| Description |
xi, 283 pages : illustrations ; 23 cm. |
| Series |
Cambridge introductions to literature |
|
Cambridge introductions to literature.
|
| Bibliography |
Includes bibliographical references (pages 253-275) and index. |
| Contents |
List of illustrations -- Acknowledgements -- Introduction -- Traditional Staging And The Evolution Of The Director: -- Classical Greek theatre; director as choreographer: -- From Greece to classical Rome -- Medieval European staging -- Playwright-managers: Renaissance and early seventeenth-century theatre -- Seventeenth and eighteenth centuries: enlightenment and the actor-manager: -- Introducing scenery: Philip Jacques de Loutherbourg -- Henry Irving: nineteenth-century actor-manager -- Transition from traditional staging -- German stage and the function of the Intendant: -- Critic as director: Gotthold Lessing at the Hamburg Nationaltheater -- Rise Of The Modern Director: -- Meiningen players and the conditions for naturalism: -- Meiningen influence -- Theory of naturalism: Emile Zola -- Naturalistic director: Andre Antoine and the Theatre Libre -- Symbolist theatre: a call for directorial vision -- Richard Wagner: total theatre -- Adolphe Appia: lighting and space -- Gordon Craig, Adolphe Appia and the theory of directing -- Stanislavsky and psychological realism: -- Seagull -- Acting 'with the body' -- Directors Of Theatricality: -- Vsevolod Meyerhold: commedia dell'arte to biomechanics: -- Theatricality, stylization and the grotesque -- Director as engineer: constructivism and biomechanics -- Aleksandr Tairov: aestheticized theatricalization -- Yevgeny Vakhtangov: festivity and spectacle -- Revisiting Meyerhold: Valery Fokin -- Politics of theatricality: Ariane Mnouchkine: -- Masters -- Theatricality, metaphor and the 'East' -- Directing in a collectivity of equals -- Frank Castorf and Thomas Ostermeier: theatricality and violence -- Eastern European directors: theatricality as resistance -- Epic Theatre Directors: -- Erwin Piscator's political theatre: -- Political staging: Piscator's Rasputin -- Film and stage -- Political directing: Piscator approach -- Rasputin production: model for epic theatre -- Documentary theatre -- Bertolt Brecht's epic theatre: -- Epic theatre and cabaret -- Developing an epic style of staging and directing -- Directing epic theatre: Mother Courage -- Influence of epic theatre: -- Heiner Muller and post-Brechtian epic theatre -- Postmodern epic directing: Roberto Ciulli -- Total Theatre: Director As Auteur: -- Gordon Craig and the artist of the theatre -- Max Reinhardt: Director's Book -- Combining directorial methods: Norman Bel Geddes -- Peter Brook: collective creation versus directorial vision -- Robert Wilson: Visual Book -- Robert Lepage: cinematic self-directing -- Total theatre and directing opera: Robert Wilson, Robert Lepage, Peter Sellars: -- Visual stylization as musical context: Robert Wilson -- Cinematic and mechanistic deconstructions of opera: Robert Lepage -- Conceptual politics: Peter Sellars -- Sound and space: Christoph Marthaler -- Directors Of Ensemble Theatre: -- Giorgio Strehler, Peter Stein, Peter Brook: -- Three versions of The Cherry Orchard -- Lev Dodin and Anatoli Vassiliev: continuing Stanislavsky's principles: -- Dodin-director-pedagogue -- Vassiliev's laboratory -- Katie Mitchell and Declan Donnellan: adapting Russian ideals of ensemble -- Directors, Collaboration And Improvisation: -- Theory and politics of improvisation -- Physical theatre: Simon McBurney -- Wooster Group: media(ted) improvisations -- Paradox of improvisation: Jerzy Grotowski and Eugenio Barba: -- Grotowski paradigm -- Eugenio Barba: improvisation and dramaturgies -- Wlodzimierz Staniewski (Gardzienice); Anna Zubrzycki and Grzegorz Bral (song of the goat) -- Musicality -- Jaroslaw fret (Teatr ZAR): choral collaboration -- Notes -- Select bibliography -- Index. |
| Summary |
"This Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors and designers, treatment of dramatic material and approaches to audiences. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work, as well as analysing a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Lev Dodin, Peter Brook, and Peter Sellars. While tracing the different roots of directorial practices across time, and discussing their artistic, cultural and political significance, the authors provide significant examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors"-- Provided by publisher. |
| Subject |
Theater -- Production and direction.
|
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Theater -- Production and direction -- History -- 20th century.
|
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Theatrical producers and directors.
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DRAMA -- General.
|
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Theater -- Production and direction.
(OCoLC)fst01149278
|
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Theatrical producers and directors. (OCoLC)fst01149443
|
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Performing Arts.
|
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Performing Arts.
|
| Chronological Term |
1900-1999
|
| Genre/Form |
History. (OCoLC)fst01411628
|
| Added Author |
Shevtsova, Maria.
|
| ISBN |
9780521844499 (hardback) |
|
0521844495 (hardback) |
|
9780521606226 (paperback) |
|
0521606225 (paperback) |
| Standard No. |
40022562858 |
|
