Making Theatre: From Text to PerformanceBloomsbury Academic, 2000 - 236 pagina's The reality of a play is in its performance. Making Theatre focuses on the processes by which performance is realized, analyzing three major areas: "Words" and the interpretation of text; "Vision" including scenery, costume and lighting; and "Music" which illustrates the importance of music in all stage action.The forms of theater covered include straight drama, the musical and opera. Taking productions well-known on both sides of the Atlantic, Peter Mudford examines plays by Shakespeare, Chekhov, Pirandello, Beckett, Pinter, Tennessee Williams, Arthur Miller and David Mamet; musicals by Rodgers and Hammerstein, Cole Porter and Stephen Sondheim; and operas by Verdi, Wagner and Berg.This account of what makes theater important and how it works will be invaluable to teachers and students of drama and performance, as well as all those interested in theater as art. |
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Pagina 9
... Death of a Salesman ( first called Inside his Head ) created a drama in which there was a ' mobile concurrency of past and present ' . Spatially and temporally , the stage mirrors the pro- cesses of consciousness . Between birth and death ...
... Death of a Salesman ( first called Inside his Head ) created a drama in which there was a ' mobile concurrency of past and present ' . Spatially and temporally , the stage mirrors the pro- cesses of consciousness . Between birth and death ...
Pagina 70
... death . Resonances such as this are made possible both by the per- formance , and the way in which the dialogue has been writ- ten . This is not a quality of poetic , as opposed to prose drama . Strindberg used it in a very specific way ...
... death . Resonances such as this are made possible both by the per- formance , and the way in which the dialogue has been writ- ten . This is not a quality of poetic , as opposed to prose drama . Strindberg used it in a very specific way ...
Pagina 190
... Death ( 1901 ) , the Captain dances himself apparently to death as yet another way of tormenting his wife . In a lonely mar- riage , on an island fortress , their relationship is sustained ( or their days are passed ) in a series of ...
... Death ( 1901 ) , the Captain dances himself apparently to death as yet another way of tormenting his wife . In a lonely mar- riage , on an island fortress , their relationship is sustained ( or their days are passed ) in a series of ...
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actors actress audience audience's aware Beckett become Brecht CALIFORNIA/SANTA CRUZ characters Chekhov's cherry orchard colour costume created CRUZ The University dance dark death dialogue director dramatic action dream Edith Evans effect emotions English express feeling film Gielgud Hamlet happens human identity imagination inner John kind Laurence Olivier Lear light listen lives London mask memory Michael move Mozart's murder National Theatre nature never night opera orchestra Othello Paul Scofield Peggy Ashcroft performance Peter Brook Peter Hall physical play play's present production Ralph Richardson reflects rehearsal relationship remains reveal rhythms Richard role Royal Royal National Theatre Royal Shakespeare Company scene sense Shakespeare silence Simon Callow song space speak speech stage design style suggest surface T.S. Eliot theatrical things tion University Library UNIVERSITY UNIVERSITY OF CALIFORNIA/SANTA Vanya vision visual Wagner's Waiting for Godot words Wozzeck writing