A dictionary of theatre anthropology : the secret art of the performer / Eugenio Barba, Nicola Savarese ; translated by Richard Fowler.

Barba, Eugenio., author.
Standardized Title:
Arte segreta dell'attore. English
Other Title:
Dictionary of theatre anthropology
2nd ed.
London ; New York : Routledge, 2006.
1 online resource (321 p.)
Theater -- Anthropological aspects.
Electronic books.
This the second English language edition of the classic text, ""A Dictionary of Theatre Anthropology"" subtly juxtaposes the visual demonstrations of the performers craft, from a wealth of Oriental and Occidental sources. Whereas most Western research is concerned with naturalism and psychological realism in acting, the ""Dictionary"" focuses on the performer's arduous and eclectic craft.
Front Cover; A Dictionary of Theatre Anthropology; Copyright Page; Contents; Preface: Eugenio Barba; Introduction; Theatre anthropology - Eugenio Barba; Similar principles, different performances; Lokadharmi and Natyadharmi; Balance in action; The dance of oppositions; The virtue of omission; Intermezzo; A decided body; A fictive body; A million candles; Anatomy; Can the sea rise above the mountain tops? - Nicola Savarese; Apprenticeship; Western examples - Fabrizio Cruciani; Founding fathers and pedagogical theatre at the beginning of the twentieth century
Creative process, theatre school and theatre cultureAuthor's pedagogy; An Indian example - Rosemary Jeanes Antze; Guru as parent, honoured preceptor; Guru-kula,study in the guru's home; Guru-dakshina, gifts and fees; Ekalavya, disciple extraordinaire; Guru-shishya-parampara; Balance; Extra-daily balance; Luxury balance; Extra-daily technique: the search for a new posture; Generalisations regarding balance; Balance in action; Steel and cotton; Why does the performer aim for a luxury balance? What does the performer's alteration of balance mean for the spectator?; Balance and imagination
Brecht's unknown danceDilation; The dilated body - Eugenio Barba; The bridge; Peripeteias; The negation principle; To think the thought; Twin logics; Seven-gated Thebes; The dilated mind - Franco Ruffini; Dramaturgy; Actions at work - Eugenio Barba; Energy; Kung-fu; Energy and continuity; Koshi, ki-hai, bayu; Animus, anima; Keras and manis; Lasya and tandava; Tame; Energy in space and energy in time; Santai, the actor's three bodies; Braking the action; The performer's presence; Equivalence; The equivalence principle; Dhanu: archery in Indian odissi dance
How one shoots an arrow in japanese kyogen theatreShooting with a bow; Eurasian theatre; Eurasian theatre - Eugenio Barba; Dawn; Eurasian theatre; Anti-tradition; Why; Roots; Village; To interpret a text or to create a context; Spectator; Incomprehensions and inventions: from the silk road to seki sano - Nicola Savarese; Exercises; Score and subscore: the significance of exercise in the actor's dramaturgy - Eugenio Barba; A physical action: the smallest perceptible action; The age of exercises; Inner life and interpretation; The complexity of emotion; The real relationship; Sport as dance
The physical dialogue with the spectatorsThe real action; Meyerhold's theatre fission; The exercise: a model of organic and dynamic dramaturgy; Form, rhythm, flow; Tacit knowledge; Face and eyes; Physiology and codification; The concrete gaze; The action of seeing; Showing that one is seeing; The natural face; The provisional face; The painted face; Feet; Microcosm, macrocosm; On point; Foot grammar; Hands; Physiology and codification of the hands; The hands: pure sound or silence; How to invent hands in movement; India: hands and meaning; Hands and the Peking Opera; Hands and Balinese dance
Hands and the Japanese theatre
Description based upon print version of record.
Includes bibliographical references and index.
Fowler, Richard.
Savarese, Nicola, 1945-
Publisher Number:
10.4324/9780203863954 doi
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