By Michael Romain
From Amazon: "Jonathan Miller is without doubt one of the most vital administrators of theater and opera this day. Written with Miller's complete cooperation and with entry to rehearsals, this can be the 1st ebook to discover his paintings extensive. Michael Romain examines this important profession in theater via a chain of interviews with Miller and his collaborators. it's infrequent director is prepared or in a position to talk about his craft and rarer nonetheless to discover colleagues who can recount their impressions of rehearsals and productions. in spite of the fact that, in a chain of conversations with actors, conductors, designers, singers, administrators, and writers, a desirable portrait of Miller emerges. The e-book is split into 3 sections, starting with an advent that units Miller's paintings within the context of latest ecu theater. half is an interview with Miller, overlaying such issues as his occupation, operating equipment, issues of concept and perspectives of present theater and opera. half 3 is a set of conversations with artists together with Zubin Mehta, Roger Norrington, Dudley Moore, Max von Sydow, Terry fingers, John Cleese, Frank Langella, Roger Daltrey and Jack Lemmon. the amount additionally includes a entire chronology of Miller's paintings in theater, opera, tv, and picture, together with details on approaching productions, in addition to quite a few images from productions. Michael Romain has written literary and drama feedback for courses in Britain and the United States."
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Extra info for A Profile of Jonathan Miller
Digital cross-sections of the Visible Male mean as much to a layperson as the anatomist’s explications in Latin meant to the spectator in the Renaissance anatomy theatre. For one thing, the data set itself is nothing but a series of bits and bytes, and it takes competent medical software specialists as well as large computer storage space in order to translate and recompile those data into usable fly-throughs. Moreover, the interpretation of cross-sections requires substantial viewing experience; the less-than-a-millimetre slices mean little or nothing if the viewer cannot relate these slices to actual three-dimensional organs.
It is with him, the victim, not the Guild that gave Rembrandt his commission, that the painter identifies. His gaze alone is free of Cartesian rigidity. He alone sees that greenish annihilated body, and he alone sees the shadow in the half-open mouth and over the dead man’s eyes. (Sebald, 2002, p. 17) Here, in Rembrandt ’s famous painting, the very acme of the anatomical theatre as visual-aesthetic spectacle, Sebald is suggesting that something else is going on ... something perhaps that eludes the surety of vision ...
Data into Flesh, Flesh into Data’. In: J. Marchessault and K. Sawchuk (eds), Wild Science: Feminist Readings of Science, Medicine and the Media. pp. 24-38. London and New York, 2000. Waldrop, M. ’ In: Science, 269, p. 1358. 1995. Williams, S. , ‘Modern Medicine and the Uncertain Body: From Corporeality to Hyperreality’. In: Social Science & Medicine, 45. 1997. , ‘William Harvey ’s “Prelectiones”: The Performance of the Body in the Renaissance Theatre of Anatomy’. In: Representations, 17, pp. 62-95.