Steven Berkoff and the Theatre of Self-performanceManchester University Press, 2004 - Всего страниц: 240 Steven Berkoff is the playwright, director and actor whom theatre scholars have until now chosen to ignore. Yet this notorious Cockney enfant terrible has left an imprint on modern British theatre is as impossible to ignore as his presence on the stage. This study of this contentious, larger-than-life figure examines the strategies adopted by Berkoff in the construction and projection of his multifaceted public persona. into the dynamic processes involved in the self-mythologization of a theatre artist famously concerned with revealing himself through his plays and writings, Robert Cross covers all of Berkoff's works, including Greek, East, Kvetch and Metamorphosis, as well as looking at his choice of film roles, including Octopussy and The Krays. With its specific approach, this text attempts to fill a large gap in theatre scholarship and also attempts to contribute to our understanding of the role of peformance in identity formation in general. academic researchers and teachers involved in theatre and drama studies, English literature, cultural and film studies and psychology should find this long-awaited and lively study both provocative and informative. |
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Robert Cross. CONCLUSIONS Mime is a lonely art , for the mime works in a solitary world inhabited by phantasms which take only transient form through him . ( Angna Engers , On Mime ) In this study I have argued that Berkoff , in his many ...
Robert Cross. CONCLUSIONS Mime is a lonely art , for the mime works in a solitary world inhabited by phantasms which take only transient form through him . ( Angna Engers , On Mime ) In this study I have argued that Berkoff , in his many ...
Стр. 212
... mime together with the spoken word as its opposite partner " ( FA : 53 ) . His apparent aim , therefore , was to use the resources of mime to push the physical approach taken to text by the likes of Olivier , Kean , and Plummer to ...
... mime together with the spoken word as its opposite partner " ( FA : 53 ) . His apparent aim , therefore , was to use the resources of mime to push the physical approach taken to text by the likes of Olivier , Kean , and Plummer to ...
Стр. 215
... mime and text , not just in Usher but in the majority of Berkoff's plays and productions , relate to his constructed ' self ' and to the ' Berkoff phenomenon ' ? Mime is , I suggest , the most apt kinetic metaphor for the way Berkoff ...
... mime and text , not just in Usher but in the majority of Berkoff's plays and productions , relate to his constructed ' self ' and to the ' Berkoff phenomenon ' ? Mime is , I suggest , the most apt kinetic metaphor for the way Berkoff ...
Содержание
INTRODUCTION | 1 |
Jewish East End roots | 21 |
Berkoffs interpersonal self | 51 |
Авторские права | |
Не показаны другие разделы: 4
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achieve acting actor adaptation Agamemnon Antonin Artaud appears approach argues Artaud artist Arts Lab audience autobiography become Berkoff phenomenon Berkoff recalls Berkovian body Britain British society British theatre career chapter characterised characters Cockney construction context create culture director discourse drama dramaturgy East Ender Edmund Kean English ensemble escapology example expressed Faber Falklands Falklands War fantasy film Free Association French total theatre Gregor Gregor Samsa Hamlet iconic individual Interview with Steven Jacques Lecoq Jean-Louis Barrault Jewish East End Jews Kafka Kean Kvetch language Laurence Olivier logocentric mainstream theatre Metamorphosis metaphor Mike mime œuvre Olivier's original production particularly Penal Colony Petra Markham physical performance play playwright political protagonist role Routledge Samsa seen sense Shakespeare Sink the Belgrano social stage Stamford Hill Steven Berkoff story strategy subject position suggest Thatcher Thatcherite theatre Establishment theatrical University Press Usher villain West words working-class