By Mariellen Sandford
First released in 2004. Routledge is an imprint of Taylor & Francis, an informa corporation.
Read or Download Happenings and Other Acts (Worlds of Performance) PDF
Similar theater books
Full of pattern speeches illustrating what to do, in addition to lots of examples detailing what to not do that value-priced public conversing textual content equips you with the basic talents and theories had to turn into an efficient public speaker. necessities OF PUBLIC talking promises plentiful useful recommendation and likewise bargains fascinating discussions at the position of ethics in public conversing in addition to updated insurance on successfully utilizing expertise in speech improvement and supply.
Charting their education, travels, and performances, this cutting edge learn explores the function of the artists that roamed the chinese language nation-state in aid of Mao's communist revolution. DeMare lines the improvement of Mao's 'cultural military' from its genesis in pink military propaganda groups to its complete improvement as a mostly civilian strength composed of beginner drama troupes within the early years of the PRC.
- Gilbert and Sullivan's 'Respectable Capers': Class, Respectability and the Savoy Operas 1877–1909
- Historical Dictionary of American Theater: Modernism (Historical Dictionaries of Literature and the Arts)
- Naming Theatre: Demonstrative Diagnosis in Performance (Performance Interventions)
- New Visions Performance (Innovations in Art and Design)
Extra info for Happenings and Other Acts (Worlds of Performance)
Rituals of tuning up, the appearance of the conductor, and the attitudes, behavior, and dress of the musicians are important parts of the experience. Although we enjoy watching performances on traditional instruments (at a piano recital, for example, seats on the keyboard side are preferred), the visual aspects are relatively easy to take for granted (and those who cannot see the keyboard do not feel cheated). A new instrument, such as a water gong, or a new way of playing, such as reaching inside the piano to pluck the strings, calls attention to itself: how the sound is produced becomes as significant a part of the experience as the quality of the sound itself.
But the symbols are of a private, nonrational, polyvalent character rather than intellectual. [… They] do not have any one rational public meaning as symbols. Although they may, like everything else, be interpreted, they are intended to stir the observer on an unconscious, alogical level. These unconscious symbols compare with rational symbols only in their aura of “importance”: we are aware of a significance and a “meaning,” but our minds cannot discover it through the usual channels. Logical associations and unambiguous details that would help to establish a rational context are not available.
Kaprow and Whitman both saw this performance, and Kaprow has stated that Taylor, as well as Cage, influenced his work on 18 Happenings in 6 Parts. James Waring and Ann Halprin, who found stimulation in many of Cage’s concepts, also influenced the style of Happenings. Although Happenings as complete works cannot be confused with dances, many of them contain compartments that are basically dances or indeterminate systems of movement. In spite of their formal indebtedness, Happenings on the whole cannot be considered to be Dadaist works.