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Yoga, Meditation and Performance
In
Conscious Theatre Practice: Yoga, Meditation, and Performance, Lou Prendergast charts a theatre research project in which the notion of Self-realisation and related contemplative practices, including Bikram Yoga and Vipassana meditation, are applied to performance. Coining the term ‘Conscious Theatre Practice’, Prendergast presents the scripts of three publicly presented theatrical performances, examined under the ‘three C’s’ research model: Conscious Craft (writing, directing, performance; Conscious Casting; Conscious Collaborations.
The findings of this autobiographical project fed into a working manifesto for socially engaged theatre company, Black Star Projects. Along the way, the research engages with methodological frameworks that include practice-as-research, autoethnography, phenomenology and psychophysical processes, as well immersive yoga and meditation practice; while race, class and gender inequalities underpin the themes of the productions.
The findings of this autobiographical project fed into a working manifesto for socially engaged theatre company, Black Star Projects. Along the way, the research engages with methodological frameworks that include practice-as-research, autoethnography, phenomenology and psychophysical processes, as well immersive yoga and meditation practice; while race, class and gender inequalities underpin the themes of the productions.
Yoga, Meditation and Performance
In
Conscious Theatre Practice: Yoga, Meditation, and Performance, Lou Prendergast charts a theatre research project in which the notion of Self-realisation and related contemplative practices, including Bikram Yoga and Vipassana meditation, are applied to performance. Coining the term ‘Conscious Theatre Practice’, Prendergast presents the scripts of three publicly presented theatrical performances, examined under the ‘three C’s’ research model: Conscious Craft (writing, directing, performance; Conscious Casting; Conscious Collaborations.
The findings of this autobiographical project fed into a working manifesto for socially engaged theatre company, Black Star Projects. Along the way, the research engages with methodological frameworks that include practice-as-research, autoethnography, phenomenology and psychophysical processes, as well immersive yoga and meditation practice; while race, class and gender inequalities underpin the themes of the productions.
The findings of this autobiographical project fed into a working manifesto for socially engaged theatre company, Black Star Projects. Along the way, the research engages with methodological frameworks that include practice-as-research, autoethnography, phenomenology and psychophysical processes, as well immersive yoga and meditation practice; while race, class and gender inequalities underpin the themes of the productions.
A Semiotic Reinterpretation of The Great Ideas Movement for the 21st Century
This volume tests a hypothesis—philosophy and science are identical forms of behavioristic, organizational psychology: a psychological habit of wondering about causes of organizational existence, formation, and behaviour. Focusing attention on two universal and culturally influential great ideas—freedom and religion—this volume’s array of international scholars demonstrate that leading ancient and medieval philosophers did philosophy in this way. Also, well-known philosophers/scientists like Mortimer J. Adler and John N. Deely practiced philosophy this way. Doing so is precisely what made these philosophers uniquely capable of generating great ideas
as motivational principles that dramatically alter cultures. In a nutshell, this work offers significant support for its historically and philosophically ground-breaking thesis.
A Semiotic Reinterpretation of The Great Ideas Movement for the 21st Century
This volume tests a hypothesis—philosophy and science are identical forms of behavioristic, organizational psychology: a psychological habit of wondering about causes of organizational existence, formation, and behaviour. Focusing attention on two universal and culturally influential great ideas—freedom and religion—this volume’s array of international scholars demonstrate that leading ancient and medieval philosophers did philosophy in this way. Also, well-known philosophers/scientists like Mortimer J. Adler and John N. Deely practiced philosophy this way. Doing so is precisely what made these philosophers uniquely capable of generating great ideas
as motivational principles that dramatically alter cultures. In a nutshell, this work offers significant support for its historically and philosophically ground-breaking thesis.
Deutschsprachige Literatur osteuropäischer Herkunft
In den letzten Jahren sind zahlreiche deutschsprachigen Texte erschienen, die von AutorInnen ost- und südosteuropäischer Herkunft verfasst wurden. Dieses bereits als „Osterweiterung der deutschsprachigen Literatur“ und „eastern turn“ bezeichnete Phänomen zeugt von einer Diversifizierung der Gegenwartsliteratur, die sich mit einem Label wie ‚Migrationsliteratur‘ nicht mehr ausreichend fassen lässt. Gibt es in den entsprechenden Texten spezifische Schreibweisen und Perspektiven und wie ist dies mit deren Rezeption vermittelt? Damit stellt sich zugleich aber die Frage nach dem Status einer Herkunftzuweisung wie ‚Osteuropa‘. Der Band versammelt Beiträge, die diese Fragen unter theoretischen Aspekten, im Hinblick auf die Positionierungen der AutorInnen im literarischen Feld und auf Dynamiken des Buchmarkts sowie in einzelnen Fallstudien untersuchen.
In the last years numerous German-language texts written by authors of Eastern and Southeastern European origin appeared. This phenomenon, already referred to as the "eastward expansion of German-language literature" and the "eastern turn", indicates a diversification of contemporary literature that can no longer be adequately captured by a label such as “migration literature”. Are there specific writing styles and perspectives in these texts and how is this mediated with their reception? At the same time, however, this raises the question of the status of an attribution of origin such as 'Eastern Europe'. This volume brings together contributions that examine these questions in theoretical perspective, with regard to the positioning of authors in the literary field and to book market dynamics, as well as in individual case studies.
In the last years numerous German-language texts written by authors of Eastern and Southeastern European origin appeared. This phenomenon, already referred to as the "eastward expansion of German-language literature" and the "eastern turn", indicates a diversification of contemporary literature that can no longer be adequately captured by a label such as “migration literature”. Are there specific writing styles and perspectives in these texts and how is this mediated with their reception? At the same time, however, this raises the question of the status of an attribution of origin such as 'Eastern Europe'. This volume brings together contributions that examine these questions in theoretical perspective, with regard to the positioning of authors in the literary field and to book market dynamics, as well as in individual case studies.
Deutschsprachige Literatur osteuropäischer Herkunft
In den letzten Jahren sind zahlreiche deutschsprachigen Texte erschienen, die von AutorInnen ost- und südosteuropäischer Herkunft verfasst wurden. Dieses bereits als „Osterweiterung der deutschsprachigen Literatur“ und „eastern turn“ bezeichnete Phänomen zeugt von einer Diversifizierung der Gegenwartsliteratur, die sich mit einem Label wie ‚Migrationsliteratur‘ nicht mehr ausreichend fassen lässt. Gibt es in den entsprechenden Texten spezifische Schreibweisen und Perspektiven und wie ist dies mit deren Rezeption vermittelt? Damit stellt sich zugleich aber die Frage nach dem Status einer Herkunftzuweisung wie ‚Osteuropa‘. Der Band versammelt Beiträge, die diese Fragen unter theoretischen Aspekten, im Hinblick auf die Positionierungen der AutorInnen im literarischen Feld und auf Dynamiken des Buchmarkts sowie in einzelnen Fallstudien untersuchen.
In the last years numerous German-language texts written by authors of Eastern and Southeastern European origin appeared. This phenomenon, already referred to as the "eastward expansion of German-language literature" and the "eastern turn", indicates a diversification of contemporary literature that can no longer be adequately captured by a label such as “migration literature”. Are there specific writing styles and perspectives in these texts and how is this mediated with their reception? At the same time, however, this raises the question of the status of an attribution of origin such as 'Eastern Europe'. This volume brings together contributions that examine these questions in theoretical perspective, with regard to the positioning of authors in the literary field and to book market dynamics, as well as in individual case studies.
In the last years numerous German-language texts written by authors of Eastern and Southeastern European origin appeared. This phenomenon, already referred to as the "eastward expansion of German-language literature" and the "eastern turn", indicates a diversification of contemporary literature that can no longer be adequately captured by a label such as “migration literature”. Are there specific writing styles and perspectives in these texts and how is this mediated with their reception? At the same time, however, this raises the question of the status of an attribution of origin such as 'Eastern Europe'. This volume brings together contributions that examine these questions in theoretical perspective, with regard to the positioning of authors in the literary field and to book market dynamics, as well as in individual case studies.
Incompletion is an essential condition of cultural history, and particularly the idea of the fragment became a central element of Romantic art. Through its resistance to classicist ideals it continued being of high relevance to the various strands of modernist and contemporary aesthetics. The fourteen essays in this volume, based on the 2017 Stockholm conference of the International Association for Word and Music Studies (WMA), for the first time address incompletion in a wide range of literary and musical texts, from Baudelaire and Flaubert through Tolstoy and Henry James to Bachmann, Jelinek and Janet Frame, from Nietzsche and Chopin through Russolo and Puccini to Rihm and Kurtàg. Two further essays deal with topical general issues in the field of word and music studies.
Fragments in Words and Music
Incompletion is an essential condition of cultural history, and particularly the idea of the fragment became a central element of Romantic art. Through its resistance to classicist ideals it continued being of high relevance to the various strands of modernist and contemporary aesthetics. The fourteen essays in this volume, based on the 2017 Stockholm conference of the International Association for Word and Music Studies (WMA), for the first time address incompletion in a wide range of literary and musical texts, from Baudelaire and Flaubert through Tolstoy and Henry James to Bachmann, Jelinek and Janet Frame, from Nietzsche and Chopin through Russolo and Puccini to Rihm and Kurtàg. Two further essays deal with topical general issues in the field of word and music studies.
Beckett’s Voices / Voicing Beckett uses ‘voice’ as a prism to investigate Samuel Beckett’s work across a range of texts, genres, and performance cultures. Twenty-one contributors, all members of the Samuel Beckett Working Group of the International Federation for Theatre Research, discuss the musicality of Beckett’s voices, the voice as ‘absent other’, the voices of the vulnerable, the cinematic voice, and enacted voices in performance and media. The volume engages not only with Beckett’s history and legacy, but also with many of the central theoretical issues in theatre studies as a whole. Featuring testimonies from Beckett practitioners as well as emerging and established scholars, it is emblematic of the thriving and diverse community that is twenty-first century Beckett Studies.
Contributors: Svetlana Antropova, Linda Ben-Zvi, Jonathan Bignell, Llewellyn Brown, Julie Campbell, Thirthankar Chakraborty, Laurens De Vos, Everett C. Frost, S. E. Gontarski, Mariko Hori Tanaka, Nicholas E. Johnson, Kumiko Kiuchi, Anna McMullan, Melissa Nolan, Cathal Quinn, Arthur Rose, Teresa Rosell Nicolás, Jürgen Siess, Anna Sigg, Yoshiko Takebe, Michiko Tsushima
Contributors: Svetlana Antropova, Linda Ben-Zvi, Jonathan Bignell, Llewellyn Brown, Julie Campbell, Thirthankar Chakraborty, Laurens De Vos, Everett C. Frost, S. E. Gontarski, Mariko Hori Tanaka, Nicholas E. Johnson, Kumiko Kiuchi, Anna McMullan, Melissa Nolan, Cathal Quinn, Arthur Rose, Teresa Rosell Nicolás, Jürgen Siess, Anna Sigg, Yoshiko Takebe, Michiko Tsushima
Series:
Themes in Theatre, Volume: 12
Beckett’s Voices / Voicing Beckett uses ‘voice’ as a prism to investigate Samuel Beckett’s work across a range of texts, genres, and performance cultures. Twenty-one contributors, all members of the Samuel Beckett Working Group of the International Federation for Theatre Research, discuss the musicality of Beckett’s voices, the voice as ‘absent other’, the voices of the vulnerable, the cinematic voice, and enacted voices in performance and media. The volume engages not only with Beckett’s history and legacy, but also with many of the central theoretical issues in theatre studies as a whole. Featuring testimonies from Beckett practitioners as well as emerging and established scholars, it is emblematic of the thriving and diverse community that is twenty-first century Beckett Studies.
Contributors: Svetlana Antropova, Linda Ben-Zvi, Jonathan Bignell, Llewellyn Brown, Julie Campbell, Thirthankar Chakraborty, Laurens De Vos, Everett C. Frost, S. E. Gontarski, Mariko Hori Tanaka, Nicholas E. Johnson, Kumiko Kiuchi, Anna McMullan, Melissa Nolan, Cathal Quinn, Arthur Rose, Teresa Rosell Nicolás, Jürgen Siess, Anna Sigg, Yoshiko Takebe, Michiko Tsushima
Contributors: Svetlana Antropova, Linda Ben-Zvi, Jonathan Bignell, Llewellyn Brown, Julie Campbell, Thirthankar Chakraborty, Laurens De Vos, Everett C. Frost, S. E. Gontarski, Mariko Hori Tanaka, Nicholas E. Johnson, Kumiko Kiuchi, Anna McMullan, Melissa Nolan, Cathal Quinn, Arthur Rose, Teresa Rosell Nicolás, Jürgen Siess, Anna Sigg, Yoshiko Takebe, Michiko Tsushima
Merab Mamardashvili (1930-1990) is a legend of Russian and Russian-Soviet philosophy. His work sought to cultivate an “awakening to thought,” to help his interlocuters distinguish between truth and falsity. This book serves as an in-depth investigation into the life and work of one of the most prominent philosophers of Russian and Russian-Soviet history, collecting his ideas here in one book. The author explains the philosophical foundations of his ideas, as they relate to the broader traditions of philosophy of consciousness, phenomenology, existentialism, transcendental philosophy, and Continental philosophy. However, his ideas also lead much further - deep into philosophy itself, its cultural origins, and to the basis and roots of all human thought.