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Toward a contemplative theatre: Body...

University of Colorado at Boulder., Theatre and Dance.

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Toward a contemplative theatre: Body and mind in the art and pedagogy of Pacific Performance Project.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Toward a contemplative theatre: Body and mind in the art and pedagogy of Pacific Performance Project./
Author:	Moon, Andrea.
Description:	323 p.
Notes:	Adviser: Oliver Gerland.
Contained By:	Dissertation Abstracts International69-08A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3322536
ISBN:	9780549756781

Toward a contemplative theatre: Body and mind in the art and pedagogy of Pacific Performance Project.
Moon, Andrea.

Toward a contemplative theatre: Body and mind in the art and pedagogy of Pacific Performance Project. - 323 p.

Adviser: Oliver Gerland.

Thesis (Ph.D.)--University of Colorado at Boulder, 2008.

In American theatrical performance and actor training there exists an often-unexamined assumption that mind and body are separate distinct entities. The rapidly spreading realization in the Unites States that the body/mind separation is a fiction is leading a growing number of theatre companies to emphasize body and mind integration in their work. One of these companies, Pacific Performance Project (P3), uses this integration in their teaching, performance, and life. P3 integrates the work of two well-known post-shingeki Japanese directors---Tadashi Suzuki and Shogo Ota---with the work of European/American modern dance and traditional Stanislavsky-based acting training. The co-artistic directors of Pacific Performance Project, Robyn Hunt and Steve Pearson, are well placed in the American theatrical context to counter the assumed mind-body separation. Hunt and Pearson's pedagogical and artistic lineage include both methods that privilege internal experience and methods that privilege external experience. Hunt and Pearson have made and are continuing to make their mark on the theatrical landscape through their professional productions and have influenced thousands of American theatre artists in their roles as teachers. In countering the assumed mind/body binary in the American theatre, Hunt and Pearson are helping to bring back into the art of theatre its most unique aspect: that whatever the form and content of the cultural story being told it is an exchange between three dimensional bodies on stage and in the audience sharing the same space and time, breathing the same air. P3's coupling of rigorous and contemplative Japanese forms with traditional psychologically based training is creating a unique and important performance style that integrates the mind and body in both linear narrative and abstract performance and fundamentally changes the artists who train in this style.

ISBN: 9780549756781Subjects--Topical Terms:

610547
Dance.

Toward a contemplative theatre: Body and mind in the art and pedagogy of Pacific Performance Project.
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020 $a 9780549756781
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100 1 $a Moon, Andrea. $3 1043359
245 1 0 $a Toward a contemplative theatre: Body and mind in the art and pedagogy of Pacific Performance Project.
300 $a 323 p.
500 $a Adviser: Oliver Gerland.
500 $a Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2949.
502 $a Thesis (Ph.D.)--University of Colorado at Boulder, 2008.
520 $a In American theatrical performance and actor training there exists an often-unexamined assumption that mind and body are separate distinct entities. The rapidly spreading realization in the Unites States that the body/mind separation is a fiction is leading a growing number of theatre companies to emphasize body and mind integration in their work. One of these companies, Pacific Performance Project (P3), uses this integration in their teaching, performance, and life. P3 integrates the work of two well-known post-shingeki Japanese directors---Tadashi Suzuki and Shogo Ota---with the work of European/American modern dance and traditional Stanislavsky-based acting training. The co-artistic directors of Pacific Performance Project, Robyn Hunt and Steve Pearson, are well placed in the American theatrical context to counter the assumed mind-body separation. Hunt and Pearson's pedagogical and artistic lineage include both methods that privilege internal experience and methods that privilege external experience. Hunt and Pearson have made and are continuing to make their mark on the theatrical landscape through their professional productions and have influenced thousands of American theatre artists in their roles as teachers. In countering the assumed mind/body binary in the American theatre, Hunt and Pearson are helping to bring back into the art of theatre its most unique aspect: that whatever the form and content of the cultural story being told it is an exchange between three dimensional bodies on stage and in the audience sharing the same space and time, breathing the same air. P3's coupling of rigorous and contemplative Japanese forms with traditional psychologically based training is creating a unique and important performance style that integrates the mind and body in both linear narrative and abstract performance and fundamentally changes the artists who train in this style.
590 $a School code: 0051.
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650 4 $a Education, Art. $3 1018432
650 4 $a Theater. $3 522973
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710 2 $a University of Colorado at Boulder. $b Theatre and Dance. $3 1024597
773 0 $t Dissertation Abstracts International $g 69-08A.
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790 1 0 $a Dilley, Barbara $e committee member
790 1 0 $a Ellsworth, Michelle $e committee member
790 1 0 $a Gerland, Oliver, $e advisor
790 1 0 $a Lessley, Merrill $e committee member
790 1 0 $a Osnes, Beth $e committee member
791 $a Ph.D.
792 $a 2008
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3322536