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PERFORMED ETHNOGRAPHY AND COMMUNICATION

IMPROVISATION AND EMBODIED EXPERIENCE

9781138789029 ::  PERFORMED ETHNOGRAPHY AND COMMUNICATION
ISBN:

9781138789029

EditorialTAYLOR & FRANCIS GROUP
Edicion:
Páginas:234
Idioma:INGLES
P.V.P.: 35,77 € + 4% IVA = 37,20 €
Dto 5% Ahorras 1,86 €
Importe final iva incl. 35,34 €
PLAZO DE ENTREGA 20 DIAS

<I><P>PERFORMED ETHNOGRAPHY AND COMMUNICATION</I> EXPLORES THE RELATIONSHIPS BETWEEN THESE THREE KEY TERMS, ADDRESSING THE IMPACT OF ETHNOGRAPHY AND COMMUNICATION ON THE CUTTING EDGE OF PERFORMANCE STUDIES. RANGING FROM DIGITAL PERFORMANCE, IMPROVISATION AND THE BODY, TO FIELDWORK AND STAGED COLLABORATION, THIS VOLUME IS DIVIDED INTO TWO MAIN SECTIONS:</P><UL><P><LI>"EMBODIED TECHNIQUE AND PRACTICE," WHICH ADDRESSES IMPROVISATION, DEVISED THEATRE-MAKING, AND BODY WORK TO CONSIDER WHAT MAKES BODIES MOVE, SOUND, BEHAVE, MEAN, OR APPEAR DIFFERENTLY, AND THE EFFECTS OF THESE DIFFERENCES ON PERFORMANCE;</LI><P></P><P><LI>"ORAL HISTORY AND PERSONAL NARRATIVE PERFORMANCE," WHICH IS CONCERNED WITH THE WAYS PERSONAL STORIES AND HISTORIES MIGHT BE TRANSFORMED INTO PUBLIC EVENTS, LOOKING AT QUESTIONS OF PERSPECTIVE, OWNERSHIP, AND RECEPTION. </LI><P></P></UL><P>INCLUDING SPECIFIC HISTORICAL AND THEORETICAL CASE STUDIES, EXERCISES AND ACTIVITIES, AND PRACTICAL APPLICATIONS FOR IMPROVISATION, ETHNOGRAPHY, AND DEVISED AND DIGITAL PERFORMANCE, <I>PERFORMED ETHNOGRAPHY AND COMMUNICATION</I> REPRESENTS AN INVALUABLE RESOURCE FOR TODAY’S STUDENT OF PERFORMANCE STUDIES, COMMUNICATION STUDIES OR CULTURAL STUDIES.</P>

<P><EM>LIST OF FIGURES<BR>ACKNOWLEDGMENTS<BR></EM><EM>PROLOGUE<BR>INTRODUCTION</EM></P><P><STRONG>PART 1 EMBODIED TECHNIQUE AND PRACTICE</STRONG></P><UL><P></P><UL><P></P></UL></UL><P><STRONG>CHAPTER 1 EMBODIED TECHNIQUE AND PRACTICE</STRONG></P><UL><LI>TECHNIQUE</LI><LI>PRACTICE</LI><LI>INTERVIEW WITH BEN SPATZ</LI><LI>EXAMPLES OF TECHNIQUE AND PRACTICE</LI><LI>CASE STUDY ONE: DIGITAL PORTOBELO WITH RENEE ALEXANDER CRAFT</LI></UL><P><STRONG>CHAPTER 2 IMPROVISATION</STRONG></P><UL><LI>THE INHERITED BODY WE BRING TO PERFORMANCE PRACTICE</LI><LI>KEY CONCEPTS IN IMPROVISATIONAL ACTING AND PERFORMANCE</LI><LI>EXAMPLES</LI><P></P><UL><P></P></UL></UL><P><STRONG>CHAPTER 3 DEVISED THEATRE</STRONG></P><UL><LI>ETHNOGRAPHIC DATA AND PROCESS</LI><LI>SUGGESTED STAGES&NBSP;FOR DEVISED PERFORMANCE</LI><LI>IN SUMMARY</LI><LI>INTERVIEW WITH HONEY POT PERFORMANCE</LI><LI>CASE STUDY TWO: THE DIGITAL IN DIALOGIC PERFORMANCE ACROSS TWO CONTINENTS</LI></UL><P><STRONG>CHAPTER 4 MOVEMENT AND SCENES OF BODY WORK</STRONG></P><UL><LI>WARM-UP IMPROVISATIONS FOR NEUTRAL MASK</LI><LI>EFFORTS AND FACTORS FROM LABAN/BARTENIEFF</LI><LI>IMPROVISATION EXERCISES FOR EFFORTS AND FACTORS</LI><LI>IMPROVISATIONAL EXERCISES FOR BESS</LI><LI>THE 5RHYTHMS FROM GABRIELLE ROTH</LI><LI>AUGUSTO BOAL AND NEWSPAPER THEATRE</LI><UL><P></P></UL></UL><P></P><P><STRONG>PART 2 ORAL HISTORY AND PERSONAL NARRATIVE PERFORMANCE</STRONG></P><UL><P></P></UL><P><STRONG>CHAPTER 5 THE VALUE OF ORAL HISTORY AND LIFE STORY</STRONG></P><UL><LI>WHO OWNS THE STORY?</LI><LI>INTERVIEW WITH E. PATRICK JOHNSON</LI><LI>ORAL&NBSP;HISTORY AS PERMISSION, PUBLIC PEDAGOGY, AND PROVOCATION</LI><LI>ON TRUTH</LI><UL><P></P></UL><P></P></UL><P><STRONG>CHAPTER 6 THE NARRATIVE/NARRATED EVENT AND THE ANATOMY OF EMOTION</STRONG>&NBSP;</P><UL><LI>THE NARRATIVE EVENT</LI><LI>THE NARRATED EVENT</LI><LI>CASE STUDY THREE: HOLOGRAMS IN A LIVE STAGING OF HISTORY: TRIANGLE SHIRTWAIST FACTORY FIRE</LI><P></P><P></P></UL><P><STRONG>CHAPTER 7 ANATOMY OF EMOTION: THE BRAIN, PERFORMANCE, AND ORAL HISTORY</STRONG></P><UL><LI>PROPRIOCEPTION</LI><LI>MIRROR NEURONS AND SIMULATION THEORY</LI></UL><P><STRONG>CHAPTER 8 PERFORMING ORAL HISTORY AND LIFE STORIES</STRONG></P><UL><P></P><UL><P></P></UL><LI>SOLO PERFORMANCE</LI><LI>EXERCISES</LI><UL><P></P><UL><P></P></UL></UL></UL><P><STRONG>CHAPTER 9 VIEWPOINTS IN REHEARSAL</STRONG></P><UL><P></P><UL><P></P></UL><LI>EXAMPLES</LI><LI>SELECTED VIEWPOINTS FOR ORAL HISTORY AND PERFORMANCE</LI><LI>CASE STUDY FOUR: THE STORYTELLER'S MAGNIFIED EMBODIMENTS IN REAL-TIME TELLING</LI><UL><P></P></UL><P></P></UL><P><STRONG>CHAPTER 10 JERZY GROTOWSKI'S PLASTIQUES AND VIOLA SPOLIN'S SPEECH AND SOUND</STRONG></P><UL><LI>THE BRAIN OF THE BODY AND THE BODY OF THE BRAIN</LI><LI>INTERVIEW WITH STEPHEN WANGH</LI><LI>EXAMPLES</LI></UL><P><EM>EPILOGUE: THE INTERMIX OF PERFORMANCE, ETHNOGRAPHY, AND COMMUNICATION<BR>APPENDIX: ILLUSTRATION OF CREATIVITY AND THE BRAIN<BR>BIBLIOGRAPHY<BR>INDEX</EM></P>

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