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دانلود کتاب The Clowning Workbook: A Practical Course
دانلود کتاب کتاب کار دلقک: یک دوره عملی
مشخصات کتاب
The Clowning Workbook: A Practical Course
ویرایش:
نویسندگان: Jon Davison
سری: Theatre Arts Workbooks
ISBN (شابک) : 1350050458, 9781350050457
ناشر: Methuen Drama
سال نشر: 2022
تعداد صفحات: 272
[273]
زبان: English
فرمت فایل : PDF (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود)
حجم فایل: 15 Mb
قیمت کتاب (تومان) : 64,000
در صورت تبدیل فایل کتاب The Clowning Workbook: A Practical Course به فرمت های PDF، EPUB، AZW3، MOBI و یا DJVU می توانید به پشتیبان اطلاع دهید تا فایل مورد نظر را تبدیل نمایند.
توجه داشته باشید کتاب کتاب کار دلقک: یک دوره عملی نسخه زبان اصلی می باشد و کتاب ترجمه شده به فارسی نمی باشد. وبسایت اینترنشنال لایبرری ارائه دهنده کتاب های زبان اصلی می باشد و هیچ گونه کتاب ترجمه شده یا نوشته شده به فارسی را ارائه نمی دهد.
توضیحاتی در مورد کتاب کتاب کار دلقک: یک دوره عملی
این کتاب با استفاده از تکنیکها و بینشهای دلقکسازی برای بهبود و گسترش دامنه آموزش بازیگری کلاسیک، از کارگاهها و تحقیقات اصلی برای ارائه تمرینهای عملی دلقکسازی برای توسعه تمرین بازیگری گستردهتر به روشهای جالب و نوآورانه استفاده میکند. این کتاب که با کارگاههای عملی شروع میشود، راهنمایی و توضیح مفاهیم کلیدی در دلقکسازی از جمله پویایی رابطه دلقک-مخاطب، بداههپردازی، حرکت و صدا را ارائه میکند و زوایای تازه و الهامبخشی را برای مشاهده آموزش بازیگری کلاسیک ارائه میدهد. نوشته شده توسط Jon Davison، یک مدرس و متخصص در دلقک سازی که در École Philippe Gaulier، Institut del Teatre de Barcelona، Royal Central School of Speech and Drama، لندن، و کالج Rose Bruford، لندن، تمرین و آموزش دیده است، کتاب کار دلقک برای بازیگران و Performers بخشی از مجموعه تحسینشده Theatre Arts Workbooks است و ترکیبی مشخص از تمرینهای متمرکز بر دانشآموز را دارد که با نکات آموزشی برای معلمان تکمیل میشود.
توضیحاتی درمورد کتاب به خارجی
Using the techniques and insights of clowning to improve and expand the scope of classical actor training, this book draws on original workshops and research to provide practical clowning exercises to develop wider acting practice in interesting and innovative ways. Starting with practical workshops, the book offers guidance and explanation to key concepts in clowning including the dynamics of clown-audience relationship, improvisation, movement and voice, offering fresh and inspiring angles from which to view classical actor training. Written by Jon Davison, a lecturer and practitioner in clowning who has practised and trained at École Philippe Gaulier, Institut del Teatre de Barcelona, Royal Central School of Speech and Drama, London, and Rose Bruford College, London, The Clowning Workbook for Actors and Performers is part of the acclaimed Theatre Arts Workbooks series and features its characteristic blend of student-focused exercises complemented by pedagogical tips for teachers.
فهرست مطالب
Cover Halftitle page Series page Title page Copyright page CONTENTS ILLUSTRATIONS ACKNOWLEDGEMENTS PREFACE INTRODUCTION PART ONE ‘THAT WAS FUNNY’ 1 INTRODUCTIONS AND WARM-UPS 1.1 Names and naming 1.2 Wrong naming CASE STUDY 1.1 Clown workshop at AFDA, Johannesburg, April 2018 CASE STUDY 1.2 Clowning and Puppetry workshop, London, April 2019 2 NAME TAG 2.1 Name Tag as a game 2.2 Laughter response 2.3 Forgetting about the game CASE STUDY 2.1 Clown workshop for dancers, London, June 2017 CASE STUDY 2.2 Clown workshop at AFDA, Johannesburg, April 2018 CASE STUDY 2.3 Undergraduate Physical Theatre students, University of Stellenbosch, South Africa, March 2018 CASE STUDY 2.4 BA European Theatre Arts students and graduates, Rose Bruford College, London, September 2017 3 BALL PLAY 3.1 Throw and catch CASE STUDY 3.1 Clown workshop, Ngizwe Youth Theatre, Soweto, April 2018 CASE STUDY 3.2 Clown workshops for primary school teachers in service training day, Southend, UK, September 2018 CASE STUDY 3.3 Open public workshop at Victoria & Albert Museum ‘Friday Late’, April 2018 CASE STUDY 3.4 MA Voice Studies, RCSSD, London, May 20184 4 DOING THINGS WHEN IT’S FUNNY 4.1 Throw the ball when it’s funny 4.2 Stop when it’s funny CASE STUDY 4.1 Clowning and Puppetry workshop, London, April 2019 5 ON/OFF 5.1 Ball-Clap-Hit 5.2 Leave or stay 5.3 Leave when not funny 5.4 On/Off with scripts 6 STEP-LAUGH 6.1 Step-Laugh – crossing the stage 6.2 Step-Laugh scripts CASE STUDY 6.1 Weekly clown course, London Clown School, June 2019 CASE STUDY 6.2 Five-day workshop, Brussels, November 2019 CASE STUDY 6.3 Weekend workshop, Brighton November 2019 CASE STUDY 6.4 Clowning and puppetry workshop, April 2019, London CASE STUDY 6.5 DH Ensemble, April 2019, London CASE STUDY 6.6 MA Shakespeare Studies, Shakespeare’s Globe, London, December 2009 7 THAT WAS/N’T FUNNY 7.1 Catching the ball in a circle 7.2 Catching the ball for an audience 7.3 Any action in a circle 7.4 Any action for an audience 7.5 This is going to be funny 7.6 Extended variations CASE STUDY 7.1 Weekend workshop, Brussels, November 2019 CASE STUDY 7.2 Calgary Clown Festival, Canada, September 2019 8 MAKE OTHERS INTO CLOWNS 8.1 Throw ball with intention 8.2 Don’t catch it when it’s funny CASE STUDY 8.1 London Metropolitan University, BA Theatre and Performance, 2019 CASE STUDY 8.2 London Clown School weekly class, 2019 9 LAUGHTER AS A PARDON 9.1 Ball Tag 9.2 Musical Chairs 9.3 Grandmother’s Footsteps with laughter conditioning CASE STUDY 9.1 AFDA, Johannesburg, one-week workshop, March 2018 CASE STUDY 9.2 Circus Hub, Nottingham, series of weekend workshops, July 2018 10 CONCLUSIONS TO PART ONE: RIGHT AND WRONG THINKING PART TWO ‘I FEEL FUNNY’ 11 I (DON’T) FEEL FUNNY 11.1 I caught the ball 11.2 Free scripts 11.3 ‘This is going to be funny’ 11.4 Homework CASE STUDY 11.1 Week workshop, AFDA, Johannesburg, April 2018 CASE STUDY 11.2 Week workshop, Brussels, July 2019 CASE STUDY 11.3 Weekly clown course, London Clown School, January 2020 12 SELF-LAUGHTER 12.1 Basic mirror self-laughter – solo 12.2 Mirror laughter plus free action CASE STUDY 12.1 Weekend workshop, Gent, Belgium, February 2018 CASE STUDY 12.2 BA Theatre and Performance Practice, London Metropolitan University, November 2019 CASE STUDY 12.3 MA Voice Studies, RCSSD, London, May 2018 13 READING OTHERS’ FEELINGS 13.1 Doing the expected 13.2 Doing what the audience expects 14 GUESS THE SHOW 14.1 Solo performance 14.2 Duo performance 14.3 Trio shows 14.4 Audience variations CASE STUDY 14.1 Week workshop, University of the Arts, Cape Town, February 2017 CASE STUDY 14.2 BA Theatre and Performance Practice, London Metropolitan University, November 2019 15 FEELING SHIT CASE STUDY 15.1 Comedy Module, BA Drama, Liverpool John Moores University, October 2017 16 PERSONAL CLOWN SKILLS 16.1 Self-reflection 16.2 Sharing your reflections 16.3 Teaching your knowledge CASE STUDY 16.1 Research workshop, Clown Symposium ‘State of Play’, Edge Hill University, December 2018 16.4 Clowning socially PART THREE ‘THAT WAS SUPPOSED TO BE FUNNY’ 17 FUNNY PLANS 17.1 Make a funny plan 17.2 On-script and off-script 17.3 Plans with feelings 17.4 Types of plan CASE STUDY 17.1 Devising class, London Clown School, May 2019 CASE STUDY 17.2 Public open workshop, Victoria & Albert Museum ‘Friday Late’, April 2018 17.5 Funny plans and simple scripts 18 INTRUDERS 18.1 Intrude on an organized performance 18.2 Reverse intrusion 18.3 Classical clowning 18.4 Multiple intrusions CASE STUDY 18.1 BA European Theatre Arts students and graduates, Rose Bruford College, London, September 2017 19 CLOWNS IN PLAYS CASE STUDY 19.1 Clowning and Shakespeare, Drama School – Estonian Academy of Music and Theatre / Rose Bruford College, February 2020 19.1 Richard Tarlton 19.2 Will Kemp NOTES BIBLIOGRAPHY OF WORKS CITED INDEX
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