Making Theatre: From Text to PerformanceBloomsbury Academic, 2000 - 236页 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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共有 24 个结果,这是第 1-3 个
第21页
... lost all three of her children , and will have to drag her cart , relentlesly on , over a windswept landscape , alone . In the final image of the Berliner Ensemble production , the cart receding into a frozen stillness , we are left ...
... lost all three of her children , and will have to drag her cart , relentlesly on , over a windswept landscape , alone . In the final image of the Berliner Ensemble production , the cart receding into a frozen stillness , we are left ...
第102页
... Lost , I was struck by something that seemed to me to be self - evident , but which at the time seemed to be unheard of : that when , at the very end of the last scene , a new unexpected character called Mercade came on , the whole play ...
... Lost , I was struck by something that seemed to me to be self - evident , but which at the time seemed to be unheard of : that when , at the very end of the last scene , a new unexpected character called Mercade came on , the whole play ...
第217页
... lost sight of ( though not apparent to the audience till the end ) . In this act , this development is flawlessly matched to a musical action which begins slowly , elegiacally , in the highest style in the Countess's aria ' Porgi Amor ...
... lost sight of ( though not apparent to the audience till the end ) . In this act , this development is flawlessly matched to a musical action which begins slowly , elegiacally , in the highest style in the Countess's aria ' Porgi Amor ...
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常见术语和短语
actors actress audience audience's aware Beckett become Brecht characters Chekhov's cherry orchard colour costume created dance dark David death dialogue director dramatic action dream Edith Evans effect emotions English exists express eyes feeling film Gielgud Guthrie Hamlet happens human identity illusion imagination inner John kind languages of theatre Laurence Olivier Lear listen lives London look magic mask means memory Michael move Mozart's murder National Theatre nature never night once 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 Ring role Royal Royal National Theatre Royal Shakespeare Company scene sense Shakespeare silence Simon Callow song space speak speech spoken stage design style suggest surface T.S. Eliot theatrical things tion Vanya vision visual Wagner's Waiting for Godot words Wozzeck writing