Daniel Meyer-Dinkgräfe

Veröffentlichungen

 

 

Bücher (Einzel-oder Mitautor)

 

Consciousness, Performing Arts and Literature: Trajectories, 2014-2018. Newcastle: Cambridge Scholars Publishing, 2018.

 

With Amanda M. Young-Hauser. Paedophilia and Child Sexual Abuse in Drama and Theatre. Newcastle: Cambridge Scholars Publishing, 2018.

 

Observing Theatre: Spirituality and Subjectivity in the Performing Arts. Amsterdam: Rodopi, 2013

 

Theatre, Opera and Consciousness: History and Current Debates. Amsterdam: Rodopi, 2013.

 

Ein Kabinettstück der Schauspielkunst / A Showpiece of the Art of Acting: Ursula Dinkgräfes Bühnenlaufbahn / Ursula Dinkgräfe’s stage career. Newcastle: Cambridge Scholars Publishing, 2007.

 

Biographical Plays about Famous Artists. Newcastle: Cambridge Scholars Press, 2005.

 

Boulevard Comedy Theatre in Germany. Newcastle: Cambridge Scholars Press, 2005.

 

Theatre and Consciousness: Explanatory Scope and Future Potential. Bristol: Intellect, 2005.

 

Approaches to Acting, Past and Present. London and New York: Continuum: 2001.

 

Consciousness and the Actor: A Reassessment of Western and Indian Approaches to the Actor's Emotional Involvement from the Perspec­tive of Vedic Psychology. Frankfurt am Main: Peter Lang, 1996.

 

Englisches Schülertheater - Black Comedy. Theorie und Praxis einer englischsprachigen Theater-Arbeitsgemeinschaft in der gymnasialen Oberstufe. Frankfurt am Main, Bern, New York, Paris: Lang, 1988.

 

 

Herausgeber

 

(with Heinz-Uwe Haus): Heinz-Uwe Haus on Culture and Politics. Newcastle: Cambridge Scholars Publishing, 2018.

 

Consciousness, Theatre, Literature and the Arts 2015. Newcastle: Cambridge Scholars Publishing, 2016.

 

Consciousness, Theatre, Literature and the Arts 2013. Newcastle: Cambridge Scholars Publishing, 2014.

 

Consciousness, Theatre, Literature and the Arts 2011. Newcastle: Cambridge Scholars Publishing, 2012.

 

(with Dan Watt) Ethical Encounters: Boundaries of Theatre, Performance and Philosophy. Newcastle: Cambridge Scholars Publishing, 2010.

 

(with Per Brask) Performing Consciousness. Newcastle: Cambridge Scholars Publishing, 2010.

 

Consciousness, Theatre, Literature and the Arts 2009. Newcastle: Cambridge Scholars Publishing, 2010.

 

(with Gregory Tague) Origins of English Dramatic Modernism 1870-1914. Palo Alto: Academica Press, 2009.

 

Brechtian Theatre of Contradictions: Providing Moral Strength under Conditions of Dictatorship: A Festschrift for Heinz-Uwe Haus. Newcastle: Cambridge Scholars Publishing, 2007.

 

(with Daniel Watt). Theatres of Thought: Theatre, Performance and Philosophy. Newcastle: Cambridge Scholars Publishing, 2007.

 

Consciousness, Theatre, Literature and the Arts  2007. Newcastle: Cambridge Scholars Publishing, 2007

 

Views, Positions, Legacies: Interviews with German and British Theatre Artists, 1985-2007. Newcastle: Cambridge Scholars Publishing, 2007.

 

Consciousness, Theatre, Literature and the Arts. London:  Cambridge Scholars Press, 2006; 443pp.

 

The Future of Beauty in Theatre, Literature and the Arts. London:  Cambridge Scholars Press, 2005.

 

The Professions in Contemporary Drama, Bristol: Intellect, 2003.

 

Who’s Who in Contemporary World Theatre (Editor and Contributor). London, New York: Routledge, 2000. Paperback: November 2002.

 

Drama and Consciousness, Studies in the Literary Imagination 34:2 (2001)

 

Performance and Consciousness, Performing Arts International 1:4 (1999)

 

 

Hauptschriftleiter

 

Theatre and Consciousness. Bristol: Intellect. I serve as general editor for a series of books on the relation between theatre and consciousness.

 

Consciousness, Literature and the Arts Brill | Rodopi. I serve as Executive Editor for a series of books relating consciousness to literature and the arts.

 

 

Gründer/Herausgeber

 

Consciousness, Literature and the Arts

 

 

Kapitel in Büchern

"Composers on Screen and on Stage: A Comparison", pp. 11-17 in Paul Fryer (ed), The Composer on Screen. Essays on Classical Music Biopics. Jefferson: McFarland, 2018.

 

“Werktreue and Regieoper", pp. 8-27 in Fiona Schopf (ed), Music on Stage. Newcastle: Cambridge Scholars Publishing, 2015.

 

“Comedy, Consciousness and the Natyasastra”, pp. 89-98 in Sreenath Nair (ed), The Natyasastra and the Body in Performance: Essays on Indian theories of Dance and Drama. Jefferson: McFarland, 2015.

 

“Opera criticism: State of the Art and Beyond”, pp. 43-64 in  Paul Fryer (ed), Opera in the Media Age: Essays on Art, Technology and Popular Culture. Jefferson: McFarland, 2014.

 

“Embodied consciousness, warm-up and cool-down”, pp. 102-111 in Jade Rosina McCutcheon and Barbara Sellers-Young (eds)., Embodied Consciousness: Performance Technologies. Houndmills: PalgraveMacmillan, 2013.

 

“The Ethical Dimension of Theatre”, pp. 135-153 in Daniel Meyer-Dinkgräfe and Dan Watt (eds.) Ethical Encounters: Boundaries of Theatre, Performance and Philosophy. Newcastle: Cambridge Scholars Publishing, 2010.

 

“Consciousness, Theatre and Terrorism”, pp. 74-88 in Per Brask and Daniel Meyer-Dinkgräfe (eds.) Performing Consciousness. Newcastle: Cambridge Scholars Publishing, 2010.

 

“Body against Boundaries: Consciousness in Raimund Hoghe’s Choreography”, pp. 155-158 in Daniel Meyer-Dinkgräfe (ed) Consciousness, Theatre, Literature and the Arts 2009. Newcastle: Cambridge Scholars Publishing, 2010.

 

"The Origins of English Dramatic Modernism in the Context of Consciousness Studies", pp. 371-388 in Daniel Meyer-Dinkgräfe and Gregory Tague (eds.), Orgigins of English Dramatic Modernism 1870-1914. Palo Alto: Academica Press, 2009.

 

“Consciousness Studies and Utopian Performatives”, pp. 127-139 in Meyer-Dinkgräfe and Daniel Watt, Theatres of Thought: Theatre, Performance and Philosophy. Newcastle: Cambridge Scholars Publishing, 2007.

 

The Body as Consciousness: Concepts and Implications for Actor Training", pp. 53-66 in Daniel Meyer-Dinkgräfe (ed), Consciousness, Theatre, Literature and the Arts 2007. Newcastle: Cambridge Scholars Publishing, 2007.

“Theatre and the Vedanta philosophy of action”, pp. 138-143 in Daniel Meyer-Dinkgräfe (ed), Consciousness, Theatre, Literature and the Arts. London:  Cambridge Scholars Press, 2006.

 

“The Spaces of Consciousness: New Possibilities for Contemporary Theatre”, pp. 149-158 in Thomas Rommel and Mark Schreiber (eds.), Mapping Uncertain Territories: Space and Place in Contemporary Theatre and Drama. Series: Contemporary Drama in English, Vol. 13, 2006,

 

“Simultaneity, Theatre and Consciousness”. pp. 247-252 in Roy Ascott (ed), Engineering Nture. Art and Consciousness in the Postbiological Era. Bristol: Intellect, 2006.

 

"The future of beauty in the theatre”, pp. 146-153 in Daniel Meyer-Dinkgräfe (ed), The Future of Beauty in Theatre, Literature and the Arts. London:  Cambridge Scholars Press, 2005.

 

"Brook and the Freedom of Intercultural Theatre", pp. 71-82 in  David Bradby and Maria M. Delgado (eds.), The Paris Jigsaw. Internationalism and the city’s stages. Manchester: Manchester UP, 2002.

 

"Consciousness and the Future of Theater", pp. 103-117 in Haney II, William S., and Peter Malekin, Ed.  Humanism and the Humanities in the 21st Century.  Lewisburg, PA: Bucknell UP; London: Associated University Presses, 2001, 103-117.

 

‘Praise and Censure in Theatre Criticism’, in Theatre Criticism Today, ed. Sanja Nikcevic. Zagreb: Croatian Centre of ITI-UNESCO, 2001, 92-98.

 

“The Practical Relationship of Consciousness and Performance: An Intercultural Approach”, in The New Europe at the Crossroads, edited by Ursula Beitter. Baltimore: Peter Lang, 1999, 181-187. Reprinted in Lo Straniero 32 (2000), 12-14

 

“Hamlet’s Procrastination: A Parallel to the Bhagavad-Gita, in Hamlet East West, edited by. Marta Gibinska and Jerzy Limon. Gdansk: Theatrum Gedanese Foundation, 1998, pp. 187-195.

 

`The Function of Theatre in Society', in Morals and Society in Asian Philosophy, ed. Brian Carr (London: Curzon, 1996), pp. 119-124.

 

"The Natyashastra. An Ancient Approach to Audience Research Redis­covered", in: Performance Theory: Reception and Audience Re­search. Advances in Reception and Audience Research 3. Ed. Henri Schoenmakers. (Amsterdam, 1992) 27-32.

 

 

Aufsätze in Fachzeitschriften

 

Daniel Meyer-Dinkgräfe and Isabella Drăghici, "Secrecy and Confession of Silence in Performance". Symbolon 29 (2017), 119-133.

 

"Towards a Theatre of the Heart", Annals of the University of Bucharest: Philosophy Series 66:1 (2017): 199-221.

 

Daniel Meyer-Dinkgräfe and Anita S. Hammer. “Performance as Philosophy — the universal language of the theatre revisited”. Nordic Theatre Studies  28:2 (2017), 97-118.

 

Meerzon, Yana, and Daniel Meyer-Dinkgräfe.  “In Transit: Wajdi Mouawad’s Scorched in Bremen, Germany as Theatre of Anticipation”. Critical Stages 14: December 2016.

 

“Holistic experience of opera and the International Opera Theater (IOT)”. Studies in Spirituality 26 (2016), 373-392.

 

Daniel Meyer-Dinkgräfe and Gregory Tague “Consciousness Studies and Evolutionary Biology in Stoppard’s The Hard Problem”. Etum 2:2 (2015), 47-58.

 

“Liveness: Phelan, Auslander and After”. Journal of Dramatic Theory and Criticism 29:2 (2015), 69-79.

 

“Spirituality in Aurelia Baumgartner’s Tanzphilosophie”, Dance, Movement and Spiritualities, 1:3. (2014), 393-412.

 

“Dancing horses and reflecting humans”. Choreographic Practices, 5:2 (2015), 241-257.

 

Barbara Sellers-Young  and Daniel Meyer-Dinkgräfe, "Professorial Reflections: informal discussions and reflections". Dance, Movement and Spiritualities, 1:2 (2014), 241-250.

“Fire and the development from unmanifest to manifest creation”. Performance Research 18:1 (2013), 136-138.

 

Daniel Meyer-Dinkgräfe, Sreenath Nair and Deborah Claire Procter. “Performance anxiety in actors: symptoms, explanations and an Indian approach to treatment”. Canadian Journal of Practice-Based Research In Theatre Volume 4:1, 2012. 1-28. ISSN: 1918-5049.

 

“Spiritual Aspects of Operatic Singing: Klaus Florian Vogt”. Performance and Spirituality 3:1 (2012), 71-94.

 

“Opera and Spirituality”, Performance and Spirituality 2:1 (2011), 38-59.

 

Elizabeth Valentine, Daniel Meyer-Dinkgräfe, Veronika Acs, David Wasley: “Exploratory Investigation of South Indian Techniques and Neurolinguistic Programming as Methods of Reducing Stage Fright in Actors”. Medical Problems of Performing Artists Volume 21 Number 3: Page 126-136 (September 2006)

 

“Cold Dark Soft Matter Research and Atmosphere in the Theatre”. Body Space Technology Volume 6, 2006.

 

“Thoughts on Dubbing Practice in Germany: Procedures, Aesthetic Implications and Ways Forward”, Scope Issue 5 (June 2006).

 

“Artaud’s mental illness reconsidered”, Studies in Theatre and Performance 25:2 (2005), 165-168.

 

“Staging Consciousness: Updating Demastes”, Consciousness, Literature and the Arts 4:2 (2003).

 

‘Consciousness, Theatre and Terrorism", Consciousness, Literature and the Arts 4:3 (2003).

 

“The Relevance of Consciousness Studies for Theatre History and Practice in the Context of Globalisation”. The European Legacy, 8:6 (2003). 8:6 (2003), 769-776

 

‘Transportation and Transformation as a Result of Theatre Training. An Exploratory Study’. (with Elizabeth Valentine and Charlotte Haimerl). Transpersonal Psychology Review, 6:2 (2002), 29-42.

 

‘Suggestion in Peter Brook’s Mahabharata’, Studies in the Literary Imagination 34:2 (2001), 117-127.

 

"Developing an Online Consciousness". M/C Reviews 15 Sep. 1999.

 

“Consciousness and the Concept of Rasa”, Performing Arts International 1:4 (1999) 103-115,

 

“Writing about Artists: Self-referral in Drama and Society”, Critical Survey 10:2 (1998), 52-60.

 

Consciousness and the Concept of Rasa”, Performing Arts International 1:4 (1999), 103-115.

 

“Altered States of Consciousness in the Theatre: The Indian/Vedic Perspective of Maharishi Mahesh Yogi”, Studies in Spirituality 8 (1998), 305—314.

 

“Welsh Folk-Tale in performance: The Sea Maiden”, Studies in Theatre Production 17 (1998), 50-58.

 

“Higher States of Consciousness in the Theatre”, Philosophical Writings 8:2 (1998), 37-44.

 

"Barba’s concepts of the pre-expressive and the third organ of the body of the theatre and theories of consciousness”, Contemporary Theatre Review 7/1 (1997) 35-47.

 

“The role of consciousness in Indian theatre aesthetics”, The Philosopher LXXXV: 1 (1997), 2--5.