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Theatre, opera and consciousness : history and current debates /
The study of consciousness has developed considerably over the past ten years, with an emphasis on seeking to explain subjective experience. Our understanding of key questions relating to the performing arts, in theory and practice, benefits from the insights of consciousness studies. Theatre, Opera...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam :
Rodopi,
2013.
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| Colección: | Consciousness, literature & the arts ;
33. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Title Page; Copyright Page; Contents; Acknowledgments; Introduction; The Consciousness, Literature and the Arts research context, 2000-2013; Subjectivity, spirituality and the Vedanta model of consciousness; States of consciousness; The relation of states of consciousness to each other; Higher states of consciousness; Principles of pure consciousness; Contents and scope; PART ONE: THEATRE AND CONSCIOUSNESS; Chapter One. Consciousness and Western Theatre History:Theory and Examples; Schiller's concept of universal history; History and time: non-teleological and non-causal approach.
- Theatre history and time: non-teleological and non-causal approachHistory and time: teleological and causal approach; Theatre history and time: teleological and causal approach; Example one. Consciousness and drama:English biographical plays about famous artists; Introduction; Authenticity; Function and focus; Constellations; Adversity versus genius; Modes of identification; Peter Shaffer's Amadeus (1979); The tribute play and its relatives; Comedy about comedians; Long live Hollywood; VIP authors; Why so many-still?; Outlook; Summary; Example two. Consciousness in drama: synaesthesia.
- IntroductionSynaesthesia as a neurological phenomenon; Characters with synaesthesia in drama; Indirect references to synaesthesia; Summary; A speculation; Example three. Consciousness and performance: the relevance of story-telling for 21st century updates of plays and opera productions; Example four. Consciousness and performance: body against boundaries in Raim und Hoghe's choreography; Chapter Two. Consciousness and Ethics; Production; Reception; The consciousness studies perspective; Chapter Three. Consciousness and the concept of Guru; The term and the concept of Guru.
- History of Guru in the South Asian spiritual traditionsTypes of Gurus; Qualities of a Satguru; The roles and functions of a Guru; How to find a Guru; Qualities of a disciple; How the Guru teaches; Critique of Gurus; The Guru in the Performing Arts; Personal and institutional contexts, past and present; Characteristics of guru and shishya; Forms of respect and gratitude; Learning through imitation; Guru inside and outside; Outlook; Chapter Four. Consciousness, warm-up, cool-down and theactor as observer; Warm-up; Cool-down; Cool-down and the Indian approach to consciousness.
- Cool-down and the actor as observerPhase One: past, present and future; Phase Two: alertness and observation; Phase Three; Phase Four; PART TWO: OPERA AND CONSCIOUSNESS; Chapter Five. Opera and Spirituality; Introduction; Characteristics of singers' spiritual experiences; Explanatory frameworks; Research into strong emotional responses of opera audiences; Expanding the explanatory framework; Vedic linguistics; Sex, eros and femininity; Mise en scène; Conclusion: opera and spirituality; Chapter Six. Spiritual aspects of operatic singing; Introduction; Biography; Vogt on Vogt; The voice.