A provocative overview of the questions raised by theatrical encounters between performers and audiences, drawing on examples that have sought to generate active audience involvement from Brecht's epic theatre to The Blue Man Group. It argues for more audience-responsive approaches to what theatre does for those who witness, watch or participate.
Theatre& Education provides an insight into the energy, passion and values that have inspired the most inventive theatre-makers who work with young people in educational settings. It argues that the aesthetic principles and educational ideals that inform theatre& education drive at the heart of why theatre matters.
Theatre and architecture are seeming opposites: one a time-based art-form experienced in space, the other a spatial art experienced over time. The book unpicks these assumptions, demonstrating ways in which theatre and architecture are essential to each other and contextualizing their dynamic relationship historically and culturally.
In this work the author proposes that one should consider Greek tragedy of the 5th-century BC as performance-based, with a visual emphasis. He does not consider language as the most important feature of Greek drama.
A concise history of popular theatre in the 20th and 21st centuries. This book questions how we define the distinguishing principles of popular theatre, considers the use of popular forms in experimental and avant-garde theatre, and introduces a range of international artists and theatre makers.
A collection of Arthur Miller's thoughts on theatre, politics and society spanning some 25 years. It includes 23 interviews which illustrate Miller's developing view on the theatre, the nature of tragedy, what makes plays endure and the theatre in Britain, Russia and the USA.
This title offers a survey into the place and purpose of theatre in Ancient Greece. It provides an author-by-author examination of the plays of Aeschylus, Sophocles, Euripides, Aristophanes and Menander plus how and where the plays were performed, who acted them out and who watched them.
What makes film acting different from acting on stage or TV? This book is a guide designed for actors already working in film, for those who want to, as well as for directors, teachers and anyone interested in film acting.
The Oxford Guide to Plays provides information on 1000 of the most important plays in world theatre. Each entry contains essential information including title, author, dates of composition and first performance, genre, composition of the cast, a synopsis of the plot, and a brief commentary.
Cicely Berry, Voice Director of the Royal Shakespeare Company, is world-famous for her voice teaching. The Actor and the Text is her classic book, distilled from years of working with actors of the highest calibre.
This classic study is both an introduction to, and an overview of, the relationship between feminism and theatre. The reissued edition features a new Foreword by Elaine Aston who examines the context in which Case's book was written, the influence it has had, subsequent developments in the field and the continued importance of the work.
Offering a personal selection of the 101 plays ranging from the Greeks to the present-day, the author poses an infinite number of questions. What makes a great play? Does the definition change with time and circumstance? Or are certain common factors visible down the ages?
Intended for students, graduates and various aspirants to stage management, amateur or professional, whether the production is on a large or small scale, this title offers the basics of stage management. Featuring charts and helpful checklists, it takes the reader through a typical production week by week.
In this invitation to reflect on the power of performance, Diana Taylor explores the multiple and overlapping meanings of performance, showing how it can convey everything from artistic, economic, and sexual performance, to providing ways of understanding how race, gender, identity, and power are performed.
The world of a play is created by its language; the imagary, rhythm and speech structures all contribute to its representation of reality. With techniques that can be applied to a wide range of work, the author sets out language work to uncover different layers of meaning within the text.
This is a selection of speeches for men drawn from the great landmark plays of the 20th century. An appreciation of each speech is enhanced by the editor's introductions and commentaries, which set the plays and individual speeches in their dramatic and performance context
Actors need actions. They cannot "act" adjectives, they need verbs; they need an aim to achieve, an action to perform. This is a thesaurus of active verbs with which the actor can refine the action-word until she or her hits exactly the right one to help make the action come alive.
Presents an overview of modern British theatre. This book includes a fresh and challenging look at the vast upheavals that have taken place in British society, and the theatre which documents and challenges it, in the course of sixty turbulent years. It also looks at post-war Britain from a theatrical perspective.
From helpful hints on writing to tips on directing (working with actors and technicians, when to listen to the experts, how to cope with rehearsals), this book provides a complete primer to the art of playwriting.
British theatre from the first half of the twentieth century is undergoing a critical reevaluation, with many high-profile theatre revivals of plays from the period in recent years. This book explains why by an examination of the variety of work from this period and how it shaped what followed.
Now in its third edition, this guide outlines the techniques needed to achieve success in getting acting work. It covers all aspects of casting, including gaining a place on a drama course, landing a part in a film, TV commercials or theatre, and becoming a radio or TV presenter.
This guide takes the reader through a practical training programme relevant to the modern singing actor and dancer. A variety of contemporary voice qualities, including belting and twang are explained, with exercises for each topic.
Playwright, screenwriter, poet and essayist David Mamet explains the necessity, purpose and demands of drama. In these three essays, he describes the ties that bind art to life, language to power, imagination to survival, and shows the power of the theatre to keep us whole and human.
Between 1935 and 1938, Stanislavski did his final work in Moscow with a group of 11 young actors and directors trained in his special "system". This volume contains a full translation of verbatim transcriptions of Stanislavski's notes and practical exercises from these sessions.
Provides information on 1000 of the popular and important plays of world theatre. Each entry of this work contains information including title, author, dates of composition and first performance, genre, composition of the cast, a synopsis of the plot, and a brief commentary.
Explores the issues facing theatrical performances. This work describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting. It also shows how theatre defies rules, builds and shatters illusions and creates lasting memories for its audiences.
This history of theatre is worldwide in scope, ranging from its ancient origins to the variety of forms which it has taken in our own age. The book covers acting, direction, stagecraft, theatre architecture and design, and the evolution of dramatic literature.
Auditioners often complain of seeing the same speeches over and over again. This book brings together 50 speeches for men from Shakespeare plays frequently ignored such as Titus Andronicus", "Pericles" and "Love's Labours Lost"."
Social media has become an increasingly prevalent aspect of our lives, used daily by many people. In this timely study, Patrick Lonergan examines the relationship between social media and theatre. He argues that social media is itself a performance space, analysing how it's used by both theatres and audiences and also in connection with each other.
This volume contains speeches suitable for performance at auditions, individual acting classes, competitions, festivals and examination The pieces are varied in content, tone and style and are equipped with an introduction which sets the context for each piece.
In The Shifting Point, his first book since The Empty Space, Brook assesses the lessons of his pioneering work from his brilliant debut at Stratford and the West End in the 1960s to the triumphant success of The Mahabharata.
This study of Brecht's theatre, first published in 1959, traces his stylistic development as a playwright and stage director through each of his major plays and explains his evolving notion of epic theatre within the political and social climate of the 1920s, Marxism, Nazism and post-war Communism.