In this article, the performing body is considered via a three-pronged approach involving affect ... more In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear, and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While ‘body’ is viewed from the perspective of ‘bodyworld’ to denote constitutive and reciprocally shaping human–nonhuman relationalities, the ‘performance’ that occurs in bodies is analyzed in terms of a ‘drama of affect’ to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the ...
Dramaturgy of a Performance Process traces the creative journey that led to Lamentations of Cain ... more Dramaturgy of a Performance Process traces the creative journey that led to Lamentations of Cain – A Vocal Structure, the first Icarus Performance Project. Spanning over four years (2001-2005), this book is an intriguing account of a creative process and provides valuable insights into the various facets and techniques of performance. The areas tackled revolve around the evolution of individual performance scores into a group performance structure. The decisive moment in the process is marked by the emergence of a tightly knit dramaturgy. Montage techniques, spatial dynamics, and the reliance on a vocal structure, all form an integral part of the dramaturgical weave. Edited and compiled by the Project's artistic director, Frank Camilleri, the book attempts to narrow the distance between the theory and practice of performance by adopting a documentary approach. Dramaturgy of a Performance Process contains a wealth of primary sources as well as various critical accounts and should...
PATAZ: Physical Actor Training – an online A-Z establishes a foundation for physical training exe... more PATAZ: Physical Actor Training – an online A-Z establishes a foundation for physical training exercises through over 60 dynamic videos with accompanying audio commentary, reflection, and texts for today’s physical actor, teacher, and trainer. Using innovative camera work and editing processes, each film explores a term from our A-Z, ranging from specific skills like Grounding and Balance to more abstract concepts like Energy or Craft. See for yourself with a sneak peak of Awareness, Breath, the Fundamentals, and Stillness. The A-Z encourages enquiry and an active, hands-on training process geared toward movement work, vocal exploration, dance-theatre, and physical training. Each exercise can be explored and experienced in myriad ways by an individual or group. Physical Actor Training – an online A-Z is a digital resource created by actor trainers Paul Allain and Frank Camilleri with filmmakers Peter Hulton and Stacie Lee Bennett, and trainees from the University of Kent. PATAZ prioritizes movement, voice, and the body rather than character or text-based approaches to making performance and preparing the actor. For students, practitioners and teachers, the A-Z works across film, text, audio and image. The A-Z resource includes the trainee voice, showing the learning process, highlighting challenges and how to work with them. Innovative approaches to filming reveal the exploratory use of digital tools in a studio environment. The A-Z provides viewers with a foundational resource from which to build.
Adaptation in contemporary performance takes on different forms and engages various strategies. I... more Adaptation in contemporary performance takes on different forms and engages various strategies. In this article, Frank Camilleri explores the subject in terms of compositional devising via his practice as research in the area. He considers adaptation as a process of adjustment and modification that occurs at the level of format or organization, and which results from a change in context. He proposes terminological and structural frameworks, namely types, movements, modes, and phases of adaption. These taxonomies are then subsequently exemplified through three case studies from the author's performance and pedagogical work. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta, where he is Director of the School of Performing Arts and leads P21 (Performance 21), the research centre for Twenty-first Century Studies in Performance. He is Artistic Director of Icarus Performance Project and co-edits the Routledge/Icarus ‘Theatre as a Laboratory’ series.
Http Dx Doi Org 10 1080 10486801 2013 806314, Aug 1, 2013
Swedish theatre maker Ingemar Lindh (1945–97) can be regarded as a prime example of Étienne Decro... more Swedish theatre maker Ingemar Lindh (1945–97) can be regarded as a prime example of Étienne Decroux's paradoxical absent/present impact in late twentieth-century theatre. The article looks at links, overlapping concerns, and differences between the two practitioners with the principal aim of shedding contextual and conceptual light on Lindh's research. It also contributes to our knowledge of the corporeal mime master, especially about the nature of influence and transmission. Due to the intentional low profile that both practitioners kept, as well as to the lack of documented and critical material on Lindh, identifying links is a complex task. The article strategically reconsiders this obstacle as an opportunity to discuss the more latent (and therefore less visible) aspects of influence, specifically between the two practitioners, but symptomatically also of twentieth-century laboratory theatre. The main aspects discussed in the article are: personal histories and trajectories of influence; holistic pedagogical dimensions as a way of life; the role played by improvisation in training and performance processes; and the nature of mental phenomena in the actor's work.
In this article, the performing body is considered via a three-pronged approach involving affect ... more In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear, and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While ‘body’ is viewed from the perspective of ‘bodyworld’ to denote constitutive and reciprocally shaping human–nonhuman relationalities, the ‘performance’ that occurs in bodies is analyzed in terms of a ‘drama of affect’ to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the ...
Dramaturgy of a Performance Process traces the creative journey that led to Lamentations of Cain ... more Dramaturgy of a Performance Process traces the creative journey that led to Lamentations of Cain – A Vocal Structure, the first Icarus Performance Project. Spanning over four years (2001-2005), this book is an intriguing account of a creative process and provides valuable insights into the various facets and techniques of performance. The areas tackled revolve around the evolution of individual performance scores into a group performance structure. The decisive moment in the process is marked by the emergence of a tightly knit dramaturgy. Montage techniques, spatial dynamics, and the reliance on a vocal structure, all form an integral part of the dramaturgical weave. Edited and compiled by the Project's artistic director, Frank Camilleri, the book attempts to narrow the distance between the theory and practice of performance by adopting a documentary approach. Dramaturgy of a Performance Process contains a wealth of primary sources as well as various critical accounts and should...
PATAZ: Physical Actor Training – an online A-Z establishes a foundation for physical training exe... more PATAZ: Physical Actor Training – an online A-Z establishes a foundation for physical training exercises through over 60 dynamic videos with accompanying audio commentary, reflection, and texts for today’s physical actor, teacher, and trainer. Using innovative camera work and editing processes, each film explores a term from our A-Z, ranging from specific skills like Grounding and Balance to more abstract concepts like Energy or Craft. See for yourself with a sneak peak of Awareness, Breath, the Fundamentals, and Stillness. The A-Z encourages enquiry and an active, hands-on training process geared toward movement work, vocal exploration, dance-theatre, and physical training. Each exercise can be explored and experienced in myriad ways by an individual or group. Physical Actor Training – an online A-Z is a digital resource created by actor trainers Paul Allain and Frank Camilleri with filmmakers Peter Hulton and Stacie Lee Bennett, and trainees from the University of Kent. PATAZ prioritizes movement, voice, and the body rather than character or text-based approaches to making performance and preparing the actor. For students, practitioners and teachers, the A-Z works across film, text, audio and image. The A-Z resource includes the trainee voice, showing the learning process, highlighting challenges and how to work with them. Innovative approaches to filming reveal the exploratory use of digital tools in a studio environment. The A-Z provides viewers with a foundational resource from which to build.
Adaptation in contemporary performance takes on different forms and engages various strategies. I... more Adaptation in contemporary performance takes on different forms and engages various strategies. In this article, Frank Camilleri explores the subject in terms of compositional devising via his practice as research in the area. He considers adaptation as a process of adjustment and modification that occurs at the level of format or organization, and which results from a change in context. He proposes terminological and structural frameworks, namely types, movements, modes, and phases of adaption. These taxonomies are then subsequently exemplified through three case studies from the author's performance and pedagogical work. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta, where he is Director of the School of Performing Arts and leads P21 (Performance 21), the research centre for Twenty-first Century Studies in Performance. He is Artistic Director of Icarus Performance Project and co-edits the Routledge/Icarus ‘Theatre as a Laboratory’ series.
Http Dx Doi Org 10 1080 10486801 2013 806314, Aug 1, 2013
Swedish theatre maker Ingemar Lindh (1945–97) can be regarded as a prime example of Étienne Decro... more Swedish theatre maker Ingemar Lindh (1945–97) can be regarded as a prime example of Étienne Decroux's paradoxical absent/present impact in late twentieth-century theatre. The article looks at links, overlapping concerns, and differences between the two practitioners with the principal aim of shedding contextual and conceptual light on Lindh's research. It also contributes to our knowledge of the corporeal mime master, especially about the nature of influence and transmission. Due to the intentional low profile that both practitioners kept, as well as to the lack of documented and critical material on Lindh, identifying links is a complex task. The article strategically reconsiders this obstacle as an opportunity to discuss the more latent (and therefore less visible) aspects of influence, specifically between the two practitioners, but symptomatically also of twentieth-century laboratory theatre. The main aspects discussed in the article are: personal histories and trajectories of influence; holistic pedagogical dimensions as a way of life; the role played by improvisation in training and performance processes; and the nature of mental phenomena in the actor's work.
Offering a radical re-evaluation of current approaches to performer training, this is a text that... more Offering a radical re-evaluation of current approaches to performer training, this is a text that equips readers with a set of new ways of thinking about and ultimately 'doing' training. Stemming from his extensive practice and incorporating a review of prevailing methods and theories, Frank Camilleri focuses on how material circumstances shape and affect processes of training, devising, rehearsing and performing. Frank Camilleri puts forward the 'post-psychophysical' as a more extended form of psychophysical discussion and practice that emerged and dominated in the 20th century. The 'post-psychophysical' updates the concept of an integrated bodymind in various ways, such as the notion of a performer's bodyworld that incorporates technology and the material world. Offering invaluable introductions to a wide range of theories around which the book is structured-including postphenomenological, sociomaterial, affect and situated cognition-this volume provides readers with an enticing array of approaches to training and creative processes.
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