Hotel Two Rooms; the practice of adaptation, projection and play in performance

Abstract: Over the last decade, the international screen has witnessed a revival of silent cinema techniques. Eighty or so years after the advent of the talkies, titles such as France's The Artist (Hazanavicius, 2011), Spain’s Blancanieves (Berger, 2012), Australia's Dr. Plonk (de Heer, 2007), Portugal’s Tabu (Gomes, 2012) and Argentina’s La Antena (Sapir, 2007) have drawn on a palette of almost forgotten techniques to great effect. While each might be read as an homage to this foundational period in cinema history, the filmmakers’ objective has not been to remake silent films or to reject modern digital modes of filmmaking, but to reinvigorate the rich and varied ways by which stories may be told on film. Empathy Is the Devil is a 12.5-minute silent black-and-white film strongly featuring dance, the themes of which include addiction, mental health, and homelessness. The film’s protagonist, who is at odds with the modern world, suffers a curious addiction: a daily pressure to give to charity more than he can afford. He finds solace in a nostalgic past in which property is freely shared and wealth is not the ultimate goal. In keeping with many films of the silent era, the project addresses social issues both subtly and overtly, using humour and pathos. Importantly, the film revisits the close collaborations of modern dance and film, two art forms that emerged alongside each other in the late nineteenth and early twentieth centuries, as witnessed by one of the earliest films Carmencita (Dickson, 1894). Each discipline contributed in a fundamental way to the development of the other: film looked to dance for an exploration and understanding of movement, while the filming of modern dance both authenticated this new art form and provided another platform for its expression. An example of this is the work of Loie Fuller, creator of the Danse Serpentine [Serpentine Dance] (Lumière, 1896), 1 whose innovations in 1It is very difficult to confirm actual footage of Fuller performing this dance. She is

Abstract: Indexes and Bibliographies. This collection of twenty-four volumes is the first full paperback publication of the standard edition of The Complete Psychological Works of Sigmund Freud in English

Abstract: According to Roger Caillois, play is "an occasion of pure waste: waste of time, energy, ingenuity, skill, and often of money." In spite of this - or because of it - play constitutes an essential element of human social and spiritual development.In this classic study, Caillois defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from the rest of life. Play is uncertain, since the outcome may not be foreseen, and it is governed by rules that provide a level playing field for all participants. In its most basic form, play consists of finding a response to the opponent's action - or to the play situation - that is free within the limits set by the rules.Caillois qualifies types of games - according to whether competition, chance, simulation, or vertigo (being physically out of control) is dominant - and ways of playing, ranging from the unrestricted improvisation characteristic of children's play to the disciplined pursuit of solutions to gratuitously difficult puzzles. Caillois also examines the means by which games become part of daily life and ultimately contribute to various cultures their most characteristic customs and institutions. Presented here in Meyer Barash's superb English translation, Man, Play and Games is a companion volume to Caillois's Man and the Sacred.

Abstract: This important new introductory textbook by a prime mover in the emergent field of Performance Studies is a defining moment for the discipline. It provides a lively and accessible overview of the full range of performance for undergraduates at all levels and beginning graduate students in performance studies, theatre, performing arts and cultural studies. It includes discussion of the performing arts and popular entertainments, rituals, play and games as well as the performances of every day life. Supporting examples and ideas are drawn from the performing arts, anthropology, post-structuralism, ritual theory, ethology, philosophy and aesthetics. The text has been fully developed with input from leading teachers and trialled with students. User-friendly, with a special text design, it also includes the following features: Extracts from primary sources giving alternative voices and viewpoints Biographies of key thinkers 'Things to think about' and 'things to do' to stimulate fieldwork, classroom exercises and discussion Key reading lists for each chapter 20 line drawings and 173 b+w photographs drawn from private and public collections around the world.

Abstract: Turner is all over the globe as he addresses issues of cultural performance, carnival, film, theatre, and "performing ethnography" to break new ground in anthropological thinking about event, spectacle, and audience. One of his last writings, "Body, Brain, and Culture" links cerebral neurology and anthropology studies in a fascinating interface.

Abstract: From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores: multiple definitions and practices of adaptation and appropriation the cultural and aesthetic politics behind the impulse to adapt the global and local dimensions of adaptation the impact of new digital technologies on ideas of making, originality and customization diverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of art the impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studies the appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.