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The Second of the Four Brothers: Feeling of Form

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...‘Unless an actor is willing to nurture within himself a love of theatrical form in his speech, movements and even in his characterisations, he is doomed to dilettantism, which he then construes as freedom’ Bring your attention...

The Fourth of the Four Brothers: Feeling of Entirety

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...‘The ability to feel the whole thing is absolutely necessary for the artist: to have the feeling of the whole performance, the whole art, the whole scene, everything’. Bring your attention to the polarity between the top...

Expansion and Contraction: Expansion as a principle

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...You can read about expansion and contraction in TA, 72–5, drawings two and three; TOA, 68; MC, 133; HA, 21, 40, 88; RS, 304.‘Remain objective and you will enlarge your own psychology immensely’. Stand and contact the ideal centre...

Imaginary Centres

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...For more on imaginary centres, see TA, 80–4; TOA, xxxvii–viii, 52–5, 100–6; MC, 71–3,137–8, 79–80; AA, 1:7; MCT, 2:8; HA, 71–5, 93–107; BV, 120–8, 206–11, 214; RS, 187–97; MC, 71–3, 137–8, 79–80.‘Every living person, according to his...

Archetypes

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...For more on archetypes, see LP, 112–15; HA, 66–71, 149–63; RS, 243–51; MC, 133–5, 138–9.‘There are no things which are without an archetype’.Chekhov encourages us to think of character in terms of the relation between highly specific...

Further Qualities of Movement

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...‘We can combine a number of qualities in our action, and in every case we will get the same result. We will have at our disposal feelings, real feelings, that will follow our movements...

The Model as Object and Idea

Thea Brejzek

Thea Brejzek (PhD, Mphil) is Professor for Spatial Theory at the University of Technology Sydney, Australia, and an internationally recognised expert in scenography. In 2011, she was the founding Curator for Theory at the Prague Quadrennial for Performance Design and Space (PQ). Recently, she has been a Visiting Professor at Bartlett School of Architecture, UK, and has been appointed to the international scientific advisory board of the Bauhaus, Dessau. Author affiliation details are correct at time of print publication.

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and

Lawrence Wallen

Lawrence Wallen (PhD, MArch) is Professor and Head of School of Design at the University of Technology Sydney, Australia. From 2001-12 he was Professor of Scenography at the Zurich University of the Arts. A trained visual artist and architect, his research and practice is concerned with representation of space, spatial narrative and postcolonial readings of landscape. Author affiliation details are correct at time of print publication.

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The Model as Performance : Staging Space in Theatre and Architecture

Methuen Drama, 2018

Books

...The model as object and idea plays a prime role in the design processes of architecture and theatre, and the language with which to classify and describe its physical features is fundamentally interdisciplinary. The model is shown...

Action, Memory and Meaning: Embodied Cognition and the Actor’s Fictional Present

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...As an embodied art, theatre requires actors to engage in most, if not all, of the cognitive processes that humans conduct in daily life. Actors display expertise in eliciting and regulating features of behaviour that most people simply...

Introduction: Towards an Embodied Theatrology?

Gabriele Sofia

Gabriele Sofia teaches theatre studies and physical theatre at Paul Valéry University, Montpellier, France. Since 2006 he has carried out an interdisciplinary research project on the neurophysiology of the actor and the spectator between the Sapienza University of Rome and the Maisons des Sciences de l’Homme Paris Nord. From 2009 to 2013 he promoted and organized five editions of the International Conference “Dialogues between Theatre and Neuroscience” at Sapienza. Author affiliation details are correct at time of print publication.

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Theatre and Cognitive Neuroscience

Bloomsbury Methuen Drama, 2016

Books

...Translation by Victor Jacono. Introduction The concept of ‘embodied theatrology’ was originally proposed by Marco De Marinis in March 2011...

Radiating

Sinéad Rushe

Sinéad Rushe is a lecturer in Acting and Movement on the BA (Hons) in Acting at Central School of Speech and Drama, London (CSSD) and teaches the Michael Chekhov Technique for acting teachers and for professional actors and directors (through Living Pictures and The Actor's Centre). She studied the Michael Chekhov technique intensively at the Michael Chekhov Studio in New York and London as well as in Paris. A director, performer and acting teacher, one of her recent works, Out of Time, was nominated for a 2010 Olivier Award and 2009 Dance Critic's Circle Award for its London run. Sinéad is the co-translator into French, with Sarah Hirschmuller, of several works by English playwright Howard Barker. Author affiliation details are correct at time of print publication.

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Michael Chekhov’s Acting Technique : A Practitioner’s Guide

Methuen Drama, 2019

Books

...For more on radiating see TA, 11–13; TOA, 46–8; HA, 45–6; MC, 131–3; LP, 124, 147–8; RS, 309–10; MCT, 1:4.‘Some actors forget or ignore that the characters they portray have living souls, and that these souls can be made manifest...