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E-raamat: Theatre of Exile

Translated by , , Edited by (University College London, UK)
  • Formaat: EPUB+DRM
  • Ilmumisaeg: 24-Jul-2015
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781317500865
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  • Formaat: EPUB+DRM
  • Ilmumisaeg: 24-Jul-2015
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781317500865

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How might the organic link between theatre-making and political action be revitalised? And how might a spontaneous vision of a theatre of and for ordinary people be reignited? Since his political exile from Argentina in 1977, theatre director and producer Horacio Czertok has devoted his life to re-imagining the art of the theatre, taking it out of its comfort zone into places of social conflict such as deprived suburban areas, prisons and mental hospitals, as well as open, public spaces, engaging directly with audiences in a spirit of abiding, carnivalesque, and deeply political theatrical experimentation. Adapting a rigorous Stanislavskian theatrical training to the exigencies of raw, immediate encounters with audiences in marginal and open spaces, Czertok’s theatre-making is unique, not only in the kinds of capacities and skills it allows actors to develop, but also in the way it renders the question of political efficacy immanent to the very process of making theatre.

Providing Czertok’s own, highly personal account of his trajectory in the global scene of theatre-making over the past half-century, this is a book about the theatre of exile – a theatre of streets, prisons, hospitals, open to direct and unexpected encounters with audiences and their life-experiences.

Photos by Luca Gavagna

List of illustrations
x
Foreword xii
Introductory note xviii
Acknowledgements xix
Preface: Fahrenheit revisited xx
PART I Theatre in open spaces
1(45)
A new beginning
1(4)
Ferrara: meeting Antonio Slavich
3(2)
Pedagogy and theatre practice: the group
5(5)
The school of the street
10(3)
Parallel lives
10(1)
A dramaturgy for street theatre
11(2)
From the character to the theme
13(1)
Luci: images
13(10)
The non-audience of street theatre
23(1)
From non-audience to audience
24(9)
Time robbers
25(1)
A Prussian general at the service of the theatrical arts
26(7)
Strategy and moral force
26(2)
Boldness
28(1)
Perseverance
29(1)
Surprise
29(1)
Stratagem
30(1)
Concentration of forces in a space
31(1)
Knowing the terrain
32(1)
Communications systems
33(1)
The street as a theatrical place
33(2)
From the city to the touring village: Mir Caravane
35(2)
Quijote!
37(3)
Quijote!: images
40(3)
Emigration and theatre
43(3)
PART II The edge of the coin
46(49)
The third side
46(1)
Theatre workshop and techniques
47(1)
The reasons of the heart
47(1)
Pleasure and creativity
48(2)
Theatre and mental health
50(7)
The shaman in the university
57(3)
Theatre in prison: dignity restored
60(3)
Reading the body like a book
63(1)
The actor: a professional liar?
64(3)
Teacher and pupil: a drama in many acts
67(2)
The humility of the miner
69(1)
The art of observing
70(1)
Observations on observation
71(1)
Baudelaire's `pilot'
72(1)
On the language of the gesture
73(6)
The probable birth of beauty
73(1)
Gesture and mask
74(1)
Organic gesture, real gesture
75(2)
The invisible gesture
77(2)
Theatre and magic
79(2)
A look at primordial stupidities
81(1)
Other ways of seeing
82(3)
Magic and everyday life
85(2)
God laughed ...
87(3)
The voice of the wolf
90(1)
Fire
91(4)
PART III The method of exile
95(42)
Theatre, storytelling and experience
95(3)
Conflict as an investigative technique
98(1)
From the everyday to the out-of-the-everyday
98(1)
The legend of the Method
99(6)
From legend to practice: the improvisation exercise
105(26)
Exercise preparation plan
106(1)
From Maria's working diary
106(4)
Individual preparation
110(2)
Working with images
111(1)
The role of remembrance
112(1)
Relationships
112(3)
The social relationship
112(1)
The emotional relationship
112(2)
The ethical-philosophical relationship
114(1)
The environmental relationship
115(1)
The motives: the becauses
115(3)
Characteristics of the request
115(1)
What a because is
116(1)
The secret reason, or the chameleon strategy
116(1)
The reasons for the becauses
117(1)
The urgency in the becauses
117(1)
The curtain
118(1)
The situation: the need for surprise
118(2)
The dynamic of the exercise
119(1)
The activity
120(2)
Attention and concentration: being or doing
120(1)
The ten commandments of the activity
120(2)
The reason for coming
122(1)
The costume
123(1)
The mood
123(1)
Conditions of the mood
123(1)
The doing of the exercise
124(2)
Rules and aims of the game
125(1)
The criticism of the exercise
126(1)
The practice: some examples
127(4)
The subconscious and character
131(6)
Epilogue 137
Horacio Czertok teaches theatre animation at the University of Ferrara., Martin Holbraad is Reader in Social Anthropology at UCL.