This book provides the first comprehensive study of Anthony Neilson’s unconventional rehearsal methodology. Neilson’s notably collaborative rehearsal process affords an unusual amount of creative input to the actors he works with and has garnered much interest from scholars and practitioners alike.
This study analyses material edited from 100 hours of footage of the rehearsals of Neilson’s 2013 play Narrative at the Royal Court Theatre, as well as interviews with Neilson himself, the Narrative cast and actors from other Neilson productions. Replete with case studies, Gary Cassidy also considers the work of other relevant practitioners where appropriate, such as Katie Mitchell, Forced Entertainment, Joan Littlewood, Peter Brook, Complicite’s Simon McBurney, Stanislavski and Sarah Kane.
Contemporary Rehearsal Practice will be of great interest to scholars, students and practitioners of theatre and performance and those who have an interest in rehearsal studies.
By:
Gary Cassidy
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions:
Height: 234mm,
Width: 156mm,
Weight: 294g
ISBN: 9780367615574
ISBN 10: 0367615576
Pages: 200
Publication Date: 29 August 2022
Audience:
General/trade
,
College/higher education
,
ELT Advanced
,
Primary
Format: Paperback
Publisher's Status: Active
"Content Acknowledgement Introduction Anthony Neilson: An Overview Introducing the Narrative Rehearsals Methodology Book Structure Part 1: Neilson’s Authorial Process Part Introduction Chapter 1: Neilson’s Authorial Process and the Actors’ Input Case Study 1: Neilson as Author, Blackmail and Murder, and the Authorial Trope of Sound to Portray Psychological Liminality Case Study 2: The Actor’s Indirect Input into Neilson’s Convoluted Jigsaw Case Study 3: Olly Rix, Shakespeare and Superheroes: The Actor’s Direct Input Conclusion Chapter 2: ‘The Footmouse Dance’: The Actors’ Input into Authorial Tropes and Neilson’s Ad-Hoc Approach to Authorship What’s in a Name?: The Naming of Characters as an Authorial Trope in Neilson’s Work Zawe Ashton and the Cancelled Magazine Subscription: The Actor’s Direct Input Reconsidered ""Footmouse! Brilliant!"": Humiliation as an Authorial Trope in Neilson’s Work Chance and the Arbitrary: Neilson’s ‘Magpie’ Approach to Authorship Conclusion Part 2: Neilson’s Process and Improvisation Part Introduction Chapter 3: Improvisation and Characterisation ‘Box Therapy’: Uncertain Beginnings with Random Objects Improvisation and Characterisation via Stanislavskian Principles Instinct Mask Work The Relationship Between Actor and Director: Unproductive Aspects The Relationship Between Actor and Director: Productive Aspects Conclusion Chapter 4: The ‘Human Soundscape’: Improvisation, Rules and Failure Uncertain Beginnings with an Absence of Rules Humour, Rules and Challenging Leadership Corpsing Failure as Failure Play and Catharsis: Therapy for the ‘Box Therapy’ Conclusion Part 3: Directing Actors Part Introduction Chapter 5: Neilson the ‘Unsafe’ Director Directing and Power: Neilson’s Egalitarian Approach Directing and Power: Neilson’s Not Quite So Egalitarian Approach Power and Communication ‘Ask the Audience’: The Suggestion of Audience Participation and its Rejection ‘Ask the Audience’: Not Neilson’s Way or the High Way ‘What Did You Expect’: Neilson Directs the Ending Conclusion Chapter 6: Neilson and the Actor’s Process The Stanislavskian Actor’s Process Actors’ Heterogeneity Case Study 1: Neilson’s Motivational Speech The Actor’s Process, Emotional Labour and the Reality of Working Conditions Case Study 2: Press Night The Importance of Timing for the Actor’s Process Actors’ Coping Strategies Conclusion Book Conclusion Index"
Gary Cassidy is a Senior Lecturer in Acting at Bath Spa University. He trained as an actor at the Royal Conservatoire of Scotland and has many years of professional acting experience (Equity name Cas Harkins). His publication areas include contemporary British theatre and the analysis of screen acting.
