The modern era in the theatre is remarkable for the extraordinary role and influence of theoretical practitioners, whose writings have shaped our sense of the possibilities and objectives of performance. This study offers a critical exploration of the theoretical writings of key modern practitioners from Stanlislavski to Boal. Designed to be read alongside primary source material, each chapter offers not only a summary and exposition of these theories, but a critical commentary on their composition as discourses. Close scrutiny of the cultural context and figurative language of these important, and sometimes difficult, texts yields fresh insight into the ideas of these practitioners.
Theories of Performance invites students to explore the possibilities of performance for creating, knowing, and staking claims to the world. Each chapter surveys, explains, and illustrates classic, modern, and postmodern theories that answer the questions, "What is performance?" "Why do people perform?" and "How does performance constitute our social and political worlds?" The chapters feature performance as the entry point for understanding texts, drama, culture, social roles, identity, resistance, and technologies.
For many years asset management was considered to be a marginal activity, but today, it is central to the development of financial industry throughout the world. Asset management's transition from an "art and craft" to an industry has inevitably called integrated business models into question, favouring specialisation strategies based on cost optimisation and learning curve objectives. This book connects each of these major categories of techniques and practices to the unifying and seminal conceptual developments of modern portfolio theory. In these bear market times, performance evaluation of portfolio managers is of central focus. This book will be one of very few on the market and is by a respected member of the profession. Allows the professionals, whether managers or investors, to take a step back and clearly separate true innovations from mere improvements to well-known, existing techniques Puts into context the importance of innovations with regard to the fundamental portfolio management questions, which are the evolution of the investment management process, risk analysis and performance measurement Takes the explicit or implicit assumptions contained in the promoted tools into account and, by so doing, evaluate the inherent interpretative or practical limits
The Role of Language in Modern Performance Theories
This book brings together world-class professionals to share theoretical understanding applied to sport, exercise and performance domains. It highlights how to be more effective in developing psychological skills, context and understanding for educators, students and professionals. From both academic and practitioner perspectives, this book takes readers through contextual understanding of this field of study and into a wide variety of important areas. Specifically, the chapters focus on the mind-body relationship and performance challenges, and on core mental skills applied across different sport, exercise and performance examples (including professional athletes, normal exercise populations and military service members). The final section expands the context into the role of relationships and performance in group settings to cover a broad practice of modern day applied performance psychology.
The Purpose of Playing
Author: Professor of Theatre and Performance at Goldsmiths University of London Robert Gordon, PhD
The Purpose of Playing provides the first in-depth introduction to modern critical acting, enabling students, teachers, and professionals to comprehend the different aesthetic possibilities available to today's actors. The book presents a comparative survey of the major approaches to Western acting since the nineteenth century, their historical evolution, and their relationship to one another. Author Robert Gordon explores six categories of acting: realistic approaches to characterization (Stanislavski, Vakhtangov, Strasberg, Chekhov); the actor as a scenographic instrument (Appia, Craig, Meyerhold); improvisation and games (Copeau, Saint-Denis, Laban, Lecoq); political theater (Brecht, Boal); exploration of the self and other (Artaud, Grotowski); and performance as cultural exchange (Brook, Barba). The synthesis of these principal theories of dramatic performance in a single text offers practitioners the knowledge they need to contextualize their own practice within the wider field of performance, while encouraging theorists and scholars to be more sensitive to the material realities of artistic practice. ?This analysis of major movements and figures from the early nineteenth century to the present is clear, thorough, and penetrating, and its scope across periods, countries, and styles is impressive.” --Xerxes Mehta, University of Maryland-Baltimore County Robert Gordon is Reader in Drama, Goldsmiths College, University of London.