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Not Magic but Work: An Ethnographic Account of a Rehearsal Process
Paperback / softback
Main Details
Title |
Not Magic but Work: An Ethnographic Account of a Rehearsal Process
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Authors and Contributors |
By (author) Gay McAuley
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Series | Theatre: Theory - Practice - Performance |
Physical Properties |
Format:Paperback / softback | Pages:256 | Dimensions(mm): Height 234,Width 156 |
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ISBN/Barcode |
9780719099311
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Classifications | Dewey:792.028 |
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Audience | |
Illustrations |
Illustrations, black & white
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Publishing Details |
Publisher |
Manchester University Press
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Imprint |
Manchester University Press
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Publication Date |
1 July 2015 |
Publication Country |
United Kingdom
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Description
Newly available in paperback, this is a detailed description of the intensive work process involved in the making of Toy Symphony, a play by Michael Gow, directed by Neil Armfield and brought to the stage for the first time in December 2007 by Company B at the Belvoir Street Theatre in Sydney. Drawing on years of research McAuley rejects simplistic
Author Biography
Gay McAuley is Honorary Professor in the Department of Performance Studies at the University of Sydney -- .
Reviews'A welcome contribution to the field' P. Solomon Lennox, Studies in Theatre and Performance, 2013|Alex Mermikides Kingston University Gay McAuley's modest summary of her project as 'an attempt to describe a single rehearsal process' (p. 2) does not do justice to the significance of this volume in furthering our understanding of 'how a group of artists with very different skills, working in a range of different media, come together for an intensive period and produce a single work of art' (p. 4), and in exemplifying the value of rehearsal observation in revealing the 'profoundly collaborative nature of theatrical creation' (p. 4). As a forensic account of Belvoir Street Theatre's staging of Michael Gow's Toy Symphony (2007), this study affirms the international significance of this theatre company to a readership outside of Australia., Alex Mermikides, Kingston University, Contemporary Theatre Review, 30 April 2015 -- .
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