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103页
... vision and revision . Here , this comes for Peter Brook as much from a perception about the eighteenth - century paintings of Watteau as from Shakespeare , an awareness in them of an ' incredible melancholy ' associated with a ' dark ...
... vision and revision . Here , this comes for Peter Brook as much from a perception about the eighteenth - century paintings of Watteau as from Shakespeare , an awareness in them of an ' incredible melancholy ' associated with a ' dark ...
第105页
... vision of what he needs ; and the designer who is exploring space in a very different way has to meet those needs . The success of the production will depend on how well their two visions work together , and fuse . Until the nineteen ...
... vision of what he needs ; and the designer who is exploring space in a very different way has to meet those needs . The success of the production will depend on how well their two visions work together , and fuse . Until the nineteen ...
第157页
... vision on the stage . Wagner was drawn to the idea of a grand ' show ' , but also frustrated by the inability of the stage to repre- sent his visions . As he said on one occasion ' now that I have made the orchestra invisible , I should ...
... vision on the stage . Wagner was drawn to the idea of a grand ' show ' , but also frustrated by the inability of the stage to repre- sent his visions . As he said on one occasion ' now that I have made the orchestra invisible , I should ...
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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