| Contents |
Introduction -- Dancing history. First steps -- Becoming an actress -- Odin Teatret -- Teachers -- The dramaturgy of the actress -- Personal terminology. The echo of silence -- Stage presence -- Pursuing oppositions -- Rodin's torsos -- Precision and decision: the whole body -- Precision and decision: the whole voice -- Training. Aspects of training -- My own training -- The purpose of training -- Reduction -- Improvisation and composition. The creation of material -- Stimuli, strategies and procedures -- Repetition, memory, fixing -- Before, during and after improvisation -- Elaboration: from the actress's point of view -- Elaboration: from the director's point of view -- Score and subscore. A useful but wrong word -- The paper song -- Thought -- The subscore of creation -- Chaotic order -- The subscore of repetition -- The subscore of performance -- Text and subtext. Textual interpretation -- Textual analysis -- Physical actions as subtext -- Vocal actions as subtext -- Melodies and music as subtext -- The character. Identities -- Mr Peanut -- Do; a musica -- Dramaturgy according to Daedalus -- The puppet character -- The director -- Meeting a director -- Working with a director -- The surgeon and the mountaineer -- The peasant and the cook -- The performance. Replica and difference -- Faces, words, landscapes. |
