Impro即兴表演

'Impro is the most dynamic, funny, wise, practical and provocative book on theatre craft that I have ever read' (James Roose-Evans).

“ Impro是我读过的最具戏剧性,最有趣,最明智,最实用和最具戏剧性的书”(詹姆斯·罗斯·埃文斯)。

Keith Johnstone's involvement with the theatre began when George  Devine and Tony Richardson, artistic directors of the Royal Court Theatre, commissioned a play from him. This was in 1956. A few years later he was himself Associate Artistic Director, working as a playreader and director, in particular helping to run the Writers' Group.The improvisatory techniques and exercises evolved there to foster spontaneity and narrative skills were developed further in the actors'studio, then in demonstrations to schools and colleges and ultimately in the founding of a company of performers, called The Theatre Machine.

基思·约翰斯通(Keith Johnstone)参与剧院的工作始于皇家法院剧院(Royal Court Theatre)的艺术总监乔治·迪文(George Devine)和托尼·理查森(Tony Richardson)委托他上演一出戏。那是在1956年。几年后,他本人是副艺术总监,担任过剧作家和导演,尤其是帮助管理作家小组。为促进自发性而发展的即兴技巧和练习在2000年得到了进一步发展。演员工作室,然后向学校和学院进行示范,并最终成立了一家名为The Theater Machine的表演公司。

Divided into four sections, 'Status', 'Spontaneity', 'Narrative Skills' and 'Masks and Trance', arranged more or less in the order a group might approach them, the book sets out the specific techniques and exercises which Johnstone has himself found most useful and most stimulating. The result is both an ideas book and a fascinating exploration of the nature of spontaneous creativity.

这本书分为四个部分,“状态””,“自发性”,“叙述技巧”和“面具和恍惚”,或多或少是按照一群人可能接近它们的顺序排列的,书中列出了约翰斯通自己认为最有用、最刺激的具体技巧和练习。其结果既是一本思想书,也是对自发创造力本质的一次引人入胜的探索。

'The book's incredible achievement is its success in making improvisation re-live on the page ... Get Mr Johnstone's fascinating manual and I promise you that if you open at the first page and begin to read you will not put it down until the final page.' (Yorkshire Post)

“这本书的令人难以置信的成就是成功使即兴创作重新出现在页面上……获取约翰斯通先生的迷人手册,我向你保证,如果您从第一页开始阅读并开始阅读,直到最终页。'(约克郡邮报)

'He suggests a hundred practical t~chniques for encouraging spontaneity and originality by catching the subconscious unawares. But what makes the book such fun is the teacher's wit. Here is an inexhaustible supply of zany suggestions for unfreezing the petrified imagination.' (Daily Telegraph)

”他提出了一百种实用的技巧,通过捕捉潜意识中的无意识来鼓励自发性和独创性。但是,使这本书如此有趣的是老师的才智。这里提供了无穷无尽的滑稽建议,以解冻石化的想象力。(每日电讯报)

The front cover shows a moment from The Defeat of Giant Big Nose, an improvised children's play presented by Keith Johnstone's Loose Moose Theatre Company in Calgary, Alberta. Photo by Deborah A. Iozzi.

封面是《大鼻子的失败》中的片刻,这是由基思·约翰斯通(Keith Johnstone)的艾伯塔省卡尔加里(Loose Moose Theatre Company)制作的即兴儿童剧。摄影:Deborah A. Iozzi。

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DICTIONARY OF THEATRE ANTHROPOLOGY:

The Secret Art of the Performer

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STANISLAYSKI: AN INTRODUCTION

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GAMES FOR ACTORS AND NON~ACTORS

Richard Boleslavsky

ACTING: THE FIRST SIX LESSONS

Jean N ewlove

LABAN FOR ACTORS AND DANCERS

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AN ACTOR PREPARES

BUILDING A CHARACTER

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MY LIFE IN ART

STANISLAYSKI'S LEGACY

Eugenio Barba戏剧人类学词典:演员Jean Benedetti STANISLAYSKI的秘密艺术:演员和非演员的奥古斯托·鲍尔游戏简介理查德·波莱斯拉夫斯基(Richard Boleslavsky)表演:六个第六课演员和舞蹈演员让·尼维斯拉夫·拉班康斯坦丁·斯坦尼准备在STANISLAYSKI的传承中建立角色以创造我的人生角色

A THEATRE ARTS BOOK   ROUTLEDGE  New York

剧院艺术书纽约

Contents  目录

INTRODUCTION 9介绍

NOTES ON MYSELF 13 我的便笺

STATUS 33 状态

SPONT ANEITY 75 被动

NARRATIVE SKILLS 109叙事技巧

MASKS AND TRANCE 143 面具和恍惚?

APPENDIX 206 附录

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