Author: John Matthews File Type: pdf In The Life of Training , John Matthews offers an accessible and original contribution to the philosophy of training for performance, building on his previous works Training for Performance (2011) and Anatomy of Performance Training (2014). With chapters on the seven characteristics of biological life - reproduction, stimulation, heritability, adaptation, growth, organisation and homeostasis - Matthews combines his unique approach with elements of Hannah Arendts mature philosophy to reach surprising and essential conclusions about the role time plays in training practices, and about the function of training practices in producing time and its tenses. Ideal for readers seeking to understand the relationship between training practices and human experience, on and off stage, or for teachers looking for a new, innovative approach to performance.Review Extending his Training for Performance (2011), the author unpacks his thesis that the act of training is a human endeavor that everyone does because everyone is limited by having a body. The stories frame ethnographical, political, social, and psychological constructs to unlock aspects of the performers anatomy the book is an intriguing contribution to performance studies. Summing Up Recommended. Graduate students, researchers, faculty, professionals. CHOICE (on Anatomy of Performance Training)Matthews offers an insightful, engaging, and imaginative read that urgently questions the place of training, and its attendant implications and values, in the twenty-first-century theatremaking context. Julie Rada, University of Utah, USA (on Anatomy of Performance Training) About the Author John Matthews is a performer and theatre-maker, starring in BAFTA Cymru-winning BBC Drama series such as Friday on My Mind as well as in BBC Radio productions including Sir Walter Raleigh A Devon Man , and on stages across the UK. He designed and runs the prestigious Acting programme with Theatre Royal Plymouth Conservatoire, UK. He was also the Inaugural Research Fellow of the Stanislavski Centre.

Author: Jens Gerrit Papenburg File Type: pdf The wide-ranging texts in this book take as their premise the idea that sound is a subject through which popular culture can be analyzed in an innovative way. From an infants gurgles over a baby monitor to the roar of the crowd in a stadium to the sub-bass frequencies produced by sound systems in the disco era, sound -- not necessarily aestheticized as music -- is inextricably part of the many domains of popular culture. Expanding the view taken by many scholars of cultural studies, the contributors consider cultural practices concerning sound not merely as semiotic or signifying processes but as material, physical, perceptual, and sensory processes that integrate a multitude of cultural traditions and forms of knowledge. The chapters discuss conceptual issues as well as terminologies and research methods analyze historical and contemporary case studies of listening in various sound cultures and consider the ways contemporary practices of sound generation are applied in the diverse fields in which sounds are produced, mastered, distorted, processed, or enhanced. The chapters are not only about sound they offer a study through sound -- echoes from the past, resonances of the present, and the contradictions and discontinuities that suggest the future. ContributorsKarin Bijsterveld, Susanne Binas-Preisendorfer, Carolyn Birdsall, Jochen Bonz, Michael Bull, Thomas Burkhalter, Mark J. Butler, Diedrich Diederichsen, Veit Erlmann, Franco Fabbri, Golo Follmer, Marta Garcia Quinones, Mark Grimshaw, Rolf Gromann, Maria Hanacek, Thomas Hecken, Anahid Kassabian, Carla J. Maier, Andrea Mihm, Bodo Mrozek, Carlo Nardi, Jens Gerrit Papenburg, Thomas Schopp, Holger Schulze, Toby Seay, Jacob Smith, Paul Theberge, Peter Wicke, Simon Zagorski-Thomas **