| Description |
1 online resource (166 p.) |
| Contents |
Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Foreword: Heiner Goebbels: a composer who composes theatre -- Acknowledgements -- Editor's introduction -- Translator's note: Of means and perceptions -- translating Heiner Goebbels -- When a tree is already being mentioned, you don't also have to show it: A preface -- 1. Aesthetics of absence: How it all began -- Part I: Texts on work(s) -- 2. Description of a picture, table-parties and comparative degrees: About the opera Landscape with Distant Relatives |
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3. 'Some things you only remember, because they don't have anything to do with anything': Questions on constructing Eraritjaritjaka -- 4. Real time in Oberplan: A theatre of deceleration -- 5. Peculiar voices: On working on I Went to the House But Did Not Enter -- 6. The space as invitation: The spectator as the object of art -- Part II: Texts on artists -- 7. 'But I wanted this to be a narrative': Jean-Luc Godard as a composer -- 8. What we don't see attracts us: Four theses on Call Cutta by Rimini Protokoll -- 9. The mystery of signs: For Robert Wilson -- 10. Trust no eye: For Erich Wonder |
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11. 'To comprehensively build up a society with modest prosperity': The Ensemble Modern as an example -- Part III: Texts on education -- 12. Research or craftsmanship? Nine theses on the future of an education for the performing arts -- 13. If I want an actor to cry, I give him an onion: On working with actors -- 14. A giant wooden pistol: Theory and practice in Gießen -- 15. Organizing hearing and seeing: The practical study of theatre -- 16. Compromise is a bad director: Theatre as museum or laboratory -- Appendix: Biography -- Index |
| Notes |
Description based upon print version of record |
| Form |
Electronic book
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| Author |
Collins, Jane
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Gronemeyer, Nicole
|
| ISBN |
9781317911838 |
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1317911830 |
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