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Drawing from her extensive notes and recordings, Diane Edgecomb takes us to the heart of the workshop experience as a young actor determined to make this process her own. Cynkutis guides the participants to a deep understanding of his artistic philosophy and craft, giving them invaluable tools and sources to enrich their acting. Stimulated by a developing series of tasks, Laboratory Theatre training exercises, and by Cynkutis’ startling demonstrations, the group is challenged to bring their whole selves to the work and to reimagine what is possible in theatre.   The intensive proceeds from exercises familiar to those who have studied Grotowski to innovative explorations of dramatic text and character which draw from theatre sources based in the primal energies of nature. Those who have been mystified by academic writings on the work of the Laboratory Theatre will find this personal story refreshing and accessible, filled with advice and exercises grounded in the rich conversational style of a charismatic master actor. Links to audio files of Cynkutis speaking as he leads the work lend an invaluable immersive element to the book.   This compelling volume bears witness to the power of a deeply visceral form of theatre and illustrates why the work of Grotowski and his actors has had such a profound impact on generations of theatre artists. 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A pioneering Argentine writer, fluent in Spanish, English, and French, Molloy inhabited all three languages, shuttling back, forth, and between, aware that each place and each language bring forth a different self.   The short entries that make up “Varied Imagination” and “Living Between Languages”—the two collections gathered in this volume for the first time—revolve around an interrelated set of questions. What makes “home”? Does language make or destabilize a sense of home? How does speaking a language or switching between languages perform one’s place in the world? These vignettes capture the realization that the most seemingly natural things in life—such as home, language, and identity—depend entirely on performance. Each act, each word communicates something, means something, does something to their specific audience; another audience might react quite differently. 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However, many of the most extraordinary theater projects in recent years not only have been about war but also have originated in actual conflict zones themselves. \"Performance in Place of War\" is concerned with these initiatives, including theater in refugee camps, war-ravaged villages, towns under curfew, and cities under occupation. It looks at theater and performances that often occur quite literally as bombs are falling, as well as during times of ceasefire and in the aftermath of hostilities. \"Performance in Place of War\" draws on extensive original material and includes interviews with artists, short play extracts, and photographs from the Democratic Republic of Congo, Kosovo, Israel, Lebanon, the Sudan, and others. The authors combine critical commentary, overviews of the conflicts, and firsthand accounts in order to consider such questions as: Why in times of disruption have people turned to performance? 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