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What is a theatre laboratory? Why a theatre laboratory?This book tries to answer these questions focusing on the experiences and theories, the visions and the techniques, the differences and similarities of European theatre laboratories in the twentieth century.
What is a theatre laboratory? Why a theatre laboratory?This book tries to answer these questions focusing on the experiences and theories, the visions and the techniques, the differences and similarities of European theatre laboratories in the twentieth century.
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Autorenporträt
Mirella Schino (Author) , Paul Warrington (Translated by) Mirella Schino teaches Theatre History at the University of Roma Tre. She is a member of the scientific staff of ISTA (International School of Theatre Anthropology) and editor of the journal Teatro e Storia. She specialises in nineteenth-century acting, the twentieth-century theatre revolution, and ensemble theatre in Europe since the 1960s. Her books are: Il teatro di Eleonora Duse (1992, 2008); Il crocevia del Ponte d'Era. Storie e voci di una generazione teatrale. 1974-1995 (1996); La nascita della regia teatrale (2003); Racconti del Grande Attore (2004).
Inhaltsangabe
Preface: The Laboratory Dimension. I. Recalling a strange discussion: the first questions and the first definitions. Leszeck Kolankiewicz introduces the themes of Grotowski and alchemy. II. Conflicts within the 'collective mind'. Discussion on Decroux and the theatre as a non-religious abode. Also discussion on body language, on the value of the laboratory for self-knowledge and on its importance in the creation of performances. III.1. In the first half of the century. A closer look at Konstantin Stanislavski's Opera-Dramatic Studio (by Franco Ruffini) and Vsevolod Meyerhold's Studios and Workshops (By Beatrice Picon-vallin). III.2 In the second half of the century. Jerzy Grotowski's and Ludwig Flaszen's Teatr Laboratorium (by Zbigniew Osinski and Ugo Volli) and Eugenio Barba's Odin Teatret (by Nando Taviani). IV. The relationship between Studios in the first half of the twentieth and theatre laboratories in the second. The apparence of the Red Queen and her race. V. Five pieces from different mosaics with views of vanished landscapes. Index of Names and Places.
Preface: The Laboratory Dimension. I. Recalling a strange discussion: the first questions and the first definitions. Leszeck Kolankiewicz introduces the themes of Grotowski and alchemy. II. Conflicts within the 'collective mind'. Discussion on Decroux and the theatre as a non-religious abode. Also discussion on body language, on the value of the laboratory for self-knowledge and on its importance in the creation of performances. III.1. In the first half of the century. A closer look at Konstantin Stanislavski's Opera-Dramatic Studio (by Franco Ruffini) and Vsevolod Meyerhold's Studios and Workshops (By Beatrice Picon-vallin). III.2 In the second half of the century. Jerzy Grotowski's and Ludwig Flaszen's Teatr Laboratorium (by Zbigniew Osinski and Ugo Volli) and Eugenio Barba's Odin Teatret (by Nando Taviani). IV. The relationship between Studios in the first half of the twentieth and theatre laboratories in the second. The apparence of the Red Queen and her race. V. Five pieces from different mosaics with views of vanished landscapes. Index of Names and Places.
Preface: The Laboratory Dimension. I. Recalling a strange discussion: the first questions and the first definitions. Leszeck Kolankiewicz introduces the themes of Grotowski and alchemy. II. Conflicts within the 'collective mind'. Discussion on Decroux and the theatre as a non-religious abode. Also discussion on body language, on the value of the laboratory for self-knowledge and on its importance in the creation of performances. III.1. In the first half of the century. A closer look at Konstantin Stanislavski's Opera-Dramatic Studio (by Franco Ruffini) and Vsevolod Meyerhold's Studios and Workshops (By Beatrice Picon-vallin). III.2 In the second half of the century. Jerzy Grotowski's and Ludwig Flaszen's Teatr Laboratorium (by Zbigniew Osinski and Ugo Volli) and Eugenio Barba's Odin Teatret (by Nando Taviani). IV. The relationship between Studios in the first half of the twentieth and theatre laboratories in the second. The apparence of the Red Queen and her race. V. Five pieces from different mosaics with views of vanished landscapes. Index of Names and Places.
Preface: The Laboratory Dimension. I. Recalling a strange discussion: the first questions and the first definitions. Leszeck Kolankiewicz introduces the themes of Grotowski and alchemy. II. Conflicts within the 'collective mind'. Discussion on Decroux and the theatre as a non-religious abode. Also discussion on body language, on the value of the laboratory for self-knowledge and on its importance in the creation of performances. III.1. In the first half of the century. A closer look at Konstantin Stanislavski's Opera-Dramatic Studio (by Franco Ruffini) and Vsevolod Meyerhold's Studios and Workshops (By Beatrice Picon-vallin). III.2 In the second half of the century. Jerzy Grotowski's and Ludwig Flaszen's Teatr Laboratorium (by Zbigniew Osinski and Ugo Volli) and Eugenio Barba's Odin Teatret (by Nando Taviani). IV. The relationship between Studios in the first half of the twentieth and theatre laboratories in the second. The apparence of the Red Queen and her race. V. Five pieces from different mosaics with views of vanished landscapes. Index of Names and Places.
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