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Books > Arts & Architecture > Performing arts > Theatre, drama
Curated from the first four volumes of Peter Lang's Playing
Shakespeare's Characters series, this omnibus edition selects the
most practical essays for actors and directors wanting to play and
produce Shakespeare's plays. The dozen contributors in this volume
explore ways to play Shakespeare's lovers, villains, monarch,
madmen, rebels, and tyrants. It gives critical guidance for
directors and producers wanting to stage Shakespeare in the age of
Black Lives Matter and #MeToo. The book is a valuable companion for
students, actors, directors, and designers who want insight into
playing Shakespeare today.
Romeo and Juliet always use 'thou' to each other, but they are the
only pair of lovers in Shakespeare to do this. Why? All the women
in Richard III address Richard as 'thou', but no man ever does.
Why? When characters address the dead, they use 'thou' - except for
Hamlet, who addresses Yorick as 'you'. Why? Shakespeare's
contemporaries would have known the answers to these questions
because they understood what 'thou' signified, but modern actors
and audiences are in the dark. Through performance-oriented
analysis of extracts from the plays, this book explores the
language of 'trulls' and termagants, true loves and unwelcome
wooers, male impersonators, smothering mothers, warring spouses and
fighting men, as well as investigating lese-majeste, Freudian
slips, crisis moments and rhetorical flourishes. Drawing on work
with RSC actors, as well as the author's experience of playing a
range of Shakespearean roles, the book equips the reader with a new
tool for tracking emotions, weighing power relations and
appreciating dazzling complexity.
How do you decide what stories an audience should hear? How do you
make your theatre stand out in a crowded and intensely competitive
marketplace? How do you make your building a home for artistic risk
and innovation, while ensuring the books are balanced? It is the
artistic director's job to answer all these questions, and many
more. Yet, despite the central role that these people play in the
modern theatre industry, very little has been written about what
they do or how they do it. In The Art of the Artistic Director,
Christopher Haydon (former artistic director of the Gate Theatre,
'London's most relentlessly ambitious theatre' - Time Out) compiles
a fascinating set of interviews that get to the heart of what it is
to occupy this unique role. He speaks to twenty of the most
prominent and successful artistic directors in the US and UK,
including: Oskar Eustis (Public Theater, New York), Diane Paulus
(American Repertory Theater, Boston), Rufus Norris (National
Theatre, London) and Vicky Featherstone (Royal Court Theatre,
London), uncovering the essential skills and abilities that go into
making an accomplished artistic director. The only book of its kind
available, The Art of the Artistic Director includes a foreword by
Michael Grandage, former artistic director of the Sheffield
Crucible and the Donmar Warehouse in London.
In Ramón Griffero’s seminal work, The Dramaturgy of Space, the
playwright and director describes his aesthetic philosophy and
theoretical approach to theatrical creation, illustrating his
theory through practical application in a series of exercises. As
well as touching upon some of Griffero’s own work, like Cinema
utopia (1985), Tus deseos en fragmentos (2003), Fin del eclipse
(2007) and El azar de la fiesta (1992), this book also reinforces
the practicality of Griffero’s concepts through a series of
online videos, breaking down each exercise and allowing readers to
engage with the effects of his celebrated approach. Published here
in English for the first time, in a translation by the leading
expert on Griffero, The Dramaturgy of Space reveals the
internationally renowned Chilean artist’s thought process, and
how his practice has influenced the theatrical, political, and
social context, from the Pinochet dictatorship to the present day.
This wide-ranging volume explores the technical and physical
aspects of voice as a craft, questioning its definitions, its
historical presence, training practices and its publications.
Drawing on a wealth of experience, Jane Boston presents a selection
of readings that demonstrate and contextualize some of the defining
moments of voice throughout history. This clear and accessible text
examines the relationship between voice and aesthetics and poetics,
against the backdrop of class, race and gender politics,
demonstrating how vocal training has been and still is inevitably
connected to such issues. Underpinned by theory, voice practitioner
accounts, and cultural and historical contextualization, this
comprehensive resource will be invaluable for practitioners,
researchers and students of voice studies, physical theatre and
theatre history.
Performing Architectures offers a coherent introduction to the
fields of performance and contemporary architecture, exploring the
significance of architecture for performance theory and theatre and
performance practice. It maps the diverse relations that exist
between these disciplines and demonstrates how their aims, concerns
and practices overlap through shared interests in space, action and
event. Through a wide range of international examples and
contributions from scholars and practitioners, it offers readers an
analytical survey of current practices and equips them with the
tools for analyzing site-specific and immersive theatre and
performance. The essays in this volume, contributed by leading
theorists and practitioners from both disciplines, focus on three
key sites of encounter: * Projects: examines recent trends in
architecture for performance; * Practices: looks at cross-currents
in artistic practice, including spatial dramaturgies, performance
architectonics and performative architectures; and * Pedagogies:
considers the uses of performance in architectural education and
architecture in teaching performance. The volume provides an
essential introduction to the ways in which performance and
architecture, as socio-spatial processes and as things made or
constructed, operate as generating, shaping and steering forces in
understanding and performing the other.
Classical Greek Tragedy offers a comprehensive survey of the
development of classical Greek tragedy combined with close readings
of exemplary texts. Reconstructing how audiences in fifth-century
BCE Athens created meaning from the performance of tragedy at the
dramatic festivals sponsored by the city-state and its wealthiest
citizens, it considers the context of Athenian political and legal
structures, gender ideology, religious beliefs, and other social
forces that contributed to spectators' reception of the drama. In
doing so it focuses on the relationship between performers and
watchers, not only Athenian male citizens, but also women and
audiences throughout the ancient Mediterranean world. This book
traces the historical development of these dynamics through three
representative tragedies that span a 50 year period: Aeschylus'
Seven Against Thebes, Sophocles' Oedipus Tyrannus, and Euripides'
Helen. Topics include the role of the chorus; the tragic hero;
recurring mythical characters and subject matter; Aristotelian
assessments of the components of tragedy; developments in the
architecture of the theater and their impact on the interactions of
characters, and the spaces they occupy. Unifying these discussions
is the observation that the genre articulates a reality beyond the
visible stage action that intersects with the characters' existence
in the present moment and resonates with the audience's religious
beliefs and collective psychology. Human voices within the
performance space articulate powerful forces from an invisible
dimension that are activated by oaths, hymns, curses and prayers,
and respond in the form of oracles and prophecies, forms of
discourse which were profoundly meaningful to those who watched the
original productions of tragedy.
This book examines the dynamics of the relational and spatial
politics of contemporary French theatrical production, with a focus
on four theatres in the Greater Paris region. It situates these
dynamics within the intersection of the histories of the public
theatre and theatre decentralization in France, and the dialogues
between live performances and the larger frameworks of artistic
direction and programming as well as various imaginations of the
"public". Understanding these phenomena, as well as the politics
that underscore them, is key to understanding not only the present
status of the public theatre in France, but also how theatre as a
publicly funded institution interacts with the notion of the
plurality, rather than the homogeneity, of its publics.
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Olanda
(Hardcover)
Rafal Wojasiński; Translated by Charles S. Kraszewski
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R783
R688
Discovery Miles 6 880
Save R95 (12%)
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Ships in 10 - 15 working days
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A Complete History of the English Stage
- Introducted by a Comparative and Comprehensive Review of the Asiatic, the Grecian, the Roman, the Spanish, the Italian, the Portuguese, the German, the French, and Other Theatres, and Involving Biographical...; 1
(Hardcover)
Charles 1745-1814 Dibdin
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R1,038
Discovery Miles 10 380
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Ships in 12 - 19 working days
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Hansard; noun The official report of all parliamentary debates.
Hansard is an intimate domestic drama about a long and troubled
marriage. It is also a comedy about politics and identity and the
failings of the ruling class. Set around the passing of the Section
28 legislation in 1988, which banned the "promotion" of
homosexuality. It is funny, tender, brutal, and ultimately
devastating. Hansard premiered at the National Theatre, London, in
August 2019.
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