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James Grieve: 100 Notes on Theatre
Directing

100 Notes on Theatre Directing

Methuen Drama Engage

British Theatre 2010-2019

Staging Systemic Violence

Melland Schill Perspectives on International Law

Cinematic Perspectives on International Law

Emergency doctor and amatuer sleuth Tekla Berg grapples with her family's past as terror attack on Stockholm looms

Blood Will Tell

Film Theory in Practice

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. This book provides a broad introduction to network theory and shows how this theory can motivate a close reading of Robert Altman's 1975 film Nashville. By offering a tour of the expansive intellectual network we can now call network theory, the book demonstrates how analyzing the ubiquitous characteristics of networks changes the way film fans, students, and scholars might understand cinema's storytelling possibilities. It models a method of interpretation (focusing on character, cinematography, and sound) that students can practice with other feature films. Moreover, it situates film within a larger discourse about art and society, offering students the tools for analyzing other large-form cultural objects. Organized into two parts, the first section of the book presents an overview of network theory, its various facets as a still-emerging discourse, and its historical context in post-industrial life, before turning to Altman's Nashville. It then explores the film's narrative style and character system as a special case of network cinema, to show how there is more than "connectedness" alone to the network form.

Network Theory and Nashville

Thinking Through Theatre

From Cyborg to the Apparatus

Figures of Posthumanism in Contemporary Performance

This unprecedented angle on the oeuvre of Robert Wilson reveals the importance of chair design for his cross-medium artFor American experimental theater stage director and playwright Robert Wilson (born 1941), theater is a totality of visual, textual and performative mediums. Wilson has incorporated furniture designs into his scenography since his earliest productions in the 1960s. "In almost all of my plays, there is a chair specially designed," he said. "Often, the chairs are much like an actor." Wilson's chairs, with their frequently referential names (the Kafka Chair, Queen Victoria Chairs, the Mondrian Chair), assume expanded significance as the surviving artifacts of each performance. The works in this publication range from 1969 to 2011, from the stainless steel mesh Parzival Sofa (1987) to the painted wood Clementine Hunter Rocker (2011). Wilson's practice as a designer is illuminated by his practice as a collector, with pieces in materials ranging from wood, bronze and steel to taxidermied legs, tempered glass and neon. This publication includes several works never previously exhibited.

Robert Wilson: Chairs

And Not Screwing It Up

The Essential Guide to Doing the School Play

This collection analyzes Joshua Oppenheimer's diptych The Act of Killing and The Look of Silence as a cinematic event that invites interrelated questions on historical memory, truth and reconciliation, and the limits of documentary filmmaking. 

Featuring a new interview with Joshua Oppenheimer himself, On the Act of Looking affirms Oppenheimer's use of fiction and manipulation as a technique to expose, contrary to the classic documentary form, not so much a reality behind the appearance of things, but how appearance as such can become a site of intervention or truth-telling. Contributors to this collection, including film scholars, art historians, historians, political scientists, philosophers, and Indonesian human rights activists, answer why Oppenheimer's documentary films not only have received near universal praise and admiration, but also why this praise is often qualified by surprise and fascination.

Reading Joshua Oppenheimer’s Diptych: The Act of Killing and The Look of Silence

On the Act of Looking

From seminal actor Lucian Msamati comes a fascinating behind-the-scenes account of working on a major production of one of the most iconic plays ever written - Samuel Beckett's Waiting for Godot.

100 Notes on Theatre Directing

Informations bibliographiques

Mots-clés

Informations bibliographiques

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