website statistics The Theatrical Event: Dynamics of Performance and Perception - PDF Books Online
Hot Best Seller

The Theatrical Event: Dynamics of Performance and Perception

Availability: Ready to download

The Theatrical Event"adiscusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectatorOCothe theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performanceOCoon stage or in the street, historical or contemporaryOCothat is watched by an a The Theatrical Event"adiscusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectatorOCothe theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performanceOCoon stage or in the street, historical or contemporaryOCothat is watched by an audience is a theatrical event. The concept underlines the OC eventnessOCO of all encounters between performers and spectators.In the first part of the book, Willmar Sauter presents various models for the analysis of theatrical events, examining the relationship between performance and perception and the interaction between the performative event and its context. Using examples from ancient and recent theatre history and discussing traditional and nontraditional approaches to theatre theory, he builds a paradigmatic change in the concept of theatre. Constructs such as playing culture (as opposed to written culture), theatrical communication, theatricality, and theatre as a model of cultural event are brought into focus and their methodological advantages explored.The second part of the book uses the theoretical groundwork of the first part to enhance a variety of topics, including such legends as Sarah Bernhardt and other historical phenomena such as a Swedish Renaissance play, Strindberg's ideas on acting, the question of ethnicity in the political theatre of the 1930s, and critical writings on contemporary performances. Sauter examines how Robert Lepage's staging ofa"A Dream Play"ais viewed by critics and scholars and analyzes Dario Fo's intercultural transfer to outdoor performances in Stockholm and the unusual sensationalism of Strindberg'sa"Miss Julie."


Compare

The Theatrical Event"adiscusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectatorOCothe theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performanceOCoon stage or in the street, historical or contemporaryOCothat is watched by an a The Theatrical Event"adiscusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectatorOCothe theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performanceOCoon stage or in the street, historical or contemporaryOCothat is watched by an audience is a theatrical event. The concept underlines the OC eventnessOCO of all encounters between performers and spectators.In the first part of the book, Willmar Sauter presents various models for the analysis of theatrical events, examining the relationship between performance and perception and the interaction between the performative event and its context. Using examples from ancient and recent theatre history and discussing traditional and nontraditional approaches to theatre theory, he builds a paradigmatic change in the concept of theatre. Constructs such as playing culture (as opposed to written culture), theatrical communication, theatricality, and theatre as a model of cultural event are brought into focus and their methodological advantages explored.The second part of the book uses the theoretical groundwork of the first part to enhance a variety of topics, including such legends as Sarah Bernhardt and other historical phenomena such as a Swedish Renaissance play, Strindberg's ideas on acting, the question of ethnicity in the political theatre of the 1930s, and critical writings on contemporary performances. Sauter examines how Robert Lepage's staging ofa"A Dream Play"ais viewed by critics and scholars and analyzes Dario Fo's intercultural transfer to outdoor performances in Stockholm and the unusual sensationalism of Strindberg'sa"Miss Julie."

19 review for The Theatrical Event: Dynamics of Performance and Perception

  1. 5 out of 5

    Ana

    Carrying on with the geeky theatre books, I am now commenting on this book by Willmar Sauter. This man analyzes several types of performance (and I say performance because not everything that he analyzes is theatre in the more conventional sense of the word) to talk about what makes all of these events theatrical or not. He focuses a lot in the relationship between the spectator and the actor and how the audience makes theatre theatrical. The book is interesting. It is composed by various essays Carrying on with the geeky theatre books, I am now commenting on this book by Willmar Sauter. This man analyzes several types of performance (and I say performance because not everything that he analyzes is theatre in the more conventional sense of the word) to talk about what makes all of these events theatrical or not. He focuses a lot in the relationship between the spectator and the actor and how the audience makes theatre theatrical. The book is interesting. It is composed by various essays that explore different aspects of the theatrical event, for example, there is an essay that explores different levels of ways of communicating, other that talks about a research study done to several groups of spectators to compare their experiences on various theatre plays, another one that talks about the staging, development and importance of a play called Disa - apparently very important in Sweden. But it also has essays about works of Dario Fo, or about Sarah Bernhardt. I mean, as you can see, it covers a wide range of topics and I think one of his aims is to emphasize that all of this is part of the field of theatre studies that is still a bit abandoned and not properly explored or classified correctly - you know, all those people who say theatre is not something serious and deserving of further research (even more so in the year 2000, when the book was published). Well, some essays are certainly more interesting than others, although it probably depends also in the academic interests of each person. I mean, for me, for example, the one about the perceptions of the different spectator groups was very interesting, while the Sarah Bernhardt one not so much, but to each his own. The first part of the book has essays that are more focused in concept explanation, while the second one gives more examples and case studies where the concepts are applied. But even Sauter concludes his book admitting that his explorations are just the tip of the iceberg of what, one would hope, was a field with a lot to study. And well... yes, there are books on theatre theory if one knows where to look. Although certainly not on all the topics that, at least I, would like to read about; and certainly they are not appreciated enough; and there certainly could be more. If you're thinking whether to read it or not... I imagine if you are not that interested in theatre, unless you are great fans of one of the plays or actors mentioned, you'll probably not be interested. If you do like theatre, I suggest you have a look at the index. It covers such a wide range of topics that it is hard to tell who might find it useful, but if any of the essays catches your eye, don't fear the book being too complex, and none of the essays is too long to cope with.

  2. 5 out of 5

    Hosni

  3. 4 out of 5

    J Burton

  4. 4 out of 5

    Abel

  5. 5 out of 5

    Eleanor

  6. 4 out of 5

    Biganderz

  7. 4 out of 5

    Davidovic

  8. 4 out of 5

    Ayat Ayman

  9. 4 out of 5

    Milica Šećerov

  10. 4 out of 5

    Daria

  11. 4 out of 5

    Joanna Saw

  12. 4 out of 5

    Rácz Endre

  13. 4 out of 5

    Simon Baetens

  14. 5 out of 5

    Sofie Amundsen

  15. 5 out of 5

    Nellie Conniglio

  16. 4 out of 5

    glansandi

  17. 4 out of 5

    Esther

  18. 5 out of 5

    Lorenzo

  19. 4 out of 5

    Leigh

Add a review

Your email address will not be published. Required fields are marked *

Loading...