Learning to Perform: An Introduction - Softcover

Stern, Carol Simpson; Henderson, Bruce

 
9780810126671: Learning to Perform: An Introduction
Softcover
ISBN 10: 0810126672 ISBN 13: 9780810126671
Verlag: Northwestern University Press, 2010

Inhaltsangabe

<div><div><p><i>In Learning to Perform</i> Carol Simpson Stern and Bruce Henderson enliven the dialogue between theory and practice for actors and teachers alike. Beginning with an overview of the study of literary and cultural texts through performance, Stern and Henderson then translate literary and performance theory into concrete classroom experience. <i>Learning to Perform</i> presents a dynamic performance methodology that offers the tools students need to develop and refine performance skills, analyze texts, and think and reflect critically on performed texts. By addressing an expanded sense of text that includes cultural as well as literary artifacts, the authors bridge the gap between oral interpretation and the more inclusive field of performance studies that overarches it. </p></div></div>

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Über die Autorinnen und Autoren

<div><div><p>Carol Simpson Stern is a professor of performance studies and former dean of the graduate school at Northwestern University.</p><p>Bruce Henderson is a professor of speech communication at Ithaca College.</p></div></div>

Carol Simpson Stern is a professor of performance studies at Northwestern University, where she served as dean of the graduate school from 1993 to 1998 and developed and directed the Integrated Arts Program from 1986 to 2003. She is coauthor (with Bruce Henderson) of Performance Texts and Contexts and coauthor (with C. Jay Fox and Robert S. Means) of Arthur Symons, Critic Among Critics: An Annotated Bibliography
Bruce Henderson is a professor of speech communication at Ithaca College. He is coauthor (with Carol Simpson Stern) of Performance: Texts and Contexts and coeditor (with Noam Ostrander) of Understanding Disability Studies and Performance Studies. He has served as editor of Text and Performance Quarterly and as an officer the National Communication Association and of the Society for Disability Studies.

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LEARNING TO PERFORM

An Introduction

By CAROL SIMPSON STERN, BRUCE HENDERSON

Northwestern University Press

Copyright © 2010 Carol Simpson Stern and Bruce Henderson
All rights reserved.
ISBN: 978-0-8101-2667-1

Contents

Preface....................................................................ix
Acknowledgments............................................................xi
1 Getting Started..........................................................3
2 Your First Performances..................................................36
3 Performance Criticism: Talking and Writing About Performance.............73
4 Crafting Your Performance: Techniques and Conventions....................106
5 Performing Personal Narrative, Family Histories, and Memoirs.............154
6 Performing Poetry I: The Self and the Speaker in the Lyric, Dramatic, 
and Epic Modes.............................................................		192
7 Performing Poetry II: Images, Painting, Music, and Dance in Poetry.......221
8 Performing Prose Fiction I: Narrative, Point of View, and Consciousness..246
9 Performing Prose Fiction II: Locations and Language......................290
10 Solo Performance of Drama I: Introducing Scene Analysis.................322
11 Solo Performance of Drama II: Advanced Issues in Technique..............343
12 Performing Chronicles, Ethnographic Materials, and Other Nonfictional 
Genres.....................................................................		368
13 Conclusion: Beyond the Classroom........................................399
Appendix of Performance Texts..............................................419
Jane Hamilton, "Rehearsing The Firebird"...................................420
Robert Olen Butler, "The Ironworkers' Hayride".............................433
Willa Cather, "Paul's Case: A Study in Temperament"........................445
Henry James, from What Maisie Knew.........................................461
E. M. Forster, from A Passage to India.....................................464
Henrik Ibsen, from Ghosts..................................................469
Bernard Pomerance, from The Elephant Man...................................476
James Anthony Froude, from History of England from the Fall of Wolsey to 
the Defeat of the Spanish Armada...........................................		480
John Hosack, from Mary Queen of Scots and Her Accusers.....................484
Mrs. Maxwell Scott, "Account of the Execution of Queen Mary Stuart"........491
Jane Austen, "Elizabeth" from "The History of England".....................496
Michael S. Bowman, "Killing Dillinger: A Mystory"..........................498
Selected Bibliography......................................................537
Credits....................................................................547
Index......................................................................551


CHAPTER 1

GETTING STARTED

Let us go then, you and I ...—T. S. ELIOT, "THE LOVE SONG OF J. ALFRED PRUFROCK"


Try to remember the first time you saw a theatrical performance, or yourearliest recollections of being read to aloud when you were a child, orthe first time you performed and people watched you and reacted. Thesememories and the performances they call forth are very special. We,the authors of this book (hereafter referred to as Bruce and Carol), findthem magical. Analyzing and understanding them and creating your ownperformances are the central subjects of this textbook.

As children, both of us were forever calling on our parents to "readus a story" or "show us a picture book." We were constantly asking ourfriends and siblings to play make-believe with us. Carol recalls her motherreciting the words of the poem "The Owl and the Pussy-cat," by EdwardLear, the mischievously witty nineteenth-century writer of limericks andnonsense verse. Mother and daughter would repeat Lear's words together:"The Owl and the Pussy-cat went to sea / In a beautiful pea-green boat; /They took some honey, and plenty of money / Wrapped up in a five-poundnote." She can still visualize the illustrated book of Lear's verseand the pictures of the Owl and the Pussy-cat, with the Pussy-cat, wooingthe Owl, twanging on his guitar and the pair "dancing by the light ofthe moon." The poem has its origins in children's rhymes and dates backmany, many centuries. It is no wonder it has lasted so long, taking courtshipand romance as its subject and situating the lovers in exotic lands.Scholars from the Darwinian school of literary criticism (also referred to asevolutionary psychological criticism) might point to the courtship themes,mating rituals, and the like present in the poem. From their perspective,we are human animals, descended from primates, and "hardwired" toreproduce (Gottschall), and this, in part, contributes to the longevity ofthe rhyme. She can also vividly recall her British father, in his marvelousvoice, rich, textured, with an Oxford accent, reading aloud Samuel TaylorColeridge's poem "Kubla Khan," about Xanadu, the idyllically beautifulcity, and its emperor, Kubla Khan. The vision in the poem of the "statelypleasure dome" and the Abyssinian "damsel with a dulcimer" is unforgettable,as is the excitement of listening to Coleridge's phantasmagoricalpoem evoking enchanted kingdoms, romantic visions, and passionateemotions. Later she learned that the poem was thought to have taken itsorigin in one of Coleridge's opium-induced dreams. Many years later, sheperformed this poem during a performance hour at the university whereshe taught. You will find that you will want to tap into your past and yourrecollections of poems and stories that moved you when you go about thebusiness of choosing selections for performances.

Bruce remembers that while other mothers were reading fairy talesto their children, his mother preferred to recite from memory longsections from Alfred Noyes's romantic ballad "The Highwayman." Shehad learned the poem as a student four decades earlier, when she wasgrowing up in a small mining town in the Upper Peninsula of Michigan.He can still hear his mother's voice setting the scene with the words "Themoon was a ghostly galleon," and painting the picture vocally of "riding... riding ... riding." Even in old age, when other parts of her memorystarted to fade, his mother still held the words of this poem deeply insideher. When she had a stroke, he sat by her bedside and read the poemto her, hoping that the rhythms, images, and story would give her thepleasure she had given him and his sister in her performance. When hementioned the poem at her memorial service, his sister and his mother'sfriends and relatives nodded in assent, recalling the power and enjoymentthe poem—and his mother's impromptu performances of it—had giventhem all.

He also recalls his first...

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Verlag
Northwestern University Press
Erscheinungsdatum
2010
Sprache
Englisch
ISBN 10 
0810126672
ISBN 13 
9780810126671
Einband
Taschenbuch
Anzahl der Seiten
559
Kontakt zum Hersteller
Nicht verfügbar
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