Frank Camilleri – författare

Stepping Stones is the book of a practitioner. It documents the work of a laboratory-based practice that investigated the principles of collective improvisation as a performance practice. Though the dynamics and mechanisms of collective work and improvisation have been amply researched in training and composition contexts, not so can be said in the context of performance. Ingemar Lindh’s research, which announces a resistance to choreography, fixed scores, and directorial montage, has significant implications for the practice and theory of performance in a post-dramatic age. Stepping Stones is, to quote Lindh himself, ‘a book not written but spoken’ in the sense that it is a collection of transcripts and writings by and about Lindh. The first two chapters are based on a transcript of a workshop held in Porsgrunn (Norway) in 1981. In these chapters Lindh’s unique work on performer process (including the adaptation of isometric training for actors) is expounded in the context of his views on theatre. Chapter 3 is made up of two letters to a friend, the first detailing Lindh’s artistic biography and the second commenting on the knowledge acquired in the process. Chapter 4 is an interview with Lindh by Paolo Martini with a focus on the ethics of his aesthetics. Chapter 5 is a chronology by Magdalena Pietruska of the Institute för Scenkonst’s twenty-five years of operation under the direction of Lindh. Photographs by Maurizio Buscarino and Stefano Lanzardo provide visual documentation of the history and research of Lindh’s Institutet för Scenkonst. The book also contains an introductory chapter by Frank Camilleri which places Lindh’s work within a historical context as well as features a glossary of terms, names, and performances. Stepping Stones was first published in Italy in 1998. A Swedish edition appeared in 2003.

Milestones in Actor Training focuses on key developments across time in how actors prepare for performance.Designed for weekly use on actor training and acting courses, the ten chosen milestones cover a wide range, culturally, historically, and geographically; from psychological realist acting in conventional plot-driven drama, through Commedia dell’Arte to the broader church of physical acting that overlaps with devising, mime, circus, contemporary dance, and other body-based genres, including Japanese Nō theatre. The book’s principal concern is the theatre actor in text-based drama, sonic, or movement structures, though the final milestone encompasses acting for film and new media. This volume concentrates mainly on conceptions of acting as emergent or as reformulated in the West, with the majority coming from the late nineteenth century onwards.Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.

Milestones in Actor Training focuses on key developments across time in how actors prepare for performance.Designed for weekly use on actor training and acting courses, the ten chosen milestones cover a wide range, culturally, historically, and geographically; from psychological realist acting in conventional plot-driven drama, through Commedia dell’Arte to the broader church of physical acting that overlaps with devising, mime, circus, contemporary dance, and other body-based genres, including Japanese Nō theatre. The book’s principal concern is the theatre actor in text-based drama, sonic, or movement structures, though the final milestone encompasses acting for film and new media. This volume concentrates mainly on conceptions of acting as emergent or as reformulated in the West, with the majority coming from the late nineteenth century onwards.Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.

Milestones in Actor Training focuses on key developments across time in how actors prepare for performance.Designed for weekly use on actor training and acting courses, the ten chosen milestones cover a wide range, culturally, historically, and geographically; from psychological realist acting in conventional plot-driven drama, through Commedia dell'Arte to the broader church of physical acting that overlaps with devising, mime, circus, contemporary dance, and other body-based genres, including Japanese No theatre. The book's principal concern is the theatre actor in text-based drama, sonic, or movement structures, though the final milestone encompasses acting for film and new media. This volume concentrates mainly on conceptions of acting as emergent or as reformulated in the West, with the majority coming from the late nineteenth century onwards.Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.

Milestones in Actor Training focuses on key developments across time in how actors prepare for performance.Designed for weekly use on actor training and acting courses, the ten chosen milestones cover a wide range, culturally, historically, and geographically; from psychological realist acting in conventional plot-driven drama, through Commedia dell'Arte to the broader church of physical acting that overlaps with devising, mime, circus, contemporary dance, and other body-based genres, including Japanese No theatre. The book's principal concern is the theatre actor in text-based drama, sonic, or movement structures, though the final milestone encompasses acting for film and new media. This volume concentrates mainly on conceptions of acting as emergent or as reformulated in the West, with the majority coming from the late nineteenth century onwards.Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.

"Outstanding … a technical manual (for actors and directors), an historical document of importance, and a volume that is a delight to read." Ian Watson, Rutgers"An extremely valuable personal account of Roberta Carreri’s process as an actor." Alison Hodge, Artistic Director, The Quick and the Dead"An excellent book with a unique voice." Ben Spatz, University of HuddersfieldRoberta Carreri is one of acclaimed theatre company Odin Teatret's longest-serving actors, and the last to be trained by Eugenio Barba himself. In this book, she relives the milestones of her professional journey, including: her first experiences of street theatre the discovery of Asian performance traditions pedagogical activities and character creation encounters with artists and spectators the inception of her solo performances, Judith and Salt Interwoven with rich photographic documentation and a wealth of biographical information, this inspiring handbook reveals the professional secrets of an Odin Teatret actor as well as the story of a life of work, research, and passion.

"Outstanding … a technical manual (for actors and directors), an historical document of importance, and a volume that is a delight to read." Ian Watson, Rutgers"An extremely valuable personal account of Roberta Carreri’s process as an actor." Alison Hodge, Artistic Director, The Quick and the Dead"An excellent book with a unique voice." Ben Spatz, University of HuddersfieldRoberta Carreri is one of acclaimed theatre company Odin Teatret's longest-serving actors, and the last to be trained by Eugenio Barba himself. In this book, she relives the milestones of her professional journey, including: her first experiences of street theatre the discovery of Asian performance traditions pedagogical activities and character creation encounters with artists and spectators the inception of her solo performances, Judith and Salt Interwoven with rich photographic documentation and a wealth of biographical information, this inspiring handbook reveals the professional secrets of an Odin Teatret actor as well as the story of a life of work, research, and passion.

"Outstanding … a technical manual (for actors and directors), an historical document of importance, and a volume that is a delight to read." Ian Watson, Rutgers

"An extremely valuable personal account of Roberta Carreri’s process as an actor." Alison Hodge, Artistic Director, The Quick and the Dead

"An excellent book with a unique voice." Ben Spatz, University of Huddersfield

Roberta Carreri is one of acclaimed theatre company Odin Teatret''s longest-serving actors, and the last to be trained by Eugenio Barba himself. In this book, she relives the milestones of her professional journey, including:

her first experiences of street theatre

the discovery of Asian performance traditions

pedagogical activities and character creation

encounters with artists and spectators

the inception of her solo performances, Judith and Salt

Interwoven with rich photographic documentation and a wealth of biographical information, this inspiring handbook reveals the professional secrets of an Odin Teatret actor as well as the story of a life of work, research, and passion.

"Outstanding … a technical manual (for actors and directors), an historical document of importance, and a volume that is a delight to read." Ian Watson, Rutgers

"An extremely valuable personal account of Roberta Carreri’s process as an actor." Alison Hodge, Artistic Director, The Quick and the Dead

"An excellent book with a unique voice." Ben Spatz, University of Huddersfield

Roberta Carreri is one of acclaimed theatre company Odin Teatret''s longest-serving actors, and the last to be trained by Eugenio Barba himself. In this book, she relives the milestones of her professional journey, including:

her first experiences of street theatre

the discovery of Asian performance traditions

pedagogical activities and character creation

encounters with artists and spectators

the inception of her solo performances, Judith and Salt

Interwoven with rich photographic documentation and a wealth of biographical information, this inspiring handbook reveals the professional secrets of an Odin Teatret actor as well as the story of a life of work, research, and passion.

Offering a radical re-evaluation of current approaches to performer training, this is a text that equips readers with a set of new ways of thinking about and ultimately 'doing' training. Stemming from his extensive practice and incorporating a review of prevailing methods and theories, Frank Camilleri focuses on how material circumstances shape and affect processes of training, devising, rehearsing and performing. Frank Camilleri puts forward the 'post-psychophysical' as a more extended form of psychophysical discussion and practice that emerged and dominated in the 20th century. The 'post-psychophysical' updates the concept of an integrated bodymind in various ways, such as the notion of a performer’s bodyworld that incorporates technology and the material world. Offering invaluable introductions to a wide range of theories around which the book is structured – including postphenomenological, sociomaterial, affect and situated cognition – this volume provides readers with an enticing array of critical approaches to training and creative processes.

Offering a radical re-evaluation of current approaches to performer training, this is a text that equips readers with a set of new ways of thinking about and ultimately ''doing'' training. Stemming from his extensive practice and incorporating a review of prevailing methods and theories, Frank Camilleri focuses on how material circumstances shape and affect processes of training, devising, rehearsing and performing. Frank Camilleri puts forward the ''post-psychophysical'' as a more extended form of psychophysical discussion and practice that emerged and dominated in the 20th century. The ''post-psychophysical'' updates the concept of an integrated bodymind in various ways, such as the notion of a performer''s bodyworld that incorporates technology and the material world. Offering invaluable introductions to a wide range of theories around which the book is structured – including postphenomenological, sociomaterial, affect and situated cognition – this volume provides readers with an enticing array of critical approaches to training and creative processes.

Offering a radical re-evaluation of current approaches to performer training, this is a text that equips readers with a set of new ways of thinking about and ultimately ''doing'' training. Stemming from his extensive practice and incorporating a review of prevailing methods and theories, Frank Camilleri focuses on how material circumstances shape and affect processes of training, devising, rehearsing and performing. Frank Camilleri puts forward the ''post-psychophysical'' as a more extended form of psychophysical discussion and practice that emerged and dominated in the 20th century. The ''post-psychophysical'' updates the concept of an integrated bodymind in various ways, such as the notion of a performer''s bodyworld that incorporates technology and the material world. Offering invaluable introductions to a wide range of theories around which the book is structured – including postphenomenological, sociomaterial, affect and situated cognition – this volume provides readers with an enticing array of critical approaches to training and creative processes.

Offering a radical re-evaluation of current approaches to performer training, this is a text that equips readers with a set of new ways of thinking about and ultimately 'doing' training. Stemming from his extensive practice and incorporating a review of prevailing methods and theories, Frank Camilleri focuses on how material circumstances shape and affect processes of training, devising, rehearsing and performing. Frank Camilleri puts forward the 'post-psychophysical' as a more extended form of psychophysical discussion and practice that emerged and dominated in the 20th century. The 'post-psychophysical' updates the concept of an integrated bodymind in various ways, such as the notion of a performer’s bodyworld that incorporates technology and the material world. Offering invaluable introductions to a wide range of theories around which the book is structured – including postphenomenological, sociomaterial, affect and situated cognition – this volume provides readers with an enticing array of critical approaches to training and creative processes.

What goes on in the body and mind of an endurance athlete at the limits of performance? How do they relate to the world around and prepare for the task ahead? Offering a refreshing perspective on training in the cross-lighting of aesthetic and athletic processes, this book focuses on the learning, mastery and creative adaptation of technique in performance. From traditional and physical actors to runners, boxers and other sports practitioners, it is about performers: their bodies, trainings and experiences. It interrogates what it means to prepare and train as a performer in the early 21st century.Writing from extensive experience in physical theatre and long-distance running, the author combines insights from both disciplines along with theatre history, sports science and perspectives like embodied cognition and affective science. From the kind of thoughts that go through the mind of an actor or a runner, to the economy and aesthetic of their movement and to how they feel about it, this book sheds light on the performing body and its capacities for action.Topics covered include attentional focus and distraction, affordances and equipment, ‘choking’ and stage fright, physiological regulation and effort perception, pacing and play, optimal flow and creative improvisation, and intentionality and automaticity in expert performance. The volume presents an informative and thought-provoking account accessible to readers interested in theatre, dance, performance, running, athletics, and sport.

What goes on in the body and mind of an endurance athlete at the limits of performance? How do they relate to the world around and prepare for the task ahead? Offering a refreshing perspective on training in the cross-lighting of aesthetic and athletic processes, this book focuses on the learning, mastery and creative adaptation of technique in performance. From traditional and physical actors to runners, boxers and other sports practitioners, it is about performers: their bodies, trainings and experiences. It interrogates what it means to prepare and train as a performer in the early 21st century.Writing from extensive experience in physical theatre and long-distance running, the author combines insights from both disciplines along with theatre history, sports science and perspectives like embodied cognition and affective science. From the kind of thoughts that go through the mind of an actor or a runner, to the economy and aesthetic of their movement and to how they feel about it, this book sheds light on the performing body and its capacities for action.Topics covered include attentional focus and distraction, affordances and equipment, ''choking'' and stage fright, physiological regulation and effort perception, pacing and play, optimal flow and creative improvisation, and intentionality and automaticity in expert performance. The volume presents an informative and thought-provoking account accessible to readers interested in theatre, dance, performance, running, athletics, and sport.

What goes on in the body and mind of an endurance athlete at the limits of performance? How do they relate to the world around and prepare for the task ahead? Offering a refreshing perspective on training in the cross-lighting of aesthetic and athletic processes, this book focuses on the learning, mastery and creative adaptation of technique in performance. From traditional and physical actors to runners, boxers and other sports practitioners, it is about performers: their bodies, trainings and experiences. It interrogates what it means to prepare and train as a performer in the early 21st century.Writing from extensive experience in physical theatre and long-distance running, the author combines insights from both disciplines along with theatre history, sports science and perspectives like embodied cognition and affective science. From the kind of thoughts that go through the mind of an actor or a runner, to the economy and aesthetic of their movement and to how they feel about it, this book sheds light on the performing body and its capacities for action.Topics covered include attentional focus and distraction, affordances and equipment, ''choking'' and stage fright, physiological regulation and effort perception, pacing and play, optimal flow and creative improvisation, and intentionality and automaticity in expert performance. The volume presents an informative and thought-provoking account accessible to readers interested in theatre, dance, performance, running, athletics, and sport.