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Physical Actor: Contact Improvisation from Studio to Stage 2nd edition [Hardback]

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(University of California, Irvine, USA)
  • Formāts: Hardback, 246 pages, height x width: 229x152 mm, weight: 453 g, 132 Halftones, black and white
  • Izdošanas datums: 16-Oct-2018
  • Izdevniecība: Routledge
  • ISBN-10: 1138291846
  • ISBN-13: 9781138291843
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  • Cena: 191,26 €
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Physical Actor: Contact Improvisation from Studio to Stage 2nd editionPalielināt
  • Formāts: Hardback, 246 pages, height x width: 229x152 mm, weight: 453 g, 132 Halftones, black and white
  • Izdošanas datums: 16-Oct-2018
  • Izdevniecība: Routledge
  • ISBN-10: 1138291846
  • ISBN-13: 9781138291843
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781138291843.html
Keywords:
The Physical Actor is a comprehensive book of exercises for actors. It is carefully designed for the development of a strong and flexible physical body able to move with ease through space and interact instinctively on-stage. Annie Loui draws on her training with Etienne Decroux, Carolyn Carlson, and Jerzy Grotowski to bring Contact Improvisation into the theatrical sphere. She explains how it can be used to develop alert and embodied listening skills in the actor, and how to apply it to working with texts on stage.

This book will guide the reader through a full course of movement skills, including:











Partnering skills





Spatial awareness for groups and individuals





Fine motor control through mime





Heightened co-ordination and sustained motion

New for this edition are additional partnering exercises, in-depth applications of contact improvisation to monologues and scenes, and a chapter on devising physical theatre performances.
Foreword ix
Acknowledgments xi
Endorsements xii
Introduction 1(4)
1 Warm-Up and Alignment
5(25)
Warm-up: what we do and how we approach it
5(3)
Warm-up sequence
8(22)
The cat
8(2)
The bridge
10(3)
Neck stretch
13(1)
The butterfly
14(4)
The plough
18(2)
Sternum lift
20(3)
Spine undulation
23(1)
Floating
24(2)
Fast abs
26(1)
Realign against the floor
27(1)
Spine twist
28(2)
2 Space
30(19)
Spatial exercises
31(13)
Milling exercise 1
32(1)
Milling exercise 2
32(1)
Milling exercise 3
33(1)
Passing diagonals
34(2)
Amoeba exercise: "instant art"
36(1)
Fishes exercise
37(1)
Trust/nod exercise 1
38(1)
Trust/nod exercise 2
39(1)
Environment/group exercise
40(1)
Parallel walking exercise
41(2)
Samurai warrior
43(1)
Freeze frames
44(5)
Freeze frame exercise 1: physical extremes
44(1)
Freeze frame exercise 2: given circumstances
45(1)
Freeze frame exercise 3: partnering with imagery
46(1)
Freeze frame exercise 4: intimacy
47(2)
3 Mime
49(40)
Why study mime?
49(2)
Alignment
51(1)
Isolations: to drill
52(14)
Head
53(6)
Shoulder
59(4)
Chest
63(2)
Pelvis
65(1)
Direct application: improvisation
66(6)
Bus stop improvisation
66(1)
Isolation circle toss exercise
67(1)
Isolation leading exercise
68(1)
Mannequin exercise
69(1)
Statuary garden exercise
70(2)
Mime illusions: articulated action
72(10)
Hand and wrist articulation exercises
72(1)
Wall illusion
73(1)
Small-object-drop illusion
74(1)
Ball drop illusion
75(1)
Ball throw to the sky illusion
76(1)
Ball toss side to side illusion
76(1)
Ball toss improvisation
77(1)
Fixed Points
78(4)
Slow motion
82(7)
The three-minute sit
83(1)
Crane rotation
84(1)
Crane rotation inverted
85(2)
Real time versus slow motion
87(2)
4 Partnering
89(44)
The arc and the exercises
90(43)
Group 1 exercises: weight and counterbalance
90(4)
Group 2 exercises: weight support (skeleton)
94(7)
Group 3 exercises: floor support
101(13)
Group 4 exercises: lifts
114(19)
5 Contact Improvisation Practice and Scene Study
133(49)
Preliminary improvisation
135(6)
Tai chi hands
135(1)
Exercise 1: flying saucer improvisation (solo)
136(1)
Exercise 2: trading fours
136(3)
Exercise 2: variations
139(2)
Contact improvisation
141(8)
What to look for when observing
145(2)
Contact improvisation: milling
147(1)
Contact improvisation: tai chi hands
147(1)
Contact improvisation: fox-trot
147(1)
Contact improvisation: release
148(1)
Contact improvisation: eyes closed
148(1)
Contact improvisation: amoeba
148(1)
Contact improvisation: twister
149(1)
Contact improvisation: random beginning
149(1)
Contact improvisation with text
149(3)
Contact improvisation with dialogue
151(1)
Contact improvisation with a scene
152(30)
Romantic comedy in contact
153(4)
Shakespeare in contact
157(7)
Ibsen in contact
164(6)
Contemporary drama in contact
170(12)
6 Contact Into Realism
182(18)
Contemporary comedy in contact
183(4)
Contemporary comedy: out of contact into realism
187(4)
Monologues in contact
191(4)
Monologue: out of contact into realism
195(3)
How to get there
198(2)
7 Devising
200(25)
Movement theater creation: the early work
201(1)
Generating original work
202(6)
Preliminary exercises
202(2)
Structural elements: building blocks for construction
204(2)
Movement theater: the guidelines
206(1)
Critique
207(1)
Devising with a group: Counter Balance Theater examples
208(17)
Jane Eyre: our practical creative process in adapting literature for the stage
209(6)
The Iliad: Menin (Rage): slow motion as a combat tool
215(2)
Reading Frankenstein: causality between live performers and technology
217(2)
Elsewhere: isolations and physical theater as a metaphor
219(2)
She: spatial orientation in staging
221(1)
Counter Balance; steal from us!
222(3)
Index 225
Annie Loui works as a director/choreographer, and is the Artistic Director of Counter-Balance Theater. Her original physical theater pieces have been seen in France, Monaco, West Germany, Italy, and the United States. She runs the Movement Program for MFA Actor Training at the University of California, Irvine.