kneehigh, Cirque du Soleil): On Being an Ensemble Actor in the UK 2.4. IAN MORGAN (Song of the Goat): An Actor's Journey Between Wales and Wroclaw 2.5. DAN ROTHENBERG (Pig Iron): 'Comic Figures Repurposed' 2.6. ADRIANO SHAPLIN (The Riot Group): Ensemble as a Musical 'Intersubjective Unit' 2.7. HANNA SLÄTTNE (Tinderbox Theatre): Working together in Northern Ireland 2.8. ALEXANDER KELLY (Third Angel) and CHRIS THORPE (Unlimited Theatre): On Writing and Performance in an Ensemble PART III: Ensemble and the Audience 3.1. MIKE ALFREDS (ex-Shared Experience, Method and Madness): Sharing the Experience of Imagination 3.2. GREG ALLEN (The Neo-Futurists): An Interactive Ensemble 3.3. PHELIM MCDERMOTT (Improbable): 'Safe Emergencies' 3.4. PETER ECKERSALL (Not Yet It's Difficult): The Dramaturgy of Long-Term Cross-Cultural Collaboration 3.5. KATARINA PEJOVI¿ and BORIS BAKAL (Shadow Casters): Ensemble as a Tool of Civic Engagement 3.6. DAVID BAUWENS, ALEXANDER DEVRIENDT, JOERI SMET (Ontroerend Goed): On Courting the Audience 3.7. RICHARD JORDAN (Richard Jordan Productions): Towards a Global Ensemble
PART I: Redefinitions of Ensemble 1.1. MICHAEL BOYD (Royal Shakespeare Company): A 'Contingent Community' in a Free Market Economy 1.2. GABOR TOMPA (Hungarian Theatre of Cluj): Between the East and the West Today 1.3. HERMANN WÜNDRICH (The Berliner Ensemble): How the Berliner Ensemble Changes With Time 1.4. YURI BUTUSOV (guest director Satirikon Theatre): Directing as an Art of Composition 1.5. MAX STAFFORD-CLARK (Out of Joint): A Tried and Tested Ensemble Methodology 1.6. ELIZABETH LECOMPTE (The Wooster Group): 'A Group of People Around a Place' 1.7. LYN GARDNER (The Guardian Newspaper): On Regional Theatre-Making PART 2: Working Processes 2.1. ANTON ADASSINSKY and ELENA YAROVAYA (Derevo): Beyond Words 2.2. EMMA RICE (Kneehigh Theatre): From a Community to the West End 2.3. JOANNA HOLDEN (freelance actor, Northern Stage, Kneehigh, Cirque du Soleil): On Being an Ensemble Actor in the UK 2.4. IAN MORGAN (Song of the Goat): An Actor's Journey Between Wales and Wroclaw 2.5. DAN ROTHENBERG (Pig Iron): 'Comic Figures Repurposed' 2.6. ADRIANO SHAPLIN (The Riot Group): Ensemble as a Musical 'Intersubjective Unit' 2.7. HANNA SLÄTTNE (Tinderbox Theatre): Working together in Northern Ireland 2.8. ALEXANDER KELLY (Third Angel) and CHRIS THORPE (Unlimited Theatre): On Writing and Performance in an Ensemble PART III: Ensemble and the Audience 3.1. MIKE ALFREDS (ex-Shared Experience, Method and Madness): Sharing the Experience of Imagination 3.2. GREG ALLEN (The Neo-Futurists): An Interactive Ensemble 3.3. PHELIM MCDERMOTT (Improbable): 'Safe Emergencies' 3.4. PETER ECKERSALL (Not Yet It's Difficult): The Dramaturgy of Long-Term Cross-Cultural Collaboration 3.5. KATARINA PEJOVI¿ and BORIS BAKAL (Shadow Casters): Ensemble as a Tool of Civic Engagement 3.6. DAVID BAUWENS, ALEXANDER DEVRIENDT, JOERI SMET (Ontroerend Goed): On Courting the Audience 3.7. RICHARD JORDAN (Richard Jordan Productions): Towards a Global Ensemble
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