Phillip B Zarrilli
Dados Biográficos
| ID | 231107 |
|---|---|
| NOME | Phillip B Zarrilli |
| PRENOMES | Phillip B |
| SOBRENOME | Zarrilli |
| ASSINATURA | ZARRILLI P B |
| AFILIAÇÕES | Works internationally as a director, teacher, and actor trainer using Asian martial/meditation arts. He runs a private studio (Tyn-y-Parc C.V.N. Kalari/Studio) in West Wales, and conducts workshops throughout the world–most recently at the Seoul International Theatre Festival and for the National Theatre of Greece. His recent productions of Samuel Beckett's plays have won critical acclaim in Austria and Los Angeles. His publications include Acting (Re) Considered (Routledge, 2nd ed., 2002), and When the... |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 56 |
| TOTAL DE CITAÇÕES | 43 |
| TOTAL COMO AUTOR | 56 |
| TOTAL COMO EDITOR | 1 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1979 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2024 |
| ÍNDICE H | 4 |
Commemorative drama and Carnival
This chapter considers commemorative drama and Carnival, including instances in which the commemorative and the carnivalesque are combined in the same occasion, from the second century in China through the sixteenth in Europe. It focuses primarily on religious observances that lend themselves to commemorative performances: the Jewish Purim shpil, the Islamic Ta’ziyeh, India’s Ramlila, and the many forms of Christian ritual and drama, designed to …
Special issue on ‘intercultural’ acting and actor/performer training
Theatre Histories
This new edition of the innovative and widely acclaimed Theatre Histories: An Introduction offers overviews of theatre and drama in many world cultures and periods together with case studies demonstrating the methods and interpretive approaches used by today's theatre historians. Completely revised and renewed in color, enhancements and new material include: a full-color text design with added timelines to each opening section a wealth of new col…
Theatre Histories
Concerning Theory for Performance Studies
In 2007, Routledge published Theory for Performance Studies as part of its Theory 4 series, listing Philip Auslander as author. When, in August, The Chronicle of Higher Education revealed that much of the book was lifted word-for-word from the template for the series, Theory for Religious Studies by Timothy K. Beal and William E. Deal, TDR editor Richard Schechner convened via email and phone conversations a “TDR Forum,” asking leaders in the fie…
An Enactive Approach to Understanding Acting
Drawing on recent developments in phenomenology, cognitive science, and anthropological ecology, this essay explores an enactive approach to a meta-theoretical understanding of acting as a phenomenon. In contrast to representational and/or mimetic meta-theories of acting, which construct their views of action from a position as an outside observer to the process/phenomenon of acting, an enactive view provides an account of acting from "inside" th…
Sketches of Kerala
Book Review| October 01 2007 Sketches of Kerala: Gods Never Die; The Time of the Puppets; The Three Wise Monkeys Sketches of Kerala: Gods Never Die; The Time of the Puppets; The Three Wise Monkeys, Laurent Aubert, Ravi Gopalan Nair, Damian Plandolit, Patricia Plattner and Jonathan Watts. Phillip B. Zarrilli Phillip B. Zarrilli Search for other works by this author on: This Site Google Ethnomusicology (2007) 51 (3): 539–541. https://doi.org/10.230…
Acting (Re)Considered
General Introduction: Between theory and practice Phillip B. Zarrilli part I Theories and Meditations on Acting 2. Introduction Phillip B. Zarrilli 3. The Actor's Presence: Three phenomenal modes Bert O. States 4. Acting and Not-Acting Michael Kirby 5. Just Be Your Self: Logocentrism and difference in performance theory Philip Auslander 6. The Actor's Emotions Reconsidered: A psychological task-based perspective Elly Konijn Part II (Re)Considerin…
Acting Considered
To the Editor
June 01 2004 To the Editor Phillip Zarrilli Phillip Zarrilli Search for other works by this author on: This Site Google Scholar Author and Article Information Phillip Zarrilli Online ISSN: 1531-4715 Print ISSN: 1054-2043 © 2004 Massachusetts Institute of Technology2004 TDR/The Drama Review (2004) 48 (2 (182)): 9. https://doi.org/10.1162/105420404323063355 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views…
Toward a Phenomenological Model of the Actor's Embodied Modes of Experience
How can the contemporary actor’s body and experience in performance be theorized? 2 What methodological tools are useful in an attempt to better understand the embodied work of the actor? This essay applies one among a set of complimentary methodological tools to this question—a post‐Merleau-Ponty phenomenology. 3 Like all accounts of embodiment and experience this one is necessarily limited by “our propositional modes of representation,” since i…
The Metaphysical Studio
The studio is a place where words count less, where something comes of nothing—sound from silence, action from impulse. Zarrilli muses on the deep work—drawn from his long practice of the Indian martial art kalarippayattu—that can take place only “in the studio.”
The Open Door
Chandralekha
Kalyāṇasaugandhikam (The Flower of Good Fortune)
V. R. Prabodhachandran Nayar, M. P. Sankaran Namboodiri, Phillip B. Zarrilli, Kottayam Tampuran, Kalyāṇasaugandhikam (The Flower of Good Fortune): A Kathakaḷi Drama by Kottayam Tampuran, Asian Theatre Journal, Vol. 13, No. 1 (Spring, 1996), pp. 1-25
Asian Martial Arts in Actor Training
Kalātattvakośa
"Responses to W. B. Worthen's "Disciplines of the Text/Sites of Performance
Interculturalism and Performance
Actors and Onlookers
It Was like a Play in a Play in a Play!" "Tales from South Asia" in an Intercultural Production
Indian Theatre and the Inside-Outsider
Indian Theatre
Contested Narratives on and off the Kathakali Dance-Drama Stage
Folklorist Richard Bauman noted long ago that traditions of performance like Kerala, India's kathakali dance-drama, have always stood available to participants and spectators "as a set of conventional expectations and associations" which can be "manipulated in innovative ways, by fashioning novel performances outside the conventional system, or working various transfonnations and adaptations which tum performance into something else" A system of …
Rich and poor theatres of globalization
Toward a Phenomenological Model of the Actor's Embodied Modes of Experience
How can the contemporary actor’s body and experience in performance be theorized? 2 What methodological tools are useful in an attempt to better understand the embodied work of the actor? This essay applies one among a set of complimentary methodological tools to this question—a post‐Merleau-Ponty phenomenology. 3 Like all accounts of embodiment and experience this one is necessarily limited by “our propositional modes of representation,” since i…
Three bodies of practice in a traditional south Indian martial art
Kalarippayatt, Martial Art of Kerala
At the start of the sixteenth century, Duarte Barbosa, one of the earliest Portugese to arrive in Kerala, a state in southwest India, provides a description of Kalarippayatt (meaning “place of exercise,” referring to the technical system of training In its entirety. Kalari by itself means gymnasium or fencing school.) which although quaint is nevertheless still an apt account of this indigenous martial art system: The more part of the Nairs, when…
Toward a Definition of Performance Studies, Part I
An Enactive Approach to Understanding Acting
Drawing on recent developments in phenomenology, cognitive science, and anthropological ecology, this essay explores an enactive approach to a meta-theoretical understanding of acting as a phenomenon. In contrast to representational and/or mimetic meta-theories of acting, which construct their views of action from a position as an outside observer to the process/phenomenon of acting, an enactive view provides an account of acting from "inside" th…
Sanskrit Drama in Performance
The Aftermath
The Theatre of the Mahabharata
Toward a Definition of Performance Studies, Part II
A Microanalysis of Performance Structure and Time inKathakaliDance-Drama
A Guide to Kathakali
Kalarippayatt, Martial Art of Kerala
At the start of the sixteenth century, Duarte Barbosa, one of the earliest Portugese to arrive in Kerala, a state in southwest India, provides a description of Kalarippayatt (meaning “place of exercise,” referring to the technical system of training In its entirety. Kalari by itself means gymnasium or fencing school.) which although quaint is nevertheless still an apt account of this indigenous martial art system: The more part of the Nairs, when…
Waiting for Godot
From Destruction to Consecration
Jerome Taylor, in his Dramatic Structure of the Corpus Christi, or Cycle, Plays, establishes an for the Cycle Plays by which he concludes that the Feast of Corpus Christi and the drama of the same name bear correspondences rooted in a common intention to commemorate the wonders by which the divine King reintegrates the creaturely kingdom disobedient to his law ... [and that] the history of these wonders can be considered as the unifying action of…
"Richard Schechner's "Richard's Lear
Sanskrit Drama in Performance
A Guide to Kathakali
"Performance in "America's Little Switzerland
A Microanalysis of Performance Structure and Time inKathakaliDance-Drama
"Doing the Exercise"
How does one learn to simply the exercise, manipulate the weapon, and the dance with no pretense or artifice, and how are such specific techniques taught in their indigenous settings in Asia? Doing the means that the performer and the exercise or act are one-and this here and actuality of performance is shared by both martial and traditional theatrical arts as practiced in Asia. Both martial and many theatrical artists perform specific strips of …
Traditional Indian Theatre
Traditions of Indian Theatre
Karimkuṭṭy
Performing Arts in India
Beyond the Kathakali Mystique
The Aftermath
Toward a Definition of Performance Studies, Part I
Toward a Definition of Performance Studies, Part II
Where the Hand [Is]
No description available
The Wondrous Crest-Jewel in Performance
Structure and Subjunctivity
Eugenio Barba to Phillip Zarrilli
Here are my reactions to your article Whom Is the 'Invisible' Not Visible? (TDR 32, no. I:95-Io6) concerning the International School of Theatre Anthropology (ISTA) Congress on The Female Role as Represented on the Stage in Various Cultures, Holstebro, Denmark, 17-22 September 1986. In our culture, knowledge of the actor has often been blocked by the presumption of knowledge. Critics, theatrologists, theoreticians, and even philosophers such as H…
Collaborating on Odissi
According to Kapila Vatsyayan, Orissi [odissi] may well claim to be the earliest classical Indian dance style on the basis of archaeological evidence, the most outstanding being the Rani Gumpha caves of the 2nd century B.C. in Orissa. [. ..] Certainly these caves are the first specimens of a dance scene with full orchestration found in sculptures (1974:34). Thus the dance style of which Sanjukta Panigrahi and her teacher-partner Kelucharan Mahapa…
More Aftermath after Peter Brook
For Whom Is the "Invisible" Not Visible
From 17-22 September 1986 I attended the International School for Theatre Anthropology (ISTA) Congress on The Female Role As Represented on the Stage in Various Cultures organized by Eugenio Barba in Holstebro, Denmark. At this particular ISTA, a great deal of controversy arose among a number of participants. Erika Munk (1986) recently severely criticized the organizational and representational aspects of this ISTA. I will focus on larger issues …
The Kathakaḷi Complex
Art (36 obras) · History (31 obras) · Theatre and Performance Studies (28 obras) · Visual arts (21 obras) · History (16 obras) · Sociology (15 obras) · Diversity and Impact of Dance (13 obras) · Computer Science (11 obras) · Philosophy (11 obras) · Aesthetics (10 obras)