Topic: Theatre Practitioners in the 20th & 21st Century
Details:
Please follow details instructions from provided document
Question:
Discussing the concept of embodied acting emerging from the second half of the eighteenth century Erika Fischer-Lichte states, "The actor was meant to transform his sensual body into a semiotic one which would serve as a material carrier for textual meaning." (Fischer-Lichte, 2008, p.77)
Referring to two practitioners studied, discuss the ways in which their work engages with the actor/performer's body.
Criteria
• Understand and interpret the question
• Demonstrate understanding of the work of practitioners referred to through appropriate reference to their theories and methodologies
• Refer effectively to appropriate productions and/or practical work undertaken by practitioners
• Constructively compare and contrast the theories and methodologies of different practitioners working in different contexts
• Use secondary sources to discuss issues and themes and to formulate your own views
• Make effective use of citations to support your own ideas.
• Present your own ideas effectively and concisely
• Correctly reference all sources
*Specific Areas to Consider*:
• Demonstrate understanding of the work of practitioners referred to through appropriate reference to their theories and methodologies
• Refer effectively to appropriate productions and/or practical work undertaken by practitioners
• Constructively compare and contrast the theories and methodologies of different practitioners working in different contexts
Resources
PRIMARY SOURCES (MUST LOOK INTO FIRST)
Erika Fischer-Lichte (Key Practitioner)
(Key Materials)
• The Transformative Power of Performance: A New Aesthetics (2008) *CONSISTS OF QUOTE FROM QUESTION*
• The Show and the Gaze of Theatre: A European Perspective (1997) *Look at Page 294 for semiotic model of actor's body*
• Performance and the Politics of Space: Theatre and Topology (2013)
• Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre (2005) (Additional Materials)
• Elam, K. (2003) The Semiotics of Theatre and Drama *Look also in ‘Extensions: Theoretical Models and Critical Applications' pp 203-215*
• http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=633
• Fischer-Lichte, E. ‘On the Threshold: Aesthetic Experience in Performances' Gehm, S & Husemann, P. In Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. (2015, pp. 227-234)
Pina Bausch (Practitioner)
(Key Materials)
• Climenhaga, R. Pina Bausch. London: Routledge, 2009. Print.
• Fernandes, C. Chapter 2 ‘The Creative Process: (Dis)Assembling Characters And Scenes'. In Pina Bausch And The Wuppertal Dance Theater - The Aesthetics Of Repetition And Transformation (pp. 25-34)
• Manning, S. (2010). ‘In Memory: Pina Bausch 1940-2009', The Drama Review. 54:1, 10-13
• Larlham, D (2010). ‘Dancing Pina Bausch', The Drama Review. 54:1, 150-160
• Birringer, J. Chapter 6 ‘Pina Bausch: Dancing Across Borders'. In Theatre, Theory, Postmodernism (Pp.132-145)
• Servos, N (1980-81) ‘The Emancipation of Dance: Pina Bausch and the Wupperthal Dance Theatre', Modern Drama, 23:4, 435-447
All quotes are included in word count, if possible. Only use direct quote when necessary explaining
Please look through all sources provided; *Key & Additional Materials*
No# of Pages: 12 pages (3,000 words)
Subject Area: Drama
Paper Style: APA
No# of Sources Required: 35