Theatre, opera and consciousness :: history and current debates /
The study of consciousness has developed considerably over the past ten years, with an emphasis on seeking to explain subjective experience. Our understanding of key questions relating to the performing arts, in theory and practice, benefits from the insights of consciousness studies. Theatre, Opera...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam :
Rodopi,
2013.
|
| Schriftenreihe: | Consciousness, literature & the arts ;
33. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | The study of consciousness has developed considerably over the past ten years, with an emphasis on seeking to explain subjective experience. Our understanding of key questions relating to the performing arts, in theory and practice, benefits from the insights of consciousness studies. Theatre, Opera and Consciousness discusses selected concerns of theatre history from a consciousness studies perspective, develops a new perspective on ethical implications of theatre practice, reassesses the concept of the guru, and offers a new approach to the actor's cool-down. The book expands the framework. |
| Beschreibung: | 1 online resource |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9789401209298 9401209294 |
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| 245 | 1 | 0 | |a Theatre, opera and consciousness : |b history and current debates / |c Daniel Meyer-Dinkgräfe. |
| 260 | |a Amsterdam : |b Rodopi, |c 2013. | ||
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| 490 | 1 | |a Consciousness, literature & the arts ; |v 33 | |
| 504 | |a Includes bibliographical references and index. | ||
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| 505 | 0 | |a Cover; Title Page; Copyright Page; Contents; Acknowledgments; Introduction; The Consciousness, Literature and the Arts research context, 2000-2013; Subjectivity, spirituality and the Vedanta model of consciousness; States of consciousness; The relation of states of consciousness to each other; Higher states of consciousness; Principles of pure consciousness; Contents and scope; PART ONE: THEATRE AND CONSCIOUSNESS; Chapter One. Consciousness and Western Theatre History:Theory and Examples; Schiller's concept of universal history; History and time: non-teleological and non-causal approach. | |
| 505 | 8 | |a Theatre history and time: non-teleological and non-causal approachHistory and time: teleological and causal approach; Theatre history and time: teleological and causal approach; Example one. Consciousness and drama:English biographical plays about famous artists; Introduction; Authenticity; Function and focus; Constellations; Adversity versus genius; Modes of identification; Peter Shaffer's Amadeus (1979); The tribute play and its relatives; Comedy about comedians; Long live Hollywood; VIP authors; Why so many-still?; Outlook; Summary; Example two. Consciousness in drama: synaesthesia. | |
| 505 | 8 | |a IntroductionSynaesthesia as a neurological phenomenon; Characters with synaesthesia in drama; Indirect references to synaesthesia; Summary; A speculation; Example three. Consciousness and performance: the relevance of story-telling for 21st century updates of plays and opera productions; Example four. Consciousness and performance: body against boundaries in Raim und Hoghe's choreography; Chapter Two. Consciousness and Ethics; Production; Reception; The consciousness studies perspective; Chapter Three. Consciousness and the concept of Guru; The term and the concept of Guru. | |
| 505 | 8 | |a History of Guru in the South Asian spiritual traditionsTypes of Gurus; Qualities of a Satguru; The roles and functions of a Guru; How to find a Guru; Qualities of a disciple; How the Guru teaches; Critique of Gurus; The Guru in the Performing Arts; Personal and institutional contexts, past and present; Characteristics of guru and shishya; Forms of respect and gratitude; Learning through imitation; Guru inside and outside; Outlook; Chapter Four. Consciousness, warm-up, cool-down and theactor as observer; Warm-up; Cool-down; Cool-down and the Indian approach to consciousness. | |
| 505 | 8 | |a Cool-down and the actor as observerPhase One: past, present and future; Phase Two: alertness and observation; Phase Three; Phase Four; PART TWO: OPERA AND CONSCIOUSNESS; Chapter Five. Opera and Spirituality; Introduction; Characteristics of singers' spiritual experiences; Explanatory frameworks; Research into strong emotional responses of opera audiences; Expanding the explanatory framework; Vedic linguistics; Sex, eros and femininity; Mise en scène; Conclusion: opera and spirituality; Chapter Six. Spiritual aspects of operatic singing; Introduction; Biography; Vogt on Vogt; The voice. | |
| 520 | |a The study of consciousness has developed considerably over the past ten years, with an emphasis on seeking to explain subjective experience. Our understanding of key questions relating to the performing arts, in theory and practice, benefits from the insights of consciousness studies. Theatre, Opera and Consciousness discusses selected concerns of theatre history from a consciousness studies perspective, develops a new perspective on ethical implications of theatre practice, reassesses the concept of the guru, and offers a new approach to the actor's cool-down. The book expands the framework. | ||
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| 776 | 0 | 8 | |i Print version: |a Meyer-Dinkgräfe, Daniel. |t Theatre, opera and consciousness. |d Amsterdam : Rodopi, 2013 |z 9789042036635 |w (OCoLC)844438284 |
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| author | Meyer-Dinkgräfe, Daniel, 1958- |
| author_GND | http://id.loc.gov/authorities/names/n88299436 |
| author_facet | Meyer-Dinkgräfe, Daniel, 1958- |
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| contents | Cover; Title Page; Copyright Page; Contents; Acknowledgments; Introduction; The Consciousness, Literature and the Arts research context, 2000-2013; Subjectivity, spirituality and the Vedanta model of consciousness; States of consciousness; The relation of states of consciousness to each other; Higher states of consciousness; Principles of pure consciousness; Contents and scope; PART ONE: THEATRE AND CONSCIOUSNESS; Chapter One. Consciousness and Western Theatre History:Theory and Examples; Schiller's concept of universal history; History and time: non-teleological and non-causal approach. Theatre history and time: non-teleological and non-causal approachHistory and time: teleological and causal approach; Theatre history and time: teleological and causal approach; Example one. Consciousness and drama:English biographical plays about famous artists; Introduction; Authenticity; Function and focus; Constellations; Adversity versus genius; Modes of identification; Peter Shaffer's Amadeus (1979); The tribute play and its relatives; Comedy about comedians; Long live Hollywood; VIP authors; Why so many-still?; Outlook; Summary; Example two. Consciousness in drama: synaesthesia. IntroductionSynaesthesia as a neurological phenomenon; Characters with synaesthesia in drama; Indirect references to synaesthesia; Summary; A speculation; Example three. Consciousness and performance: the relevance of story-telling for 21st century updates of plays and opera productions; Example four. Consciousness and performance: body against boundaries in Raim und Hoghe's choreography; Chapter Two. Consciousness and Ethics; Production; Reception; The consciousness studies perspective; Chapter Three. Consciousness and the concept of Guru; The term and the concept of Guru. History of Guru in the South Asian spiritual traditionsTypes of Gurus; Qualities of a Satguru; The roles and functions of a Guru; How to find a Guru; Qualities of a disciple; How the Guru teaches; Critique of Gurus; The Guru in the Performing Arts; Personal and institutional contexts, past and present; Characteristics of guru and shishya; Forms of respect and gratitude; Learning through imitation; Guru inside and outside; Outlook; Chapter Four. Consciousness, warm-up, cool-down and theactor as observer; Warm-up; Cool-down; Cool-down and the Indian approach to consciousness. Cool-down and the actor as observerPhase One: past, present and future; Phase Two: alertness and observation; Phase Three; Phase Four; PART TWO: OPERA AND CONSCIOUSNESS; Chapter Five. Opera and Spirituality; Introduction; Characteristics of singers' spiritual experiences; Explanatory frameworks; Research into strong emotional responses of opera audiences; Expanding the explanatory framework; Vedic linguistics; Sex, eros and femininity; Mise en scène; Conclusion: opera and spirituality; Chapter Six. Spiritual aspects of operatic singing; Introduction; Biography; Vogt on Vogt; The voice. |
| ctrlnum | (OCoLC)854754375 |
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| dewey-search | 792.019 |
| dewey-sort | 3792.019 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| format | Electronic eBook |
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| id | ZDB-4-EBA-ocn854754375 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:25:28Z |
| institution | BVB |
| isbn | 9789401209298 9401209294 |
| language | English |
| oclc_num | 854754375 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource |
| psigel | ZDB-4-EBA |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Rodopi, |
| record_format | marc |
| series | Consciousness, literature & the arts ; |
| series2 | Consciousness, literature & the arts ; |
| spelling | Meyer-Dinkgräfe, Daniel, 1958- https://id.oclc.org/worldcat/entity/E39PCjwhJXtTJ4RgdTy8CWF3Qq http://id.loc.gov/authorities/names/n88299436 Theatre, opera and consciousness : history and current debates / Daniel Meyer-Dinkgräfe. Amsterdam : Rodopi, 2013. 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier data file Consciousness, literature & the arts ; 33 Includes bibliographical references and index. Print version record. Cover; Title Page; Copyright Page; Contents; Acknowledgments; Introduction; The Consciousness, Literature and the Arts research context, 2000-2013; Subjectivity, spirituality and the Vedanta model of consciousness; States of consciousness; The relation of states of consciousness to each other; Higher states of consciousness; Principles of pure consciousness; Contents and scope; PART ONE: THEATRE AND CONSCIOUSNESS; Chapter One. Consciousness and Western Theatre History:Theory and Examples; Schiller's concept of universal history; History and time: non-teleological and non-causal approach. Theatre history and time: non-teleological and non-causal approachHistory and time: teleological and causal approach; Theatre history and time: teleological and causal approach; Example one. Consciousness and drama:English biographical plays about famous artists; Introduction; Authenticity; Function and focus; Constellations; Adversity versus genius; Modes of identification; Peter Shaffer's Amadeus (1979); The tribute play and its relatives; Comedy about comedians; Long live Hollywood; VIP authors; Why so many-still?; Outlook; Summary; Example two. Consciousness in drama: synaesthesia. IntroductionSynaesthesia as a neurological phenomenon; Characters with synaesthesia in drama; Indirect references to synaesthesia; Summary; A speculation; Example three. Consciousness and performance: the relevance of story-telling for 21st century updates of plays and opera productions; Example four. Consciousness and performance: body against boundaries in Raim und Hoghe's choreography; Chapter Two. Consciousness and Ethics; Production; Reception; The consciousness studies perspective; Chapter Three. Consciousness and the concept of Guru; The term and the concept of Guru. History of Guru in the South Asian spiritual traditionsTypes of Gurus; Qualities of a Satguru; The roles and functions of a Guru; How to find a Guru; Qualities of a disciple; How the Guru teaches; Critique of Gurus; The Guru in the Performing Arts; Personal and institutional contexts, past and present; Characteristics of guru and shishya; Forms of respect and gratitude; Learning through imitation; Guru inside and outside; Outlook; Chapter Four. Consciousness, warm-up, cool-down and theactor as observer; Warm-up; Cool-down; Cool-down and the Indian approach to consciousness. Cool-down and the actor as observerPhase One: past, present and future; Phase Two: alertness and observation; Phase Three; Phase Four; PART TWO: OPERA AND CONSCIOUSNESS; Chapter Five. Opera and Spirituality; Introduction; Characteristics of singers' spiritual experiences; Explanatory frameworks; Research into strong emotional responses of opera audiences; Expanding the explanatory framework; Vedic linguistics; Sex, eros and femininity; Mise en scène; Conclusion: opera and spirituality; Chapter Six. Spiritual aspects of operatic singing; Introduction; Biography; Vogt on Vogt; The voice. The study of consciousness has developed considerably over the past ten years, with an emphasis on seeking to explain subjective experience. Our understanding of key questions relating to the performing arts, in theory and practice, benefits from the insights of consciousness studies. Theatre, Opera and Consciousness discusses selected concerns of theatre history from a consciousness studies perspective, develops a new perspective on ethical implications of theatre practice, reassesses the concept of the guru, and offers a new approach to the actor's cool-down. The book expands the framework. English. Theater and society. http://id.loc.gov/authorities/subjects/sh85134565 Théâtre et société. PERFORMING ARTS Theater History & Criticism. bisacsh Theater and society fast Print version: Meyer-Dinkgräfe, Daniel. Theatre, opera and consciousness. Amsterdam : Rodopi, 2013 9789042036635 (OCoLC)844438284 Consciousness, literature & the arts ; 33. http://id.loc.gov/authorities/names/no2005068696 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=614092 Volltext |
| spellingShingle | Meyer-Dinkgräfe, Daniel, 1958- Theatre, opera and consciousness : history and current debates / Consciousness, literature & the arts ; Cover; Title Page; Copyright Page; Contents; Acknowledgments; Introduction; The Consciousness, Literature and the Arts research context, 2000-2013; Subjectivity, spirituality and the Vedanta model of consciousness; States of consciousness; The relation of states of consciousness to each other; Higher states of consciousness; Principles of pure consciousness; Contents and scope; PART ONE: THEATRE AND CONSCIOUSNESS; Chapter One. Consciousness and Western Theatre History:Theory and Examples; Schiller's concept of universal history; History and time: non-teleological and non-causal approach. Theatre history and time: non-teleological and non-causal approachHistory and time: teleological and causal approach; Theatre history and time: teleological and causal approach; Example one. Consciousness and drama:English biographical plays about famous artists; Introduction; Authenticity; Function and focus; Constellations; Adversity versus genius; Modes of identification; Peter Shaffer's Amadeus (1979); The tribute play and its relatives; Comedy about comedians; Long live Hollywood; VIP authors; Why so many-still?; Outlook; Summary; Example two. Consciousness in drama: synaesthesia. IntroductionSynaesthesia as a neurological phenomenon; Characters with synaesthesia in drama; Indirect references to synaesthesia; Summary; A speculation; Example three. Consciousness and performance: the relevance of story-telling for 21st century updates of plays and opera productions; Example four. Consciousness and performance: body against boundaries in Raim und Hoghe's choreography; Chapter Two. Consciousness and Ethics; Production; Reception; The consciousness studies perspective; Chapter Three. Consciousness and the concept of Guru; The term and the concept of Guru. History of Guru in the South Asian spiritual traditionsTypes of Gurus; Qualities of a Satguru; The roles and functions of a Guru; How to find a Guru; Qualities of a disciple; How the Guru teaches; Critique of Gurus; The Guru in the Performing Arts; Personal and institutional contexts, past and present; Characteristics of guru and shishya; Forms of respect and gratitude; Learning through imitation; Guru inside and outside; Outlook; Chapter Four. Consciousness, warm-up, cool-down and theactor as observer; Warm-up; Cool-down; Cool-down and the Indian approach to consciousness. Cool-down and the actor as observerPhase One: past, present and future; Phase Two: alertness and observation; Phase Three; Phase Four; PART TWO: OPERA AND CONSCIOUSNESS; Chapter Five. Opera and Spirituality; Introduction; Characteristics of singers' spiritual experiences; Explanatory frameworks; Research into strong emotional responses of opera audiences; Expanding the explanatory framework; Vedic linguistics; Sex, eros and femininity; Mise en scène; Conclusion: opera and spirituality; Chapter Six. Spiritual aspects of operatic singing; Introduction; Biography; Vogt on Vogt; The voice. Theater and society. http://id.loc.gov/authorities/subjects/sh85134565 Théâtre et société. PERFORMING ARTS Theater History & Criticism. bisacsh Theater and society fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85134565 |
| title | Theatre, opera and consciousness : history and current debates / |
| title_auth | Theatre, opera and consciousness : history and current debates / |
| title_exact_search | Theatre, opera and consciousness : history and current debates / |
| title_full | Theatre, opera and consciousness : history and current debates / Daniel Meyer-Dinkgräfe. |
| title_fullStr | Theatre, opera and consciousness : history and current debates / Daniel Meyer-Dinkgräfe. |
| title_full_unstemmed | Theatre, opera and consciousness : history and current debates / Daniel Meyer-Dinkgräfe. |
| title_short | Theatre, opera and consciousness : |
| title_sort | theatre opera and consciousness history and current debates |
| title_sub | history and current debates / |
| topic | Theater and society. http://id.loc.gov/authorities/subjects/sh85134565 Théâtre et société. PERFORMING ARTS Theater History & Criticism. bisacsh Theater and society fast |
| topic_facet | Theater and society. Théâtre et société. PERFORMING ARTS Theater History & Criticism. Theater and society |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=614092 |
| work_keys_str_mv | AT meyerdinkgrafedaniel theatreoperaandconsciousnesshistoryandcurrentdebates |