Fensham Rachel (135 results)

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condition: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

paperback. Condition: Very Good.

paperback. Condition: Fine.

Paperback. Condition: New. How do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance concept. These include analysis of Satoshi Miyagi's production of Sophocles' Antigone (2017), Thomas Ostermeier's production of Ibsen's Hedda Gabler (2008), the Berliner Ensemble's Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatre's production of War Horse (2007). The final section considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States, and United Kingdom. The volume is supported by further online resources including video material, questions, and exercises.…

Condition: New.

Paperback. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 5-6 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condition: new.

Softcover. Condition: Very Good with no dust jacket. Sound binding. Clean, bright pages. Wrappers have general light shelf wear. Minor wear to corner tips. Contents: Franko, Global modernities. Chatterjea, On the value of mistranslations and contaminations: the category of "ontemporary choreography" in Asian dance. Croft, Dance returns to American cultural diplomacy: the U.S. State Department's 2003 dance residency program and its after effects. Fensham, "Brekin' the rules": Eleo Pomare and the transcultural choreographies of black modernity. Gonye, Mobilizing dance/traumatizing dance: Kongonya and the politics of Zimbabwe. Satkunaratnam, Staging war: performing Bharata Natyam in Colombo, Sri Lanka. Reviews. 10.0" tall; 143 pages. …

Paperback. Condition: new. Paperback. How do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance concept. These include analysis of Satoshi Miyagi's production of Sophocles' Antigone (2017), Thomas Ostermeier's production of Ibsens Hedda Gabler (2008), the Berliner Ensembles Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatres production of War Horse (2007). The final section considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States, and United Kingdom. The volume is supported by further online resources including video material, questions, and exercises. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. …

Condition: As New. Unread book in perfect condition.

Condition: New. pp. 208.

Condition: New. pp. 208.

Paperback or Softback. Condition: New. Theory for Theatre Studies: Movement. Book.

Condition: New. 2021. Paperback. . . . . .

Condition: As New. Unread book in perfect condition.

Condition: New.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New. 2021. Paperback. . . . . . Books ship from the US and Ireland.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: new.

Condition: New. pp. 208.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. How does the manufacture, design, and commodification of costume inform choreography and determine what dancers have worn on stage? How do certain types of costume influence the experience of dance and choreography for the performers, or for the audience? What political or social affects contribute to the impression that dance costumes communicate in movement aesthetics? By answering such questions, Fabrications provides new insights into the connections between twentieth-century American concert dance history, and both visual and fashion culture, while also presenting methods for appreciating how the artefacts of costume in archival collections activate important corporeal and cultural memories. In the study of material culture, Rachel Fensham draws upon the dialectical image of Walter Benjamin, the fashion system of Roland Barthes, and writings on new materialism as perspectives for interpreting costumes in dance. Focusing on costume as multiplicity, she establishes the syntax of the textile, the silhouette, and the modes of construction as a method for the identification and analysis of typical costumes. Each chapter undertakes a quasi-chronological survey of choreographic works created by leading dancers, choreographers, and designers, including Ruth St. Denis and Ted Shawn, Martha Graham, Katherine Dunham, Merce Cunningham, Trisha Brown, and Josephine Baker. Illustrated with almost two-hundred full-color photographs of costumes from dance archives and stills from leading dance works in the United States and Europe, Fabrications presents a new and innovative way to think about dance history as material culture, understood through costumes that have stories that extend beyond the stage.…

Paperback. Condition: Brand New. 376 pages. 7.08x0.59x9.96 inches. In Stock.

Condition: New.

Paperback or Softback. Condition: New. Small Data is Beautiful. Book.

Condition: New.