Release on 2012-10-18 | by Stuart Hampton-Reeves,Bridget Escolme
Author: Stuart Hampton-Reeves,Bridget Escolme
Pubpsher: Macmillan International Higher Education
A highly engaging text that approaches Shakespeare as a maker of theatre, as well as a writer of literature. Leading performance critics dismantle Shakespeare's texts, identifying theatrical cues in ways which develop understanding of the underlying theatricality of Shakespeare's plays and stimulate further performances.
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.
Full of games and exercises, House of Games is a resource book for drama leaders, facilitators and theatre directors. Whether the drama group is based in a youth club or a theatre, a hospital or a community hall, this book offers strategies for developing improvisations and productions which are rooted in the everyday experiences of group members. The techniques which are discussed draw widely from the very best of contemporary theatre practice. Following on from Keith Johnstone's Impro and Augusto Boal's Games for Actors and Non-Actors, this book takes the reader into the essential challenges of drama. Several leading facilitators speak of their own approaches, including Phelim McDermott, Lois Weaver, Spare Tyre Theatre Co., Jonathan Kay, Peter Badejo, Wolfgang Stange and John Bergman.
This book explores the development of Robert Lepage's distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception.Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage's productions. Productions discussed include The Dragon's Trilogy, Needles and Opium, and The Far Side of the Moon.Making theatre global: Robert Lepage's original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century.
During the so-called "Age of Melancholy," many writers invoked both traditional and new conceptualizations of the disease in order to account for various types of social turbulence, ranging from discontent and factionalism to civil war. Writing about melancholy became a way to explore both the causes and preventions of political disorder, on both specific and abstract levels. Thus, at one and the same moment, a writer could write about melancholy to discuss specific and ongoing political crises and to explore more generally the principles which generate political conflicts in the first place. In the course of developing a traditional discourse of melancholy of its own, English writers appropriated representations of the disease - often ineffectively - in order to account for the political turbulence during the civil war and Interregnum periods.
This book is a comprehensive guide to the nature, practice and therapeutic effects of reminiscence theatre. Drawing on examples from real-life case studies, Pam Schweitzer provides practical advice on the process of taking an oral history, creating from it a written script and developing that into a dramatic production, on whatever scale.
While readers of theater history will find this biography invaluable, those more interested in the personal story of a writer’s commitment to her craft and discipline will find Pollock’s story fascinating. While often calling her family past a “ghost story,” Pollock has coped with many much more corporeal challenges in her life. As a woman in a male-dominated field, as a mother of six children, as the survivor of an abusive marriage, she has managed to slay what Virginia Woolf once called the “angel in the house” to become one of Canada’s greatest living writers. Making Theatre: A Life of Sharon Pollock explores each of Pollock’s major plays and discusses many of their most interesting productions in Canada, the United States, Japan, and England.
This book provides a thorough analysis of the many strands of theatrical activity on both sides of the footlights that coalesce in the artistic vigor of the Royal Shakespeare Company. Adler traces the company's evolution from its origins in 1879 as a week-long festival presented by Stratford-upon-Avon as a birthday homage to its native son, to its current incarnation as one of the world's most distinguished institutional theatres. The author probes the aspirations and achievements of the RSC's four successive artistic directors: Peter Hall, Trevor Nunn, Terry Hands, and Adrian Noble. He offers a comprehensive view of the design and aesthetics of the RSC's five theatres in Stratford and London, and explores the intricate process of crafting a repertoire at home and on tour that responds to the needs of the artists as well as the demands of the box office. Richly illustrated with vivid photographs, Rough magic examines the fusion of artistic vision and theatrical energy that make invigorating theatre at the RSC.