Composed Theatre
Aesthetics, Practices, Processes
Published on 15. April 2012
Book
Hardback
367 pages
978-1-84150-456-8 (ISBN)
Description
A unique contribution to an emerging field, Composed Theatre explores musical strategies of organization as viable alternative means of organizing theatrical work. In addition to insightful essays by a stellar group of international contributors, this volume also includes interviews with important practitioners, shedding light on historical and theoretical aspects of composed theatre.
Reviews / Votes
'A significant, stimulating introduction to a strand of theatre that is bound to move more centre-field.' -- Adam Somerset for Theatre in Wales 'Brings together a diverse range of voices and perspectives, appropriately conveying the sense of scholars and artists engaged in ongoing debate about a developing form. ... It is a style of performance I ahve had little direct experience with but the book made me want to hear and see more.' -- Jackie Smart for Theatre Research International 'The volume is accompanied by many beautiful full-colour illustrations (some being major works in art history), photographs and diagrams, making it an appealing choice as a textbook for a number of University courses and programmes, as well as a delight for researchers' -- Studies in Theatre and Performance, Pamela KarantonisMore details
Language
English
Place of publication
United Kingdom
Publishing group
Intellect
Target group
Professional and scholarly
Dimensions
Height: 250 mm
Width: 175 mm
Thickness: 24 mm
Weight
814 gr
ISBN-13
978-1-84150-456-8 (9781841504568)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
E-Book
01/2012
1st Edition
Intellect Books
€37.49
Available for download
Persons
David Roesner is a senior lecturer in drama at the University of Exeter.
Matthias Rebstock is junior professor of scenic music at the University of Hildesheim in Germany.
Matthias Rebstock is junior professor of scenic music at the University of Hildesheim in Germany.
Content
Introduction: Composed Theatre in Context - David Roesner
PART I: History and Methodology
Chapter 1: Composed Theatre: Mapping the Field - Matthias Rebstock
Chapter 2: Composition and Theatre - Roland Quitt
Chapter 3: 'Happy New Ears': Creating Hearing and the Hearable - Petra Maria Meyer
PART II: Processes and Practices: Work Reports and Reflections
Chapter 4: 'It's all part of one concern': A 'Keynote' to Composition as Staging - Heiner Goebbels
Chapter 5: ' Theatre in small quantities': On Composition for Speech, Sounds and Objects - Michael Hirsch
Chapter 6: ... To Gather Together What Exists in a Dispersed State ... - Joerg Laue
Chapter 7: From Interdisciplinary Improvisation to Integrative Composition: Working Processes at the Theater der Klaenge - Joerg U. Lensing
Chapter 8: ' Let's stop talking about it and just do it!': Improvisation as the Beginning of the Compositional Process - George Rodosthenous
Chapter 9: Hearing Voices - Transcriptions of the Phonogram of a Schizophrenic: Music-theatre for Performer and Audio-visual Media - Nicholas Till
Chapter 10: Composing Theatre on a Diagonal: Metaxi ALogon, a Music-centric Performance - Demetris Zavros
PART III: Processes and Practices: Portraits and Analyses
Chapter 11: 'Ca devient du theatre, mais ca vient de la musique': The Music Theatre of Georges Aperghis - Matthias Rebstock
Chapter 12: Musical Conquest and Settlement: On Ruedi Haeusermann's Theatre Work(s) - Judith Gerstenberg
Chapter 13: Composing with Raw Materials: Daniel Ott's Music-theatre Portraits and Landscapes - Christa Bru?stle
Chapter 14: Permanent Quest: The Processional Theatre of Manos Tsangaris - Joern Peter Hiekel
PART IV: Discussion and Debate
Chapter 15: Composed Theatre - Discussion and Debate: On Terminology, Planning and Intuition, Concepts and Processes, Self-reflexivity and Communication - Edited by Matthias Rebstock and David Roesner
PART V: Discourse and Analysis
Chapter 16: ' It is not about labelling, it's about understanding what we do': Composed Theatre as Discourse - David Roesner
PART I: History and Methodology
Chapter 1: Composed Theatre: Mapping the Field - Matthias Rebstock
Chapter 2: Composition and Theatre - Roland Quitt
Chapter 3: 'Happy New Ears': Creating Hearing and the Hearable - Petra Maria Meyer
PART II: Processes and Practices: Work Reports and Reflections
Chapter 4: 'It's all part of one concern': A 'Keynote' to Composition as Staging - Heiner Goebbels
Chapter 5: ' Theatre in small quantities': On Composition for Speech, Sounds and Objects - Michael Hirsch
Chapter 6: ... To Gather Together What Exists in a Dispersed State ... - Joerg Laue
Chapter 7: From Interdisciplinary Improvisation to Integrative Composition: Working Processes at the Theater der Klaenge - Joerg U. Lensing
Chapter 8: ' Let's stop talking about it and just do it!': Improvisation as the Beginning of the Compositional Process - George Rodosthenous
Chapter 9: Hearing Voices - Transcriptions of the Phonogram of a Schizophrenic: Music-theatre for Performer and Audio-visual Media - Nicholas Till
Chapter 10: Composing Theatre on a Diagonal: Metaxi ALogon, a Music-centric Performance - Demetris Zavros
PART III: Processes and Practices: Portraits and Analyses
Chapter 11: 'Ca devient du theatre, mais ca vient de la musique': The Music Theatre of Georges Aperghis - Matthias Rebstock
Chapter 12: Musical Conquest and Settlement: On Ruedi Haeusermann's Theatre Work(s) - Judith Gerstenberg
Chapter 13: Composing with Raw Materials: Daniel Ott's Music-theatre Portraits and Landscapes - Christa Bru?stle
Chapter 14: Permanent Quest: The Processional Theatre of Manos Tsangaris - Joern Peter Hiekel
PART IV: Discussion and Debate
Chapter 15: Composed Theatre - Discussion and Debate: On Terminology, Planning and Intuition, Concepts and Processes, Self-reflexivity and Communication - Edited by Matthias Rebstock and David Roesner
PART V: Discourse and Analysis
Chapter 16: ' It is not about labelling, it's about understanding what we do': Composed Theatre as Discourse - David Roesner