(Music Sales America). This volume teaches performance skills by examining pre-concert preparation and how to lessen perfomance anxiety. It covers practice, public relations, and concert booking as well as psychology and creativity.
In this provocative & persuasive new book, De Flander explores the mindset of the highly successful and uses 6 decades of scientific research to reveal 3 proven performance principles. Drawing on startling statistics and cutting-edge insights, he packages science into a fascinating narrative packed with irresistible and practical takeaways.
Making connections between drama and drawing, Drawing as Performance introduces visual artists and designers to rehearsal techniques, theory, and games as ways of developing image-making and visual communication skills. Drawing from the fields of theatre and anthropology, this book is full of practical exercises that encourage experimentation and play as methods of making expressive, communicative, and meaningful images. Ideas are adapted from the rehearsal room to the drawing studio, offering artists a fresh approach to translating experiences into visual images. Games and exercises are accompanied by demonstrations and responses from professional practitioners and visual communication students. This one-of-a-kind book guides students and professionals alike to improvisation, self-expression, and reflective visual communication techniques in order to narrow the gap between the handmade image and inner experience from which artists draw their inspiration.
This manual gives musicians and other performers practical insights on every aspect of performance. Through real life examples and pre-performance exercises, Gordon also offers detailed and workable suggestions for solving the issues and problems associated with live performance.
Actors and the Art of Performance: Under Exposure combines the author's two main biographical paths: her professional commitment to the fields of both theatre and philosophy. The art of acting on stage is analysed here not only from the theoretical perspective of a spectator, but also from the perspective of the actor. The author draws on her experience as both a theatre actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge. The book is unique not only in terms of its content but also in terms of its style. Written in a multiplicity of voices, the text oscillates between philosophical reasoning and narrative forms of writing, including micro-narratives, fables, parables, and inter alia by Carroll, Hoffmann and Kleist. Hence the book claims that a trans-disciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetical research that questions and begins to seek alternatives to traditionally established and ingrained formats of philosophy.
This finely illustrated book offers a simple yet comprehensive 'grammar' of a new discipline. Performance Art first became popular in the fifties when artists began creating 'happenings'. Since then the artist as a performer has challenged many of the accepted rules of the theatre and radically altered our notion of what constitutes visual art. This is the first publication to outline the essential characteristics of the field and to put forward a method for teaching the subject as a discipline distinct from dance, drama, painting or sculpture. Taking the theory of primary and secondary colours as his model, Anthony Howell posits three primaries of action and shows how these may be mixed to obtain a secondary range of actions. Based on a taught course, the system is designed for practical use in the studio and is also entertaining to explore. Examples are cited from leading performance groups and practitioners such as Bobbie Baker, Orlan, Stelarc, Annie Sprinkle, Robert Wilson, Goat Island, and Station House Opera. This volume, however, is not just an illustrated grammar of action - it also shows how the syntax of that grammar has psychoanalytic repercussions. This enables the performer to relate the system to lived experience, ensuring a realisation that meaning is being dealt with through these actions and that the stystem set forth is more than a dry structuring of the characteristics of movement. Freud's notion of 'transference' and Lacan's understanding of 'repetition' are compared to a performer's usage of the same terms. Thus the book provides a psychoanalytic critique of performance at the same time as it outlines an efficient method for creating live work on both fine art and theatre courses.
Schenker was one of the most influential music theorists of the 20th century. In this essay, he turns his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display.
Swimming improves your flexibility, tones your body and can help to boost your self-esteem and produce a sense of well being. It is the nation's most popular sporting activity with 11.9 million people swimming regularly. However, most people don't know how to swim properly. This book is based on a 35-year voyage of discovery into the art of swimming. Steven Shaw's method takes the Alexander Technique into the swimming pool – focusing on releasing tension from the head, neck and back. Steven has evolved a unique way of breaking down strokes into a series of therapeutic movements, which can be practised individually or with a partner, in a pool or on dry land. These provide the building blocks, which combine to make it possible for anyone to recraft their own strokes in a way that promote good body use and avoid injuries. Instead of performing physical actions in an automatic way, you begin to learn body awareness. This way of swimming not only feels freer and more open, it is graceful and has a sense of flow, often absent from the way many people swim. Shaw looks at the most popular strokes – front crawl, back stroke, breast stroke and butterfly – focusing on maximum efficiency and minimum strain.
Based on the author's experience in industry, this book focuses on simple techniques for solving everyday problems in systems design and analysis. All techniques are covered in a non-mathematical way, so that no statistics expertise is necessary.