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Full-Text Articles in Arts and Humanities
What A World – What A World: Scene/Script Analysis For Fight Plays, T. Fulton Burns
What A World – What A World: Scene/Script Analysis For Fight Plays, T. Fulton Burns
T. Fulton Burns
“While perfection is a wonderful goal, there comes a point where you have to let your creation out into the world or it isn’t worth a tinkerer’s damn.” This is a fantastic quote by Twyla Tharp from her book The Creative Habit: Learn It and Use It For Life: A Practical Guide. So what does this have to do with you, the stage combatant? Well you are working hard but you are being told not to strive for perfection because perfection can never truly be achieved in the arts, so naturally itwarrants the question “then for what exactly do you …
The Games People Play: Rehearsal Games & Approaches For Fight Scenes, T. Fulton Burns
The Games People Play: Rehearsal Games & Approaches For Fight Scenes, T. Fulton Burns
T. Fulton Burns
There are as many approaches to the rehearsal period as there are directors, actors and acting texts combined. Rehearsals are the time that we all look forward to because we truly get to do what we do best in theatre, which is “play.” The games and approaches in this article are intended to spice up the life of your stage combat scene and enhance the time spent in rehearsal; following the initial time period of learning choreography and discovering initial acting choices. Many people see the rehearsal process as the time to work. I couldn’t agree more but, as stated …
Review Of Physical Theatres: A Critical Introduction, And: Physical Theatres: A Critical Reader, T. Fulton Burns
Review Of Physical Theatres: A Critical Introduction, And: Physical Theatres: A Critical Reader, T. Fulton Burns
T. Fulton Burns
Simon Murray (Director of Theatre at Dartington College of Arts) and John Keefe (Senior lecturer at the London Metropolitan University Undergraduate Centre) offer the theatre world two movement analysis texts. These well written books, which focus on techniques from the Western world of physical theatre, would serve graduate level or highly focused classes in movement pedagogy or practice. With their identical six-chapter breakdowns (“Genesis, Contexts, Namings”; “Roots: Routes”; “Contemporary Practices”; “Preparation and Training”; “Physicality and the Word”; “Bodies and Cultures”), the books may be used in relation to one another or stand alone as individual texts.
Random Acts Of Violence: Bringing John Cage’S Chance Techniques To Fight Choreography And Stage Combatant Acting, T. Fulton Burns
Random Acts Of Violence: Bringing John Cage’S Chance Techniques To Fight Choreography And Stage Combatant Acting, T. Fulton Burns
T. Fulton Burns
The concept of chance utilized by John Cage is a frightening, exciting, and liberating process for any artist. It was so effective that other musical artists such as Morton Feldman, Earle Brown and Christian Wolff used it. In the world of theatre these concepts are constantly used today by the Neo-Futurists in Chicago and New York in their production of Too Much Light Makes The Baby Go Blind and by Improv Troupes throughout the country.
Dueling With Spt Questions: Members Of The College Of Fight Masters Share Their Ideas For Skills Proficiency Tests, T. Fulton Burns
Dueling With Spt Questions: Members Of The College Of Fight Masters Share Their Ideas For Skills Proficiency Tests, T. Fulton Burns
T. Fulton Burns
As the rehearsal process grows closer and closer to the Skills Proficiency Test (SPT) common questions arise regarding what is needed in order to pass. Many of these questions involve the same basic idea – “What are the Fight Masters looking for so that I can pass the test?”, but the most important question that is asked is – “Do you think I will pass?”
I Can’T – I Have Rehearsal: Rehearsal Guidelines And Techniques With Fight Scene Work, T. Fulton Burns
I Can’T – I Have Rehearsal: Rehearsal Guidelines And Techniques With Fight Scene Work, T. Fulton Burns
T. Fulton Burns
The rehearsal process often contains excitement, uncertainty, and, at times, stress for all involved. It is at this stage of the process where the culmination of skills acquired (research, character study, and embodying choreography) all come together. The following guidelines and techniques are aimed toward helping the actor address and conquer both acting and fight needs during the rehearsal process
A Violent Character: Stage Combat Character Analysis, T. Fulton Burns
A Violent Character: Stage Combat Character Analysis, T. Fulton Burns
T. Fulton Burns
It is so deceptively easy stating who your character is but it is over looked more often than you may think. A good character analysis is important in the actor/character relationship and here we will look at the key elements of character research and their specific relationships to the stage combatant.
Rethinking Ionesco’S Absurd: The Bald Soprano In The Interlingual Context Of Vichy And Postwar France, Julia Elsky
Rethinking Ionesco’S Absurd: The Bald Soprano In The Interlingual Context Of Vichy And Postwar France, Julia Elsky
Julia Elsky
Rereading Eugène Ionesco’s postwar play La cantatrice chauve (The Bald Soprano) in the light of the original, wartime Romanian version alongside archival materials concerning his political activity in Vichy France allows us to reconsider his role in the theater of the absurd. Instead of staging the emptiness of language in a conformist world, the Romanian play dramatizes how language and language exchange created meaning but also upheld state violence during the Second World War. Although the French version of the play adapts this theme to the postwar context, traces of state power over language remain. This new approach …