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024 7 $a10.4324/9780203083741$2doi
035 $a(OCoLC)893454231$z(OCoLC)887502625$z(OCoLC)893682060$z(OCoLC)995605680$z(OCoLC)1066540587$z(OCoLC)1077862923$z(OCoLC)1080601034$z(OCoLC)1082254997$z(OCoLC)1091761327$z(OCoLC)1105714466$z(OCoLC)1114930083$z(OCoLC)1124395641$z(OCoLC)1190693694$z(OCoLC)1198078458$z(OCoLC)1200058075$z(OCoLC)1228765824$z(OCoLC)1288448256
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050 4 $aPN2071.I5$bI47 2015
072 7 $aPER$x011000$2bisacsh
082 04 $a792.02/8$223
049 $aZCUA
245 04 $aThe improvisation studies reader :$bspontaneous acts /$cedited by Rebecca Caines and Ajay Heble.
264 1 $aAbingdon, Oxon ;$aNew York, NY :$bRoutledge,$c2015.
300 $a1 online resource (xviii, 460 pages .)
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
347 $adata file
380 $aEssay
504 $aIncludes bibliographical references and index.
588 0 $aPrint version record.
505 0 $aCover; Half Title; Title Page; Copyright Page; Dedication; Table of Contents; List of figures; Acknowledgements; Permissions; Prologue: Spontaneous Acts; Part 1 Listening; 1 Improvised Listening: Opening Statements Listening to the Lambs; 2 On Listening; 3 Improvisation; 4 Going Fragile; 5 Music, Language, and Cultural Styles: Improvisation as Conversation; 6 Deep Listening Meditations: Egypt (1999); 7 ""Really Listening"": Original art, 30 x 44"", made live @ World Percussion Summit September 3, 2013; Part 2 Trust/Risk; 8 Improvised Trust: Opening Statements; 9 Improvisation.
505 8 $a10 Afterthoughts11 Thoughts on Improvisation: A Comparative Approach; 12 Theatre of the Oppressed; 13 Group Creativity: Musical Performance and Collaboration; 14 Community Performance: Improvising Being-Together; 15 ""Paradise Now"": Notes; 16 Chicanas'' Experience in Collective Theatre: Ideology and Form; 17 Spontaneous Combustion: Notes on Dance Improvisation from the Sixties to the Nineties; 18 Luminous Axis -- Blade-form Panel (Graphic Score); Part 3 Flow; 19 Improvised Flow: Opening Statements; 20 A Theoretical Model for Enjoyment; 21 Keynote Presentation (Guelph) 2007 (Graphic Score).
505 8 $a22 The Impermanent Art23 Improvisation and Ensemble; 24 Theory of the Dérive; 25 ""All Aboard the Night Train"": Flow, Layering, and Rupture in Postindustrial New York; 26 Writing Improvisation into Modernism; 27 Stone Sketch (Graphic Score); 28 Essentials of Spontaneous Prose; Part 4 Dissonance; 29 Improvised Dissonance: Opening Statements; 30 Phantoms of the Other: Fragments of the Communal Unconscious; 31 Bebop as Cultural Alternative; 32 Happenings in the New York Scene; 33 Other: From Noun to Verb; 34 Playing Like a Girl: The Queer Laughter of the Feminist Improvising Group.
505 8 $a35 Frozen Grand CentralPart 5 Responsibility; 36 Improvised Responsibility: Opening Statements (Call and) Responsibility: Improvisation, Ethics, Co-creation; 37 Gittin'' To Know Y''all: Improvised Music, Interculturalism, and the Racial Imagination; 38 Kinship, Intelligence, and Memory as Improvisation: Culture and Performance in New Orleans; 39 Swing: From Verb to Noun; 40 OAAU Founding Rally; Part 6 Liveness; 41 Improvised Liveness: Opening Statements Improvisation and the ""Live"": Playing with the Audience; 42 Liveness; 43 The Revolution Will Not Be Televised.
505 8 $a44 The Present of Performance45 Time in the Place of Space: Dialoguing Improvisation with Pierre Hébert: Saint-Bernard-de-Lacolle, Quebec, June 19, 2012; 46 Improvisation and Theatrical Power: From Discipline to Refusal; Part 7 Surprise; 47 Improvised Surprise: Opening Statements; 48 Playing; 49 Taken By Surprise: Improvisation in Dance and Mind; 50 Seven Aspects of Spontaneity; 51 Yoruba Play and the Transformation of Ritual; 52 Play On: Collaboration and Process; 53 Step Across the Border (DVD Liner Notes); 54 DJ; Part 8 Hope; Epilogue: Hope and Improvisation; Index.
520 $aImprovisation is a performance practice that animates and activates diverse energies of inspiration, critique, and invention. In recent years it has coalesced into an exciting and innovative new field of interdisciplinary scholarly inquiry, becoming a cornerstone of both practical and theoretical approaches to performance. The Improvisation Studies Reader draws together the works of key artists and thinkers from a range of disciplines, including theatre, music, literature, film, and dance. Divided by keywords into eight sections, this book bridges the gaps between these fields.
546 $aIn English.
506 $aUnlimited Users and Download Restrictions may Apply, Taylor & Francis Unlimited-User Licence. Available using University of Exeter Username and Password.$5GB-UKExU
650 0 $aImprovisation (Acting)
650 0 $aImprovisation (Music)
650 0 $aPerforming arts.
650 6 $aImprovisation (Art dramatique)
650 6 $aImprovisation (Musique)
650 6 $aArts du spectacle.
650 7 $aPERFORMING ARTS$xTheater$xGeneral.$2bisacsh
650 7 $aPerforming Arts.$2eflch
650 7 $aImprovisation (Acting)$2fast$0(OCoLC)fst00968302
650 7 $aImprovisation (Music)$2fast$0(OCoLC)fst00968306
650 7 $aPerforming arts.$2fast$0(OCoLC)fst01057887
650 7 $aPerforming Arts.$2ukslc
700 1 $aCaines, Rebecca,$eeditor.
700 1 $aHeble, Ajay,$d1961-$eeditor.
776 08 $iPrint version:$tImprovisation studies reader.$z9780415638715$z0415638712$w(DLC) 2014006189$w(OCoLC)793224569
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15102368$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS