Sebastian Samur is a multilingual performer and postdoctoral fellow at the University of Toronto’s Centre for Drama, Theatre and Performance Studies, Canada. His writing can be found in Theatre Research in Canada, Asian Theatre Journal, Canadian Theatre Review, Stanislavski Studies and Jeu, among other publications.

• PrologueIntroductionChapter 1: In Search of Rhythm: Historical Concepts for Understanding the EvanescentChapter 2: Imagining A Rhythmanalytical FrameworkChapter 3: Rhythm in Mime Omnibus’ Training and Recent PerformancesChapter 4: Rhythm in Dairakudakan’s Training and Recent Kochuten PerformancesChapter 5: Rhythm in SITI Company’s Training and Recent PerformancesChapter 6: General Comparisons, Evaluation, and ConclusionBibliographyEndnotesIndex

Sebastian Samur is a multilingual performer and postdoctoral fellow at the University of Toronto’s Centre for Drama, Theatre and Performance Studies, Canada. His writing can be found in Theatre Research in Canada, Asian Theatre Journal, Canadian Theatre Review, Stanislavski Studies and Jeu, among other publications.

• PrologueIntroductionChapter 1: In Search of Rhythm: Historical Concepts for Understanding the EvanescentChapter 2: Imagining A Rhythmanalytical FrameworkChapter 3: Rhythm in Mime Omnibus’ Training and Recent PerformancesChapter 4: Rhythm in Dairakudakan’s Training and Recent Kochuten PerformancesChapter 5: Rhythm in SITI Company’s Training and Recent PerformancesChapter 6: General Comparisons, Evaluation, and ConclusionBibliographyEndnotesIndex

Sebastian Samur is a multilingual performer and postdoctoral fellow at the University of Toronto’s Centre for Drama, Theatre and Performance Studies, Canada. His writing can be found in Theatre Research in Canada, Asian Theatre Journal, Canadian Theatre Review, Stanislavski Studies and Jeu, among other publications.

• PrologueIntroductionChapter 1: In Search of Rhythm: Historical Concepts for Understanding the EvanescentChapter 2: Imagining A Rhythmanalytical FrameworkChapter 3: Rhythm in Mime Omnibus’ Training and Recent PerformancesChapter 4: Rhythm in Dairakudakan’s Training and Recent Kochuten PerformancesChapter 5: Rhythm in SITI Company’s Training and Recent PerformancesChapter 6: General Comparisons, Evaluation, and ConclusionBibliographyEndnotesIndex