Interviews Moshe Feldenkrais and discusses the development of his influential philosophy and physiology of movement from a background in engineering, and a concern to remedy a knee injury sustained in a game of soccer. Mentions though Feldenkrais scorned psychoanalytical approaches to the remedying of the poor or painful postures, he had great faith in the capacity of the body, through the brain, for self-correction and self-healing. States the interviewer met with Feldenkrais shortly before his death in 1985 and talked to him during a nine-week course he was leading in his own methodology. Opines on his emphasis for using the body to reprogramme the brain.
Explores in depth Shakespearean production at the Gaiety in Manchester, England into the context of Annie Horniman's and her colleagues ambitions for the Gaiety and its intended role in Manchester's civic life. Focuses on relationships between Horniman and director Lewis Casson, Richard Flanagan, Ben Iden Payne and William Poel. Discusses stagings of "Measure for Measure," "Julius Caesar," and "Much Ado About Nothing." Provides critics views of productions at Britain's first true repertory theater.
When the 'action' at major news events is observed over days or weeks by television cameras, how far does the medium become, whether knowingly or not, a participant and shaper in the action it observes? How far does the action itself become, to some degree, a performance before the cameras?
Examines the 1992 Los Angeles riots and shows the significance of the way television reports on moments of social crisis on cultural performance. Analyzes television news broadcasting and considers six days of rioting as elements of performance. Concludes that in the "mediated present" of the news event on television, the medium is as much a producer as a reporter of an action which is pervasively shaped by its presence.
The first production at Britain's first true repertory theatre - the Gaiety, in Manchester - under Annie Horniman's management was of a Shakespeare play: William Pool's staging of Measure for Measure, analyzed in detail by Richard Foulkes in Theatre Quarterly No. 39 (1981). Yet Miss Horniman's attitude both to Pool's experimental 'Elizabethanism' and to subsequent attempts at Shakespeare at the Gaiety remained ambivalent, and influenced by such personal tensions and disagreements as saw off Lewis Casson after his radical and political reading of Julius Caesar, in favour of safer stuff conceived as an alternative to Christmas pantomime.
Presents an edited and updated transcript of the annual BFI Lecture at the Museum of Moving Image on September 4, 1997. The authors comprise the Open University BBC's Multimedia Shakespeare Research Project team. States that the lectureitself a multimedia performanceintended to spark debate about the possibilities and limitations of using multimedia in creating and preserving 'live' theater, beginning with Shakespeare. Examines issues including distance teaching, the reinvention of Shakespeare, reaching distance audiences, creating virtual classrooms and interpretive communities.
Goodman, Coe and Williams have teamed up to form the Open University BBC's Multimedia Shakespeare Research Project. A transcript of their lecture, which was a multimedia performance, presented at the BFI Lecture at the Museum of the Moving Image in London is offered.
Tight Roaring Circle, a 1997 Artangel installation at the Roundhouse in London, was a collaboration between choreographers and a musician, as well as with the curators and the audience. Through the installation Dana Caspersen, William Forsythe, and Joel Ryan furthered their explorations into engendering, ordering, and composing movement.