Observing Theatre Spirituality and Subjectivity in the Performing Arts 1st Edition by Daniel Meyer-Dinkgräfe ISBN 978-9042037809 9042037806
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Product details:
ISBN 10: 9042037806
ISBN 13: 978-9042037809
Author: Daniel Meyer-Dinkgräfe
Daniel Meyer-Dinkgräfe and co-authors take the exploration of the subjective dimension of theatre, its spiritual context, its relation to consciousness and natural law, further than ever before, thanks to the context provided by the thinking of German geobiologist Hans Binder. We present relevant aspects of Binder’s approach as precisely as possible, then take Binder’s approach for granted to tease out the implications of that approach to the issues of theatre, including nostalgia, intercultural theatre, theatre criticism, dealing with demanding roles, the canon, theatre and philosophy, digital performance, practice as research, and applied theatre. Overall, the book proposes an overarching emphasis on the importance of living in the present and the concomitant need to abandon obsolete but still powerful patterns of the past. In this context, theatre, according to Binder, has a global responsibility for the new world in which humans are liberated from the scourge of the past. Theatre has the power and thus the responsibility to be path-breaking for a new “fiction”, to show to people, in a playful and creative manner, the direction in which the new consciousness can move.
Table of contents:
Chapter One:
Benjamin Poore, Yana Meerzon, Daniel Meyer-Dinkgräfe Nostalgia
Introduction
Studying nostalgia in drama and theatre
The term and concept
Nostalgia and Foucault’s concept of power
Related concepts: melancholy, yearning, and déjà vu
Nostalgia and ageing
Nostalgia for the future
Constellations of nostalgia in drama
Revivals
Re-enactment
Nostalgia in the context of popular culture
Haunted by the past: critical positions towards nostalgia
Christmas
The Victorians
Yearning for the 1960s
The one moment in life
From critique to ambiguity
Recent developments
Nostalgia, exile and choice
Nostalgia and new historical narratives
Recovery, return and creation
Recent developments
Relevant plays on doollee.com
Chapter Two
Daniel Meyer-Dinkgräfe, Gayathri Ganapathy, Shrikant Subramaniam
Towards intuitive collaboration as a concept for discussing intercultural performance
Introduction
Who we are
The outward frame of the project
Motivations
Phase one: Gayathri and Daniel
Phase two: Gayathri, Shrikant and Daniel
The showcase
The intercultural dimension and the concept of intuitive collaboration
Chapter Three
Daniel Meyer-Dinkgräfe, Per Brask, Harry Youtt Appropriate forms of praise of acting in theatre criticism
Hierarchy: the performer comes last
Vocabulary in theatre criticism
Virtues of critics and of good acting
The wider philosophical context of praise
The way ahead
Summary
Sample Review: Medea/Macbeth/Cinderella
Sample Review: Tristan und Isolde
Chapter Four
Daniel Meyer-Dinkgräfe
New dimensions of consciousness studies
The Vedanta model of consciousness
Hans Binder-biography and approaches to knowledge and consciousness
Chapter Five
Principles of consciousness and theatre contexts
Spiritual development
Principles (Hans Binder)
Theatre context (Daniel Meyer-Dinkgräfe)
Resonance
Principles (Hans Binder)
Theatre context: coping with demanding roles (Nicola Tiggeler, Daniel Meyer-Dinkgräfe
Resonance and time
Principles (Hans Binder)
Theatre context (1): the canon (Daniel Meyer-Dinkgräfe)
Theatre context (2): nostalgia (Daniel Meyer-Dinkgräfe)
Theatre context (3): theatre and philosophy as experience (Daniel Meyer-Dinkgräfe)
Theatre context (4): simultaneity of space and time (Daniel Meyer-Dinkgräfe)
Theatre context (5): digital performance (Steve Dixon, Kate Sicchio, Daniel Meyer-Dinkgräfe)
Intuition
Principles (Hans Binder)
Theatre context (1): Intuitive collaboration (Daniel Meyer-Dinkgräfe)
Theatre context (2): Practice as Research (Daniel Meyer-Dinkgräfe)
Criticism
Principles (Hans Binder)
Theatre context (Daniel Meyer-Dinkgräfe)
Help for self-help
Principles (Hans Binder)
Theatre context (1): applied theatre
(Aylwyn Walsh, Daniel Meyer-Dinkgräfe)
Theatre context (2): Neuro Linguistic Programming
(NLP) as an intervention against stage fright
(Deborah Claire Procter, Daniel Meyer-Dinkgräfe)
Chapter Six: Feedback from contributors and discussion
Nostalgia
Coping with demanding roles
Intuitive collaboration
Theatre criticism
Digital performance
Applied Theatre
Neuro Linguistic Programming
Summary and outlook
Bibliography
Contributors
Index
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Tags: Daniel Meyer-Dinkgräfe, Observing Theatre, the Performing