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6. Performer Training: Researching Practice in the Theatre Laboratory
2011Richmond Pitches +5 more
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Catastrophe : Beckett's Laboratory / Theatre
Modern Drama, 1987How would an artist like Samuel Beckett, whose work instinctively avoids the timely , write a political play? Or, more explicitly: how would the man who wrote the opening line of Murphy (,The Sun shone, having no alternative, on the nothing new") deal with a "relevant" issue?
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The Tulane Drama Review, 1965
What has been called “the intellectual adventure of the twentieth century” is a sudden awareness of the unexploited possibilities of the arts. It is more than a lucid hubris, more than a deliberate effort to transcend the limits imposed by tradition and prudence. It is a deep conviction that art must change its structure and even its function.
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What has been called “the intellectual adventure of the twentieth century” is a sudden awareness of the unexploited possibilities of the arts. It is more than a lucid hubris, more than a deliberate effort to transcend the limits imposed by tradition and prudence. It is a deep conviction that art must change its structure and even its function.
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The place of the laboratory theatre in the liberal arts
Quarterly Journal of Speech, 1928(1928). The place of the laboratory theatre in the liberal arts. Quarterly Journal of Speech: Vol. 14, No. 3, pp. 313-333.
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Theatre Laboratory as Space for Learning
2017This chapter provides and discusses a definition for the volatile concept of theatre laboratory, outlining an historical framework for this theatrical phenomenon. Common traits of theatre laboratories will be identified, as well as critical reflections against a cohesive look at theatre laboratory as a consistent form. While acknowledging the diversity
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South Africa: a laboratory for theatre research
Communicatio, 1985SUMMARY The author discusses alternative perspectives on the old paradigm for theatre studies and research in South Africa. He starts by discussing the characteristics of South African theatre research and points to aspects such as the geo-cultural placement and the multi-cultural nature of South African theatre.
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Discoveries and Recoveries in the Laboratory of Georgian Theatre
New Theatre Quarterly, 2011For a four-month period in 2010 David Francis Taylor worked as a research consultant with the Theatre Royal at Bury St Edmunds, the only working Regency playhouse in Britain. In this article Taylor reflects upon the experiences and insights he acquired over the course of this collaboration. In particular, he indicates how the theatre's restaging of the
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Group Learning and Leadership in Theatre Laboratory
2017In this chapter the author looks at group learning, group creativity and leadership in a theatre laboratory. Odin Teatret’s director and founder, Eugenio Barba, is presented in his role of charismatic leader. His own learning trajectory is briefly, but originally, described, going through the milestones that brought him to theatre laboratory: the ...
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Prague's experimental stage: Laboratory of theatre and semiotics
Semiotica, 2008The theoretical works of the Prague School’s structuralist thought, which became the basis of the contemporary semiotics of drama and performance, were often inspired by concurrent artistic experiments. This contribution features a few theoretical concepts such as aktualizace, semantic gesture, stage figure, and their connection with the contemporary ...
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Returning to the Subject: The Heritage of Reduta in Grotowski's Laboratory Theatre
TDR/The Drama Review, 2008In his book, Pamięć Reduty (Memories of Reduta), Zbigniew Osiński gives a historical account of the work and legacy of a theatre laboratory from the interwar period in Poland, one that Grotowski considered his company's predecessor. In the excerpts presented here, Osiński pursues a comparative analysis of similarities and differences between the two ...
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