Crossing Cultural Borders Through the Actor's Work

Foreign Bodies of Knowledge

Fiction & Literature, Drama, Nonfiction, Entertainment, Performing Arts
Cover of the book Crossing Cultural Borders Through the Actor's Work by Cláudia Tatinge Nascimento, Taylor and Francis
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Author: Cláudia Tatinge Nascimento ISBN: 9781135858421
Publisher: Taylor and Francis Publication: July 21, 2008
Imprint: Routledge Language: English
Author: Cláudia Tatinge Nascimento
ISBN: 9781135858421
Publisher: Taylor and Francis
Publication: July 21, 2008
Imprint: Routledge
Language: English

A sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, this book redirects the intercultural debate by focusing exclusively on the actor at work. Alongside the perspectives of other prominent intercultural actors, this study draws from original interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). By illuminating the hidden creative processes usually unavailable to outsiders--the actor’s apprenticeship, training, character development, and rehearsals--Nascimento both reveals how assumptions based on race or ethnicity are misguiding, trouble definitions of intra- and intercultural practices, and details how performance analyses and claims of appropriation fail to consider the permanent transformation of the actor’s identity that cultural transmission and embodiment represent.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

A sophisticated analysis of how the intersection of technique, memory, and imagination inform performance, this book redirects the intercultural debate by focusing exclusively on the actor at work. Alongside the perspectives of other prominent intercultural actors, this study draws from original interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). By illuminating the hidden creative processes usually unavailable to outsiders--the actor’s apprenticeship, training, character development, and rehearsals--Nascimento both reveals how assumptions based on race or ethnicity are misguiding, trouble definitions of intra- and intercultural practices, and details how performance analyses and claims of appropriation fail to consider the permanent transformation of the actor’s identity that cultural transmission and embodiment represent.

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