This book examines Commedia dell'Arte as a performative genre, and one that should be analysed through the framework of dramaturgy and dramaturgical practice. It is an important read for any student or scholar of Commedia dell'Arte and theatre historians grappling with the status of this unique and influential performance form.
This book examines Commedia dell'Arte as a performative genre, and one that should be analysed through the framework of dramaturgy and dramaturgical practice. It is an important read for any student or scholar of Commedia dell'Arte and theatre historians grappling with the status of this unique and influential performance form.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Olly Crick is a performer and scholar of Commedia dell'Arte, having published, taught and presented extensively on the subject.
Inhaltsangabe
1. The founders of Neo-Commedia 2. The second and third generation of reinventors 3. Commedia archetypes 4. Fixed types and stock roles 5. Actors, parts and roles by Sergio Costola 6. Improvisation and Commedia 7. Grammelot and the performance of language (Alt. Grommelot/Grumelot) 8. Neo-Commedia and the ensemble 9. Masks in Neo-Commedia 10. Epilogue
1. The founders of Neo-Commedia 2. The second and third generation of reinventors 3. Commedia archetypes 4. Fixed types and stock roles 5. Actors, parts and roles by Sergio Costola 6. Improvisation and Commedia 7. Grammelot and the performance of language (Alt. Grommelot/Grumelot) 8. Neo-Commedia and the ensemble 9. Masks in Neo-Commedia 10. Epilogue
1. The founders of Neo-Commedia 2. The second and third generation of reinventors 3. Commedia archetypes 4. Fixed types and stock roles 5. Actors, parts and roles by Sergio Costola 6. Improvisation and Commedia 7. Grammelot and the performance of language (Alt. Grommelot/Grumelot) 8. Neo-Commedia and the ensemble 9. Masks in Neo-Commedia 10. Epilogue
1. The founders of Neo-Commedia 2. The second and third generation of reinventors 3. Commedia archetypes 4. Fixed types and stock roles 5. Actors, parts and roles by Sergio Costola 6. Improvisation and Commedia 7. Grammelot and the performance of language (Alt. Grommelot/Grumelot) 8. Neo-Commedia and the ensemble 9. Masks in Neo-Commedia 10. Epilogue
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