Auswahl der wissenschaftlichen Literatur zum Thema „Keith's Theatre“
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Zeitschriftenartikel zum Thema "Keith's Theatre"
Cahill, Dennis, und Deborah lozzi. „Theatresports / 1: Loosening“. Canadian Theatre Review 44 (September 1985): 30–36. http://dx.doi.org/10.3138/ctr.44.006.
Der volle Inhalt der QuelleGallasch, Keith. „Promise and Participation: Youth Theatre in Australia“. New Theatre Quarterly 2, Nr. 5 (Februar 1986): 90–93. http://dx.doi.org/10.1017/s0266464x00001950.
Der volle Inhalt der QuelleGarebian, Keith, und Meg Westley. „William Hutt: A Theatre Portrait“. Canadian Theatre Review 62 (März 1990): 81–82. http://dx.doi.org/10.3138/ctr.62.013.
Der volle Inhalt der QuelleJohnston, Denis W., und Harry Lane. „Up the Mainstream: The Rise of Toronto’s Alternative Theatres, 1968-1975“. Canadian Theatre Review 77 (Dezember 1993): 79–81. http://dx.doi.org/10.3138/ctr.77.013.
Der volle Inhalt der QuellePaul, Abigail. „Incorporating theatre techniques in the language classroom“. Scenario: A Journal of Performative Teaching, Learning, Research IX, Nr. 2 (01.07.2015): 115–24. http://dx.doi.org/10.33178/scenario.9.2.8.
Der volle Inhalt der QuelleFrey, Heather Fitzsimmons. „Intercultural Bodies: The Forbidden Phoenix and ANIME in Edmonton“. Canadian Theatre Review 139 (Juli 2009): 43–49. http://dx.doi.org/10.3138/ctr.139.006.
Der volle Inhalt der QuelleBradby, David. „The Playwright in the French Theatre — A Reply to Keith Gore“. Theatre Research International 16, Nr. 2 (1991): 128–41. http://dx.doi.org/10.1017/s0307883300010233.
Der volle Inhalt der QuelleBarroso, Tomaz. „Repetição e espontaneidade“. Conceição/Conception 11 (21.09.2022): e022004. http://dx.doi.org/10.20396/conce.v11i00.8668827.
Der volle Inhalt der QuelleWalden, Keith. „Whose Method? Culture, Commerce, and American Performer Training“. New Theatre Quarterly 19, Nr. 4 (08.10.2003): 318–25. http://dx.doi.org/10.1017/s0266464x03000216.
Der volle Inhalt der QuelleSmith, J. Percy. „Keith Garebian. George Bernard Shaw and Christopher Newton: Explorations of Shavian Theatre“. Theatre Research in Canada 15, Nr. 1 (Januar 1994): 114–15. http://dx.doi.org/10.3138/tric.15.1.114.
Der volle Inhalt der QuelleDissertationen zum Thema "Keith's Theatre"
McLeod, Cory. „The use of Keith Johnstone's concepts of 'Circles of Expectation' and Vogler's generic story structure as directorial aids in comedy theatre“. Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/13899.
Der volle Inhalt der QuelleThe area of research the author of this written submission has investigated is directing comedy theatre. The research problem dealt with in the research was the use of Keith Johnstone's concept of 'Circles of Expectation' and Vogler's generic story structure as directorial aids in comedy theatre. The method with which the research problem was explored was through writing and directing a comedy with UCT Drama Students entitled Image! The play opened at The Standard Bank National Arts Festival in Grahamstown on 1 June 2000 and later opened at The Arena Theatre in Cape Town on 18 June 2000. The following written submission contains two parts. The first part of the written submission is a theoretical explication of the creative method applied in directing Image! The second part contains the script of lmage! In the first chapter of the theoretical explication the author examines the theory of the creative method, which was applied in directing Image!, which views actor-director communication as improvisation. In the second chapter of the theoretical explication the author examines a theory of laughter, based on Arthur Koestler's The Act of Creation (1971) and explains how Koestler's theory of laughter informs the author's creative method of actor-director communication in comedy theatre. In the third chapter the author outlines the theories underlying Vogler's generic story structure and Johnstone's concept of 'Circles of Expectation' and how these were used as directorial aids in the process of directing Image! The author examines how these theories were used as methods of script development and how they were used to inform the comic specifics of the performance.
Garrett, Yanis. „Offer, Accept, Block, Yield: the poetics of open scene additive improvisation“. Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.
Der volle Inhalt der QuelleThis single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.
Robins, Gavin. „Moving the actor : towards an holistic approach to training and devising for performance“. Thesis, Queensland University of Technology, 2002.
Den vollen Inhalt der Quelle findenKeith, Caleigh M. „The Spirit of the Spitfire: Creating the Role of Nancy Shedman in Romulus Linney's "Holy Ghosts"“. ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1593.
Der volle Inhalt der QuelleHunter, Mark Dolan Jill. „Theatrical wonder“. 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1578/hunterm00223.pdf.
Der volle Inhalt der QuelleHunter, Mark. „Theatrical wonder“. Thesis, 2005. http://hdl.handle.net/2152/1578.
Der volle Inhalt der QuelleUrban, Jan. „Improvizační divadlo - divadelní sporty v České republice“. Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298684.
Der volle Inhalt der QuelleBücher zum Thema "Keith's Theatre"
Langergräber, Keith. Keith Langergraber: The theatre of the exploding sun. Kelowna, British Columbia: Kelowna Art Gallery, 2013.
Den vollen Inhalt der Quelle findenHlushko, Stanislav. The System of Theatrical Improvisation: Ukrainian publisher presents the essay "The system of theatrical improvisation,” a result of ten-year experience of actor Stanislav Hlushko in the "Black Square" theater, Kiev. Improvisation by itself is not a novelty. It is known from performances of the antiquity by strolling comedians, Commedia dell'arte performers in Italy... A myth was created that improvisation should be prepared, and there is no other way. In the middle of the last century, Viola Spolin and Keith Johnstone began to develop improvisation techniques… This book describes a fundamentally different approach to improvisation, free of any restrictions. Systematically described are the basic laws of existence of an actor in spontaneous improvisation, fundamentals of improvisational dialogue, structural improvisation, and various playing situations. Kiev, Ukraine: Dmytro Strelbytskyy, 2014.
Den vollen Inhalt der Quelle findenAmmen, Sharon. Never Were There Such Devoted Sisters. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040658.003.0002.
Der volle Inhalt der QuelleA Guide to Keith Johnstone's Gorilla Theatre (2) (Iti Format Guides). International Theatresports Institute, 2017.
Den vollen Inhalt der Quelle findenDavis, Jed H. Theatre Education: Mandate for Tomorrow : A Monograph by Eight Leaders of the American Theatre : Oscar G. Borckett, Keith M. Engar, Gregory A. Falls. Anchorage Pr Plays, 1985.
Den vollen Inhalt der Quelle findenWertheim, Arthur Frank. Vaudeville Wars: How the Keith-Albee and Orpheum Circuits Controlled the Big-Time and Its Performers (Palgrave Studies in Theatre and Performance History). Palgrave Macmillan, 2006.
Den vollen Inhalt der Quelle findenJanney, Caroline E., Hrsg. Petersburg to Appomattox. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640761.001.0001.
Der volle Inhalt der QuelleSomething Written In The State Of Denmark An Actors Year With The Royal Shakespeare Company. Oberon Books, 2010.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Keith's Theatre"
Hunter, Lynette. „Constellation: Engaging with Radical Devised Dance Theatre: Keith Hennessy’s Sol Niger“. In Performance, Politics and Activism, 132–53. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137341051_9.
Der volle Inhalt der QuelleGooch, Bryan N. S., und David Thatcher. „All’s Well that Ends Well“. In A Shakespeare Music Catalogue, 3–15. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0001.
Der volle Inhalt der QuelleHarker, Brian. „Buck and Bubbles“. In Sportin' Life, 31–44. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197514511.003.0004.
Der volle Inhalt der QuelleCorson, Keith. „Tyler Perry, T.D. Jakes, and the Birth of Gospel Cinema“. In From Madea to Media Mogul. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807045.003.0003.
Der volle Inhalt der QuelleGooch, Bryan N. S., und David Thatcher. „Cymbeline“. In A Shakespeare Music Catalogue, 237–79. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0006.
Der volle Inhalt der QuelleNoë, Alva. „Coughing and the Meaning of Art“. In Learning to Look, 97–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0027.
Der volle Inhalt der QuelleCorredera, Vanessa I. „“No tools with which to hear”: Adaptive Re-Vision, Audience Education, and American Moor“. In Reanimating Shakespeare's Othello in Post-Racial America, 156–205. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474487290.003.0004.
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