Insightful, in-depth and evocative, this book is a collection of conversations with nine of the most innovative theatre directors of our time in Europe and North America: * Eugenio Barba * Lev Dodin * Declan Donnellan * Elizabeth LeCompte * Robert LePage * Simon McBurney * Katie Mitchell * Peter Sellars * Max Stafford-Clark. All these directors have developed their own highly individual theatre language and have been influential, nationally and internationally, across a wide range of theatre practices. The length, depth and scope of the discussions distinguishes this collection from others, each director providing a fascinating insight into his/her particular working processes. The book reveals the complex world of directors and their creative relationships with actors, in rehearsal and performance, and playwrights. Each conversation is framed by an introduction to the work of the director, a detailed chronology of productions and an indicative bibliography to inspire further reading and research.

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, designers, other collaborators and audiences, and treatment of dramatic material. 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. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Korsunovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.

From Brecht to Stanislavsky, and Barba to Vakhtangov, Fifty Key Theatre Directors covers the life and work of individuals who have been deeply influential to the development of theatre. Its specialist authors combine theory and practice to provide insightful overviews of the individual directors' approaches and their contributions to the field. Accessibly written, with A-Z coverage and guides to further reading, this book is the ideal guide to the world of theatre for both students and the theatre going public.

From Brecht to Stanislavsky, and Barba to Vakhtangov, Fifty Key Theatre Directors covers the life and work of individuals who have been deeply influential to the development of theatre. Its specialist authors combine theory and practice to provide insightful overviews of the individual directors' approaches and their contributions to the field. Accessibly written, with A-Z coverage and guides to further reading, this book is the ideal guide to the world of theatre for both students and the theatre going public.

Robert Wilson is an American-European director who is also a performer, installation artist, writer, designer of light and much more besides - a crossover polymath who dissolves both generic and geographical boundaries and is a precursor of globalisation in the arts. This second edition of Robert Wilson combines: an analysis of his main productions, situated in their American and European socio-cultural and political contexts a focused, detailed study of Wilson's pathbreaking Einstein on the Beach a study of Pushkin's Fairy Tales as the foremost example of his folk-rock music theatre in the twenty-first century an exploration of his 'visual book', workshop and rehearsal methods, and collaborative procedures a study of his aesthetic principles and the elements of composition that distinguish his directorial approach a series of practical exercises for students and practitioners highlighting Wilson's technique. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.

Robert Wilson is an American-European director who is also a performer, installation artist, writer, designer of light and much more besides - a crossover polymath who dissolves both generic and geographical boundaries and is a precursor of globalisation in the arts. This second edition of Robert Wilson combines: an analysis of his main productions, situated in their American and European socio-cultural and political contexts a focused, detailed study of Wilson's pathbreaking Einstein on the Beach a study of Pushkin's Fairy Tales as the foremost example of his folk-rock music theatre in the twenty-first century an exploration of his 'visual book', workshop and rehearsal methods, and collaborative procedures a study of his aesthetic principles and the elements of composition that distinguish his directorial approach a series of practical exercises for students and practitioners highlighting Wilson's technique. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.

Konstantin Stanislavsky (1863-1938) was one of the most innovative and influential directors of modern theatre and his system and related practices continue to be studied and used by actors, directors and students. Maria Shevtsova sheds new light on the extraordinary life of Stanislavsky, uncovering and translating Russian archival sources, rehearsal transcripts, production scores and plans. This comprehensive study rediscovers little-known areas of Stanislavsky's new type of theatre and its immersion in the visual arts, dance and opera. It demonstrates the fundamental importance of his Russian Orthodoxy to the worldview that underpinned his integrated System and his goals for the six laboratory research studios that he established or mentored. Stanislavsky's massive achievements are explored in the intricate and historically intertwined political, cultural and theatre contexts of Tsarist Russia, the 1917 Revolution, the volatile 1920s, and Stalin's 1930s. Rediscovering Stanislavksy provides a completely fresh perspective on his work and legacy.

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, designers, other collaborators and audiences, and treatment of dramatic material. 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. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Kor unovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.

Insightful, in-depth and evocative, this book is a collection of conversations with nine of the most innovative theatre directors of our time in Europe and North America: * Eugenio Barba * Lev Dodin * Declan Donnellan * Elizabeth LeCompte * Robert LePage * Simon McBurney * Katie Mitchell * Peter Sellars * Max Stafford-Clark. All these directors have developed their own highly individual theatre language and have been influential, nationally and internationally, across a wide range of theatre practices. The length, depth and scope of the discussions distinguishes this collection from others, each director providing a fascinating insight into his/her particular working processes. The book reveals the complex world of directors and their creative relationships with actors, in rehearsal and performance, and playwrights. Each conversation is framed by an introduction to the work of the director, a detailed chronology of productions and an indicative bibliography to inspire further reading and research.

Konstantin Stanislavsky (1863-1938) was one of the most innovative and influential directors of modern theatre and his system and related practices continue to be studied and used by actors, directors and students. Maria Shevtsova sheds new light on the extraordinary life of Stanislavsky, uncovering and translating Russian archival sources, rehearsal transcripts, production scores and plans. This comprehensive study rediscovers little-known areas of Stanislavsky's new type of theatre and its immersion in the visual arts, dance and opera. It demonstrates the fundamental importance of his Russian Orthodoxy to the worldview that underpinned his integrated System and his goals for the six laboratory research studios that he established or mentored. Stanislavsky's massive achievements are explored in the intricate and historically intertwined political, cultural and theatre contexts of Tsarist Russia, the 1917 Revolution, the volatile 1920s, and Stalin's 1930s. Rediscovering Stanislavksy provides a completely fresh perspective on his work and legacy.

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, designers, other collaborators and audiences, and treatment of dramatic material. 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. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Kor unovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.