Daniel Johnston
University of Sydney
16 Papers
12 Citations
Daniel Johnston is an academic researcher from University of Sydney. The author has contributed to research in topics: Phenomenology (philosophy) & Stanislavski's system. The author has an hindex of 3, co-authored 16 publications. Previous affiliations of Daniel Johnston include Sheffield Hallam University & University of Notre Dame.
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Papers
•Book
Theatre and Phenomenology: Manual Philosophy
Daniel Johnston
- 24 May 2017
TL;DR: In this paper, a clear and accessible introduction to the key concepts of phenomenology in relation to theatre, showing how they shed light on the works of influential theatre-makers, such as Brecht, Artaud and Stanislavski.
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•Journal Article
Spaces, Doors and Places in Early Modern English Staging
Tim Fitzpatrick,Daniel Johnston +1 more
TL;DR: In a recent article in Theatre Notebook, Mariko Ichikawa made a valuable contribution to an understanding of how the resources of the early-modern English stage might have been deployed and managed in performance, and in particular how the two stage doors were used for fictional doors to houses and rooms as mentioned in this paper.
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Inside the Theatre of Business: Performance and Corporate Presentation Training
TL;DR: McAuley et al. as mentioned in this paper consider the National Institute of Dramatic Art's (NIDA) "Executive Presenter" course in Sydney, Australia, and attempt to counter a simplistic notion of theatre as a magical practice.
“Theatre Phenomenology” and Ibsen’s The Master Builder
Daniel Johnston,Daniel Johnston +1 more
TL;DR: This article examined how phenomenology can offer a framework for creating performance and a vocabulary for action in rehearsal, taking Henrik Ibsen's The Master Builder as a case-study, a number of exercises and approaches are suggested for exploring the text while drawing on Martin Heidegger's lecture, "Building, Dwelling, Thinking" which ponders the nature of building.
Theatre-Making as Aletheia: Rehearsal and the Production of Truth
TL;DR: The authors explored the notion of truth as "unconcealment" by revisiting Gay McAuley's case study of a workshop for Sarah Kane's 4:48 Psychosis by the South Australian company Brink, arguing that the rehearsal was not simply about meaning-making, but about the "disclosure of Being" made possible through the energized play-space of the performance process.
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