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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第50页
... speech , a play draws upon the conventions of contemporary theatre , and the expectations of an audience about how people will speak on the stage . ( The initial rejec- tion of Pinter's The Birthday Party was caused in part by its ...
... speech , a play draws upon the conventions of contemporary theatre , and the expectations of an audience about how people will speak on the stage . ( The initial rejec- tion of Pinter's The Birthday Party was caused in part by its ...
第54页
... speech the more artificial the action will become . Because dialogue is in this sense surrogate speech , the idiom has to be right for , seem natural to , the audience , however stylized it is . New ways of writing dialogue create new ...
... speech the more artificial the action will become . Because dialogue is in this sense surrogate speech , the idiom has to be right for , seem natural to , the audience , however stylized it is . New ways of writing dialogue create new ...
第173页
... speech . We listen – and one of Tanners / Giovanni's speeches lasts at least fifteen minutes - not just because of the intelligence of the ideas , but because of a sensuous rhythmic ebb and flow in their expression . The ear , as well ...
... speech . We listen – and one of Tanners / Giovanni's speeches lasts at least fifteen minutes - not just because of the intelligence of the ideas , but because of a sensuous rhythmic ebb and flow in their expression . The ear , as well ...
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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