Kirjahaku

This book critically assesses the artistry of contemporary directors. Its discussion includes the work of Declan Donnellan, Thomas Ostermeier, Deborah Warner, Simon Stone and Krzysztof Warlikowski. Alongside the work of wider theorists (Patrice Pavis and Erika Fischer-Lichte), it uses neuroaesthetic theory (Semir Zeki) and cognitive and creative process models to offer an original means to discuss the performance event, emotion, brain structures and concepts, and the actor’s body in performance. It offers first-hand observation of rehearsals led by Katie Mitchell, Ivo van Hove, Carrie Cracknell and the Steppenwolf Theatre. It also explores devising in relation to the work of Simon McBurney and contemporary groups, and scenography in relation to the work of Dmitry Krymov, Robert Wilson and Robert Lepage. The Director and Directing argues that the director creates a type of knowledge, ‘reward’ and ‘resonant experience’ (G. Gabrielle Starr) through instinctive and expert choices.

This book critically assesses the artistry of contemporary directors. Its discussion includes the work of Declan Donnellan, Thomas Ostermeier, Deborah Warner, Simon Stone and Krzysztof Warlikowski. Alongside the work of wider theorists (Patrice Pavis and Erika Fischer-Lichte), it uses neuroaesthetic theory (Semir Zeki) and cognitive and creative process models to offer an original means to discuss the performance event, emotion, brain structures and concepts, and the actor’s body in performance. It offers first-hand observation of rehearsals led by Katie Mitchell, Ivo van Hove, Carrie Cracknell and the Steppenwolf Theatre. It also explores devising in relation to the work of Simon McBurney and contemporary groups, and scenography in relation to the work of Dmitry Krymov, Robert Wilson and Robert Lepage. The Director and Directing argues that the director creates a type of knowledge, ‘reward’ and ‘resonant experience’ (G. Gabrielle Starr) through instinctive and expert choices.

The Question of Skill offers a re-thinking of how theatre-making might be understood as a skilled craft and process, exploring how contemporary, professional contexts allow skill to emerge in a multitude of ways, often as a result of collective knowledge and collaboration.The book argues that notions of skill tend to be uncritically accepted to suggest abilities that are learnt and applied or associated with a particular and stable set of techniques. But skill is, instead, never a neutral term but suggests processes, values and systems.This study covers topics such as training, rehearsing and performing with a focus on the roles of the actor and director. As well as interdisciplinary theoretical perspectives, especially drawn from cognitive studies, it also discusses examples of skill as virtuosic performance.Throughout, the book draws on first-hand observations of international contemporary theatre-makers in rehearsal and performance, including the contemporary work of Katie Mitchell, Anne Bogart, Odin Teatret, the RSC, the National Theatre, and Encounter Productions. As well as diverse training, rehearsal and performance contexts, it includes Fevered Sleep’s Men & Girls Dance (2016), Simon Stone’s Phaedra (National Theatre, 2023) and Jan Fabre’s Mount Olympus: To Glorify the Cult of Tragedy (2015). It probes how theatre is made as an always skilled, human endeavour, and, in a post-Covid age, what the future may bring.