Teater: instruktion og produktion

"Opera er en slags følelsernes fitnesscenter. Her kan vi træne både vores kærlighedsmuskel og vores angstmuskel. Ligesom vi går i fitnesscentret for at træne vores fysiske muskler, så vi er i form til at møde tilværelsen. Men det er ligesom nede i fitnesscentret: Det nytter ikke noget at stå og kigge på maskinerne. Man skal selv gøre arbejdet." Kasper Holten er en eksperimenterende og ofte kontroversiel instruktør og operachef. Hans bog er ikke en operaguide. Det er hans personlige fortælling om opera: Om hvordan han selv som barn blev grebet af kunstarten; om stemmerne; om koret; om arierne; om 6 operamesterværker (Carmen, Orfeo, Figaros bryllup, Wozzeck, Valkyrien, La traviata); om de store operahuse, hvor han har instrueret (Operaen på Holmen, Wiener Staatsoper, Royal Opera House Covent Garden, La Scala); om instruktørens, dirigentens og scenografens rolle; om hvordan en operaopsætning bliver til. Alt er krydret med hans egne refleksioner, anekdoter, eksempler og fotos. Playliste med 43 indspilninger af arier, kor etc.

Katrine Wiedemann har skrevet en personlig bog om de store livstemaer, som teaterstykkerne, hun har instrueret igennem de seneste 23 år, vækker til live. Under opsætningen af "Farlige forbindelser" i München reflekterer hun over den kunstneriske proces og forholdet mellem liv og kunst: Hvordan de store historier om magt, angst, lidenskab, menneskelig fejlbarlighed, feminisme og kærlighed bliver nærværende i hendes liv, når hun arbejder konkret med dem på scenen. Og hvordan hun forsøger at gøre de store, klassiske fortællinger vedkommende for et moderne publikum. ”Ved gudernes bord” er en kunstners særegne forsøg på at komme rundt om alle livets store temaer og en fortælling om at slå sig på kunsten.

Christian Lollike er en ener i nyere dansk scenekunst. Den kontroversielle dramatiker går helt tæt på, hvad det vil sige at være menneske i vores tid. Han fletter kunst og virkelighed sammen og konfronterer os med voldsomme temaer som terror, krig og flygtninge.Lollikes værker er unikke, men i deres legesyge trækker de samtidig på historiske formeksperimenter. I hans forestillinger finder man derfor spor fra både den tidlige avantgarde, performancekunsten, dokumentarteatret og ikke mindst det postdramatiske teater.Scenekunst på kanten tager læseren med fra det eksperimenterende teaters rødder til den levende kunst, vi ser på scenen i dag. Og den viser Lollike som kunstner, menneske og teatermanden, der provokerer og inviterer til debat og eftertænksomhed. Dansk teaters enfant terrible er ikke bange for at gå til kanten – og videre endnu.Det er bogen til alle kunst- og teaterinteresserede, der vil vide mere om dansk teaters store provokatør.Birgitte Dam er cand.mag. i dansk og teatervidenskab og har undervist i litteratur ved bl.a. Københavns Universitet. Hun har udgivet adskillige bøger om scenekunst og anmeldt teater ved Dagbladet Information og tidsskriftet Peripeti.

”Værktøjer for Scenekunst” er håndbøger skrevet af Kaosteater, som giver jer konkrete værktøjer der går hele vejen rundt om den scenekunstneriske produktion. I denne bog, Idéudvikling, er der introduktion til en række nøje udvalgte værktøjer og modeller, med let afkodelige illustrationer, som vil hjælpe enhver udøvende scenekunstner med at udfolde kunstneriske ideer og skabe succesfuld scenekunst fra bunden. Håndbogen er en hjælp til at videreudvikle scenekunstneriske produktioner med idéer til modeller, tips og tricks i sammenhæng med konkrete projekter. Bogen kan ses som en værktøjskasse til de, som har ambitioner om at udvikle egne scenekunstneriske projekter primært gennem samskabelse og flad struktur.

I al ledelse ligger en grad af forførelse. Ordene er Kasper Holtens, instruktør og operachef for et af verdens mest respekterede kompagnier, Royal Opera House i London.I denne bog fortæller han om kunsten at få mennesker til at yde deres bedste, uanset om de er blandt verdens mest tiljublede solister eller arbejder i bogholderiet. Lederen er kun god, når medarbejderen er det. Så hvordan lokker man det bedste frem i hver enkelt – på en måde, så den enkelte stadig arbejder for helheden?Kasper Holten fortæller om rejsen fra København til London og fra vidunderbarn til moden leder. Og han giver eksempler på de udfordringer, som ledere i dag står overfor, uanset hvilken branche de arbejder i.Forførelsen er en bog i High Performance-serien. Det er korte og præcise bøger og seriens omdrejningspunkt er menneskers udfoldelse og præstation med fokus på ledelse, motivation og viljen til at gøre sig umage.

"IN THE UPPER ROOM" is a biblical one-act drama that theatricalizes the events surrounding the Passover meal Jesus shared with his disciples the night before he was crucified. This high-energy play can utilize as many as 13 male actors. In the third original production, the director used both men and women to make up the 13 cast members.

Durch den teils massiven Publikumsschwund nach der Pandemie stellt sich die Frage, ob diese als Brandbeschleuniger gewirkt hat für bereits vorhandene Trends. Der Autor geht dem nach anhand der Besuchszahlen bis zur letzten vollständigen vorpandemischen Spielzeit 2018/19. Er zeigt historische Zeitreihen zu Sparten- und Personalentwicklung, Vertriebskanälen und den Einnahmen. Die Theaterstatistik des Bühnenvereins dient vielen Entscheidungsträgern als Grundlage für z.B. kulturpolitische Steuerungen, obwohl sie nicht die komplette deutsche Theaterlandschaft abbildet. Deshalb beleuchtet der Autor weitere Anbieter. Da die Theaterstatistik große kulturpolitische Bedeutung hat, gibt es zum Schluss einige Vorschläge für die Zukunft.

One of the renowned playwrights of Odisha, Shankar Prasad Tripathy's Nabakalebara is a historical play. It's so vast that all other cultures can confluence in its perennial streams of human values. Its universality and all-embracing approach appeal to people worldwide forever. 'Why we celebrate Nabakalebar' is foregrounded and well-substantiated thematically in the play. The ideas mapped in this work of art can be critically analyzed as follows: (1) the human desire for territorial expansion as in the character of Akbar, the Great and Mukunda Deva, to some extent because of his alliance with Rudranarayan of Bhurishrestha of the 'Land of Banga' to fight against Suleiman Karrani, the King of 'Gouda Land' (2) The primal instinct of love obliterating social boundaries persists between Kalapahada, commander-in-Chief of the combined force of the King of Kalinga and Bhurishrestha and Gulnaz, the daughter of Suleiman Karrani, of 'Land of Gouda' (3) the traumatic experiences of the protagonist lacking spiritual bliss, after fulfilling his love-marriage with Gulnaz and his subsequent revengeful acts against the deities and the people of Odisha, (4) Reinstallation of Brahmas in the idols and their mounting on the bejewelled throne (Ratnasinghashana) at the Jagannatha Temple, Puri reaffirms and rejuvenates faith in the people again that Brahma (Supreme Soul) is One and only One, eternal and can't be destroyed by anybody and anything in the material world. That's why, Kalapahada, at last broke apart, while trying to burn in fire. Jagannatha is the root cause of everything happening in the world. His blessing helps the people move forward in day-to-day life.The Nabakalebara festival is deeply rooted in the psyches of the people who love the Jagannatha cult. It's similar to the demise and rebirth of life in all religions of the world. It happens every twelve years. Anything that comes out of this earth is subject to decay and change. The external bodily forms of the idols are buried under the soil in Koilibaikuntha, Puri, whereas the Brahma remains intact and installed again in the newly made wooden idols. There is one and only one Brahma in the world. That can't be drowned in water, burnt in fire; that can't be severed or split and will remain unaltered for ages. Once the idols are half-burnt and thrown into the sea, they can't be worshipped. The new idols (Darubrahmas) are installed and mounted on the (Ratnasinghasana) bejewelled throne at Jagannatha Temple, Puri. Selection of Darus as per the order of Goddess Mangala, and its felling after chanting the mantras, and performing Yajna, transferring the Darus loaded on bullock carts to Jagannatha Temple, Puri, and replacing older idols by the newer ones, and lastly the installing Brahmas in the newer Darus are the processes related to Nabakalebara ceremony.

The author brings a career of academic and professional directing experience to inform readers how to select, prepare, and mount a production for the stage. At the same time, he expresses the disciplines, joys, and rigors of the faith-based walk as a framework for this creative journey. The author's exploration of the aesthetic requisites for stage directing are combined with a consideration of what it means to be a practicing artist under God's creative mandate. He demonstrates how one's worldview as a believer in Jesus Christ finds reflection in a world of visual and aural metaphors within a stage production.

In Mendocino, California, a hippie man in a hippie van spends his years in the company of trees and passersby. MENDOCINO explores the cyclical nature of companionship and the misconception that love thrives without sacrifice.

"Perhaps today we learn the answer to one of humanity's biggest and most universally, yes, if I may say so, a UNIVERSALLY shared question: ARE WE ALONE?"Fascist dictator, Benito Mussolini, got his hands on a flying saucer after it crash landed on June 13, 1933.Together, Mussolini and the Pope (Pius XI, first Sovereign of Vatican City), must keep this alien intelligence top secret from the world, at all costs...OGGETTO METALLICO is a KNOCKOUT OF THE PARK in more ways than one... A SMASHING NEW COMEDY; the JOKE'S ON US...THE POPE: My God, look at yourselves! Look at what we have become! The alien wasn't our problem. For millennia, the aliens have never been our problem... Our problem is recognizing every being's inalienable right to Peace and Dignity! Perhaps, millennia from now, when we master our understanding of this, we will be civilized enough to become free citizens, not of nations, or even of Earth, but free citizens of the Universe!(Beat.)MUSSOLINI: What you just said should be quoted somewhere.THE POPE: Thank you.REDACTED: But it won't be quoted somewhere, or anywhere else. And that goes for all of you. REDACTED REDACTED REDACTEDPEDRO: I wish you good luck.REDACTEDBEAUTIFUL WOMAN: But this man is dead? And he was flying? Like, elevating?REDACTEDPETTYBONE: My wife throws things all the time...REDACTEDHARVEY: Say more about this piano-playing chicken...UNINTELLIGIBLELookit: we may move on with our lives, if we can, but we can never tell another soul on Earth about THIS. Ever. The only thing you can ever say you saw here was an oggetto metallico.(Echoes) oggetto metallico, a metal object, possibly a meteor...REDACTEDMUSSOLINI: I will have you SHOT.

Viola didn't survive the shipwreck.This is what happens to Shakespeare's original text of TWELFTH NIGHT when its heroine, its 'beating heart,' is marauding through it as a ZOMBIE.WARNING: Let all who read this know that Shakespeare's Twelfth Night is a masterful comedy from the greatest English playwright of all time, perhaps Shakespeare's finest comedy, which Twelfth Night of the Living Dead does not intend to modernize or (belches) improve. However,When it strikes you that the original text can and does survive as one-by-one its characters are turning into zombies... And when it becomes clear that the sheer self-involvement of some characters transcends all need for earthly dialogue... And when one of the characters has been famously threatening revenge for more than 400 years... ...it seems like a worthwhile endeavor to massacre (not just cut) Shakespeare's text in order to see the silly creature-feature 'show within the show.' "If music be the FOOD of LOVE," Slay On.

With the first appointment of the outstanding performance artist Marina Abramovic to the Pina Bausch Professorship at the Folkwang University of the Arts, the focus in the 2023-23 academic year was placed on transdisciplinarity, artistic daring and social awareness.The project supervised by Abramovic, entitled "Free Interdisciplinary Performance Laboratory (FIPL)", was realised in a class put together by her, in which she brought together over 20 students from the fields of music (classical and jazz, instrumental, vocal and composition), dance, design, photography, (physical) theatre and directing. The students developed individual or collective concepts for performances and learnt how to develop a long-term performative work form in an experience-based process. In a workshop entitled "Cleaning the House", which was organised according to a method developed by Marina Abramovicmethod developed by Marina Abramovic, the students developed a sense of the presence required in performances, including the exploration of their individual physical and mental limits. The outstanding performance artist Marina Abramovic was the first holder of the new Pina Bausch Professorship at the Folkwang University of the Arts in Essen in 2022/23. She focused on transdisciplinarity, artistic daring and social awareness. In her Free Interdisciplinary Performance Laboratory (FIPL), Abramovic brought together over twenty students from the fields of music, dance, design, photography, (physical) theater and directing. Over two semesters, they realized artistic-performative projects that dealt with agency, resilience and body awareness and explored physical and mental boundaries.

Frühere Textversionen und unfertige Übersetzungen von "Communicate EinFach"Russische, chinesische, englische, deutsche, spanische, italienische, portugiesische, arabische, französische Texteprevious text versions and unfinished translations of 'Communicate EinFach'Russian, Chinese, English, German, Spanish, Italian, Portuguese, Arabic, French texts

The world of the theater has had a magical allure for me, ever since that afternoon as an eighteen-year-old wandering around mid-town with several hours of my hands before my bus's departure, I purchased a matinee ticket to see, 'Man of La Mancha.' Although I've spent almost all of my life as a writer creating novels and short fiction, I have always loved seeing live theater and reading the works of O'Neill, Miller, Williams, Lorraine Hansberry, Chekhov, Shaw and Shakespeare, among others. Great theater brings together great writing and all the brilliant effects of the live stage; actors whose voices, gestures, laughter, shouts, and whispers are as close and tangible as those of the people you live with; the genius of costume design, lighting and stage sets that carry you to a completely different realm, using no more space than the area of your living room. The three of mine in this volume, a comedy and two others, mixing comedy with elements of tragedy, make up my second book of plays. Together with the first, they are my contribution to that magical world I love no less than I love the world of great fiction.

"Life Is a Dream" ("La vida es sueño" in Spanish) is a philosophical allegorical play written by Spanish playwright Pedro Calderón de la Barca. It was first published in 1635 during the Spanish Golden Age, a period of flourishing literature and arts in Spain. The play revolves around the character of Segismundo, a Polish prince who has been imprisoned since birth based on a prophecy that foretells he will become a tyrant. The central theme of the play explores the nature of free will, fate, and the consequences of one's actions. The plot is intricate and features dramatic elements, including political intrigue, betrayal, and complex relationships. Segismundo is eventually released from prison to test the validity of the prophecy, and the play unfolds as he grapples with questions about the nature of reality and the meaning of life. The characters and events in the play contribute to a larger philosophical exploration of existential themes. "Life Is a Dream" is considered one of the masterpieces of Spanish Golden Age drama, showcasing Calderón de la Barca's skill in blending poetic language, philosophical depth, and theatrical spectacle. The work is highly regarded for its exploration of the human condition and its enduring relevance in addressing profound questions about destiny and the choices individuals make in their lives.

Dorota Mas¿owska is a Polish writer, playwright, and journalist. She was 19 when her debut novel Snow White and Russian Red was published and garnered massive critical acclaim in Poland. The book was translated into more than 20 languages, it won the prestigious Paszport Polityki Prize and was made into a movie directed by Xawery ¿üawski. Since then, she has written several novels and plays and has become a celebrated literary figure in Poland.

"WHOOSH is a humorous and heart-rendering three-act play. It deals with the elderly living in senior retirement communities. It expresses their concerns for their future well-being, both physical and cognitive, as well as their relative isolation from the rest of society at large. These issues are the subject of conversation over dinner. LeClaire's frank observations on the human condition are by turns, extremely funny and often troubling as he celebrates life in a senior living retirement community." ~Dr. Alice P. Naylor

The Count of Sainte-Hélène: A Balzacian Melodrama takes place in 1817-1818 in Paris, during the Bourbon Restoration when Louis XVIII had been placed on the throne of France at the decree of the Congress of Vienna after the defeat of Napoleon at Waterloo in 1815. This play is based on one of the most sensational cases solved by the first great detective in history, Eugène-François Vidocq, the ex-convict who became head of the French Sûreté (the Security Service of the French police). An altogether extraordinary individual, he was an acquaintance of Victor Hugo, who based both Jean Valjean and Inspector Javert in Les Misérables on Vidocq; and a friend of Balzac, whose character Vautrin is even more closely inspired by and modeled on Vidocq than Hugo's characters are. Interludes of the Hear: A Play about Marcel Proust, his life and loves, was inspired by my love for that author's most famous book, In Search of Lost Time. The play goes back and forth in time, as the Student interviews Céleste Albaret, Proust's housekeeper and general factotum, for his doctoral dissertation. When I read the book, I felt it was as if he were talking directly to me. I am sure many readers have had the same experience. Proust's penetrating picture of the society of his day in pre-World War One France, and of Paris during the war itself, and his amazing, psychologically insightful portrait of each of his characters, his understanding of psychology that in some ways parallels that of Sigmund Freud, makes his book still relevant in today's world.

Mit dem Konzept des Ethischen Theaters wird ein ganzheitliches Zukunftsmodell vorgestellt. Ausgangspunkt ist die Analyse der gegenwärtigen Krisen und der Komplexität in den deutschsprachigen Theatern, um die Grundlagen für ihren Transformationsprozess zu entwickeln. Mit dem Ethischen Theater wird ein Ziel dieses Prozesses vorgestellt: das ganzheitliches Zukunftsmodell einer Theater-Organisation des 21. Jahrhunderts, in der ethische Überlegungen erstmals in allen Prozessen handlungsleitend sind. Das Modell ist kompatibel mit den Interessen der Stakeholder und den wichtigen Reformprozessen, es ermöglicht die anstehende strukturelle Modernisierung der Theaterbetriebe. Unterstützt wird es durch das Konzept des Ethischen Theatermanagements, das erstmals über die klassischen Funktionen hinaus auch Aspekte der Diversität, der Nachhaltigkeit, der Ethik und der Zukunftsfähigkeit adressiert. Mit den erweiterten Funktionen des ethischen Managements werden auch weitere Möglichkeitsräume für die Zukunft der Kultur-Organisationen eröffnet.

Denne bog er nummer to i en række af håndbøger for scenekunstneriske produktioner. Håndbøger, som går hele vejen rundt om et projekt - fra den første idéfase til premieren. Vores første bog fokuserede på den spæde ide fase af dit projekt, og er et godt sted at starte hvis du drømmer om at skabe scenekunst, men mangler hjælp til at konkretisere din idé. Bogen du står med her er dedikeret til projektledelse, økonomi og fundraising. Den er sprængfyldt med værktøjer og metoder som kan hjælpe dig med at opstille dit projekt, finde potentielle samarbejdspartnere og til at overskue et projekts økonomi. Alle er vigtige punkter som skal forstås for at du kan opnå funding og derved realisere dit projekt.Håndbogen akkompagneres af digitale downloads. De findes på www.kaosteater.dk

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