Ebook PLAYFUL TRAINING: TOWARDS CAPOEIRA IN THE PHYSICAL TRAINING OF ACTORS, by Maria Brigida De Miranda
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PLAYFUL TRAINING: TOWARDS CAPOEIRA IN THE PHYSICAL TRAINING OF ACTORS, by Maria Brigida De Miranda
Ebook PLAYFUL TRAINING: TOWARDS CAPOEIRA IN THE PHYSICAL TRAINING OF ACTORS, by Maria Brigida De Miranda
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This book questions whether the practice of martial arts in physical actor training encourages a physicality with its origins in masculinised regimentation. The training of the body of the actor in physical practices, historically connected with the martial and military sphere, assumes that disciplining methods can lead to a ?neutral?, ?natural? or ?universal? body, which leaves out of account the question of cultural context and gender identity. The book examines key training methods theoretically and explores how actor training might resist such masculinised regimentation. It analyses physical exercises, derived from the martial and militaristic spheres, in well-established actor training approaches of the twentieth-century. The book proposes an alternative training structure inspired by capoeira, an Afro-Brazilian martial art.
- Sales Rank: #14645816 in Books
- Published on: 2010-06-03
- Original language: English
- Number of items: 1
- Dimensions: 8.66" h x .63" w x 5.91" l, .90 pounds
- Binding: Paperback
- 276 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
From actor and academic
By Kerrie Sinclair
This book contributes a unique theoretical perspective on how martial arts training methods are being used in the process of contemporary actor training. Readers interested in Brazilian and Asian physical training methods for actors will find this an invaluable resource. Actors looking to extend their understanding of how their bodies are active and dynamic elements of theatre production and spectatorship will also appreciate this book. This book also examines the complex relationships between the uses of bodies in theater and the ways in which bodies are culturally imagined and understood in western and asian theatre practices. I highly reccomend this book to all readers engaged in academic and practical research on the body and theatre.
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