LEADER 06592nam 22007692 450 001 9910822782503321 005 20160224113403.0 010 $a1-107-35710-1 010 $a1-107-23348-8 010 $a1-107-34373-9 010 $a1-107-34748-3 010 $a1-107-25526-0 010 $a1-107-34498-0 010 $a1-107-34123-X 010 $a1-139-01639-3 035 $a(CKB)2670000000343951 035 $a(EBL)1139646 035 $a(SSID)ssj0000861039 035 $a(PQKBManifestationID)11447816 035 $a(PQKBTitleCode)TC0000861039 035 $a(PQKBWorkID)10915506 035 $a(PQKB)10508745 035 $a(UkCbUP)CR9781139016391 035 $a(Au-PeEL)EBL1139646 035 $a(CaPaEBR)ebr10695362 035 $a(CaONFJC)MIL485868 035 $a(OCoLC)841487126 035 $a(MiAaPQ)EBC1139646 035 $a(EXLCZ)992670000000343951 100 $a20110215d2013|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Cambridge introduction to theatre directing /$fChristopher Innes, Maria Shevtsova$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2013. 215 $a1 online resource (xi, 283 pages) $cdigital, PDF file(s) 225 1 $aCambridge introductions to literature 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-60622-5 311 $a0-521-84449-5 320 $aIncludes bibliographical references and index. 327 $aCover; Contents; Illustrations; Acknowledgements; Introduction; Chapter 1 Traditional staging and the evolution of the director; Classical Greek theatre: director as choreographer; From Greece to Classical Rome; Medieval European staging; Playwright-managers: Renaissance and early seventeenth-century theatre; The seventeenth and eighteenth centuries: Enlightenment and the actor-manager; Introducing scenery: Philip Jacques de Loutherbourg; Henry Irving: the nineteenth-century actor-manager; The transition from traditional staging; The German stage and the function of the Intendant 327 $aThe critic as director: Gotthold Lessing at the Hamburg NationaltheaterFurther reading; Chapter 2 The rise of the modern director; The Meiningen Players and the conditions for naturalism; The Meiningen influence; The theory of naturalism: Emile Zola; The naturalistic director: Andre? Antoine and the The?a?tre Libre; Symbolist theatre: a call for directorial vision; Richard Wagner: total theatre; Adolphe Appia: lighting and space; Gordon Craig, Adolphe Appia and the theory of directing; Stanislavsky and psychological realism; The Seagull; Acting 'with the body'; Further reading 327 $aChapter 3 Directors of theatricalityVsevolod Meyerhold: commedia dell'arte to biomechanics; Theatricality, stylization and the grotesque; The director as engineer: constructivism and biomechanics; Aleksandr Tairov: aestheticized theatricalization; Yevgeny Vakhtangov: 'festivity' and spectacle; Revisiting Meyerhold: Valery Fokin; The politics of theatricality: Ariane Mnouchkine; 'Masters'; Theatricality, metaphor and the 'East'; Directing in a collectivity of equals; Frank Castorf and Thomas Ostermeier: theatricality and violence; Eastern European directors: theatricality as resistance 327 $aFurther readingChapter 4 Epic theatre directors; Erwin Piscator's political theatre; Political staging: Piscator's Rasputin; Film and stage; Political directing: the Piscator approach; The Rasputin production: a model for epic theatre; Documentary theatre; Bertolt Brecht's epic theatre; Epic theatre and cabaret; Developing an epic style of staging and directing; Directing epic theatre: Mother Courage; The influence of epic theatre; Heiner Mu?ller and post-Brechtian epic theatre; Postmodern epic directing: Roberto Ciulli; Further reading; Chapter 5 Total theatre: the director as auteur 327 $aGordon Craig and the Artist of the TheatreMax Reinhardt: the 'Director's Book'; Combining directorial methods: Norman Bel Geddes; Peter Brook: collective creation versus directorial vision; Robert Wilson: the 'Visual Book'; Robert Lepage: cinematic self-directing; Total theatre and directing opera: Robert Wilson, Robert Lepage, Peter Sellars; Visual stylization as musical context: Robert Wilson; Cinematic and mechanistic deconstructions of opera: Robert Lepage; Conceptual politics: Peter Sellars; Sound and space: Christoph Marthaler; Further reading; Chapter 6 Directors of ensemble theatre 327 $aGiorgio Strehler, Peter Stein, Peter Brook 330 $aThis Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors, designers, other collaborators and audiences, and treatment of dramatic material. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Kors?unovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors. 410 0$aCambridge introductions to literature. 606 $aTheater$xProduction and direction 606 $aTheater$xProduction and direction$xHistory$y20th century 606 $aTheatrical producers and directors 615 0$aTheater$xProduction and direction. 615 0$aTheater$xProduction and direction$xHistory 615 0$aTheatrical producers and directors. 676 $a792.02/33 686 $aDRA000000$2bisacsh 700 $aInnes$b Christopher$f1941-$0158716 702 $aShevtsova$b Maria 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910822782503321 996 $aThe Cambridge introduction to theatre directing$93998516 997 $aUNINA