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.
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.
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.
An immensely valuable resource book for drama leaders, House of Games is a how-to book for building up drama troupes and keeping them creative. House of Games is sure to take its place alongside the most established drama method texts.
Making Theatre in Northern Ireland examines the relationships between theatre and the turbulent political and social context of Northern Ireland since 1969. It explores in detail key theatrical performances which deal directly with this context. The works examined are used as exemplars of wider approaches to theatre-making about Northern Ireland. The book is aimed at a student readership: it is largely play-text-based, and it contains useful contextualising material such as a chronological list of Northern Ireland's plays in the modern period, a full bibliography, and a brief chronology. Students find it hard to obtain any detailed and informed perspective on this key element of the theatre of Ireland and Britain: Northern Ireland's theatrical traditions are normally discussed only as an adjunct to discussions of Irish theatre more generally, or as so exceptional as to be beyond comparison with others. This book sets out to fill this gap.
The book focuses on Martin Crimp's plays, translations, adaptations and versions from 1985 to the present. It contends that Crimp's is a theatre of radical defamiliarization and proposes that to understand how this materializes both textually and in performance we need to refresh our understanding of the term. The book therefore draws upon phenomenology to locate the intensity and efficacy of Crimp's writing. Each chapter focuses on case studies contextualized in relation to other texts linked by their content so as to weave the inner narrative of Crimp's theatre. Through an examination of the rich, ambiguous content and formal experimentation of Crimp's work, the book proposes that defamiliarization in his plays serves to engage audiences in ideas relating to the commercialization of daily life, the artist's consumption by the entertainment industry, the inherent violence in domestic environments, the restrictiveness of social class, and the understanding of a nation's own identity through its encounter with the Other.
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.
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.