Making Theatre: From Text to PerformanceBloomsbury Academic, 2000 - 236 páginas 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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Página 43
... kind of emotional heroism ; he wanted not to approve or disapprove but to touch the germ of life and to celebrate it with verbal beauty . ( Spoto , pp . 116–17 ) Beauty was trapped not only in the net of words , but in those fragile ...
... kind of emotional heroism ; he wanted not to approve or disapprove but to touch the germ of life and to celebrate it with verbal beauty . ( Spoto , pp . 116–17 ) Beauty was trapped not only in the net of words , but in those fragile ...
Página 89
... kind of dialogue which could be expected to be heard there . The theatre became overtly political , and the writer came to be judged by what was deemed to be his or her commitment . This reflected the conflict outside the theatre ...
... kind of dialogue which could be expected to be heard there . The theatre became overtly political , and the writer came to be judged by what was deemed to be his or her commitment . This reflected the conflict outside the theatre ...
Página 219
... kind , expressing the mounting lust of Baron Scarpia for the woman he is deter- mined to make love to , and her ... kind of music - drama . In humanist opera , the music enlarges upon and intensifies ordinary human emotions - jealousy ...
... kind , expressing the mounting lust of Baron Scarpia for the woman he is deter- mined to make love to , and her ... kind of music - drama . In humanist opera , the music enlarges upon and intensifies ordinary human emotions - jealousy ...
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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