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The Cambridge introduction to theatre directing / / Christopher Innes, Maria Shevtsova [[electronic resource]]
| The Cambridge introduction to theatre directing / / Christopher Innes, Maria Shevtsova [[electronic resource]] |
| Autore | Innes Christopher <1941-> |
| Pubbl/distr/stampa | Cambridge : , : Cambridge University Press, , 2013 |
| Descrizione fisica | 1 online resource (xi, 283 pages) : digital, PDF file(s) |
| Disciplina | 792.02/33 |
| Collana | Cambridge introductions to literature |
| Soggetto topico |
Theater - Production and direction
Theater - Production and direction - History - 20th century Theatrical producers and directors |
| ISBN |
1-107-35710-1
1-107-23348-8 1-107-34373-9 1-107-34748-3 1-107-25526-0 1-107-34498-0 1-107-34123-X 1-139-01639-3 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
The 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: André Antoine and the Théâtre 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 Chapter 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 Further 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 Müller and post-Brechtian epic theatre; Postmodern epic directing: Roberto Ciulli; Further reading; Chapter 5 Total theatre: the director as auteur Gordon 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 Giorgio Strehler, Peter Stein, Peter Brook |
| Record Nr. | UNINA-9910462874903321 |
Innes Christopher <1941->
|
||
| Cambridge : , : Cambridge University Press, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The Cambridge introduction to theatre directing / / Christopher Innes, Maria Shevtsova [[electronic resource]]
| The Cambridge introduction to theatre directing / / Christopher Innes, Maria Shevtsova [[electronic resource]] |
| Autore | Innes Christopher <1941-> |
| Pubbl/distr/stampa | Cambridge : , : Cambridge University Press, , 2013 |
| Descrizione fisica | 1 online resource (xi, 283 pages) : digital, PDF file(s) |
| Disciplina | 792.02/33 |
| Collana | Cambridge introductions to literature |
| Soggetto topico |
Theater - Production and direction
Theater - Production and direction - History - 20th century Theatrical producers and directors |
| ISBN |
1-107-35710-1
1-107-23348-8 1-107-34373-9 1-107-34748-3 1-107-25526-0 1-107-34498-0 1-107-34123-X 1-139-01639-3 |
| Classificazione | DRA000000 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
The 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: André Antoine and the Théâtre 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 Chapter 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 Further 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 Müller and post-Brechtian epic theatre; Postmodern epic directing: Roberto Ciulli; Further reading; Chapter 5 Total theatre: the director as auteur Gordon 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 Giorgio Strehler, Peter Stein, Peter Brook |
| Record Nr. | UNINA-9910786110303321 |
|
Innes Christopher <1941->
|
||
| Cambridge : , : Cambridge University Press, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The Cambridge introduction to theatre directing / / Christopher Innes, Maria Shevtsova [[electronic resource]]
| The Cambridge introduction to theatre directing / / Christopher Innes, Maria Shevtsova [[electronic resource]] |
| Autore | Innes Christopher <1941-> |
| Pubbl/distr/stampa | Cambridge : , : Cambridge University Press, , 2013 |
| Descrizione fisica | 1 online resource (xi, 283 pages) : digital, PDF file(s) |
| Disciplina | 792.02/33 |
| Collana | Cambridge introductions to literature |
| Soggetto topico |
Theater - Production and direction
Theater - Production and direction - History - 20th century Theatrical producers and directors |
| ISBN |
1-107-35710-1
1-107-23348-8 1-107-34373-9 1-107-34748-3 1-107-25526-0 1-107-34498-0 1-107-34123-X 1-139-01639-3 |
| Classificazione | DRA000000 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
The 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: André Antoine and the Théâtre 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 Chapter 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 Further 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 Müller and post-Brechtian epic theatre; Postmodern epic directing: Roberto Ciulli; Further reading; Chapter 5 Total theatre: the director as auteur Gordon 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 Giorgio Strehler, Peter Stein, Peter Brook |
| Record Nr. | UNINA-9910822782503321 |
|
Innes Christopher <1941->
|
||
| Cambridge : , : Cambridge University Press, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The Vakhtangov sourcebook / / edited, translated and with an introduction by Andrei Malaev-Babel
| The Vakhtangov sourcebook / / edited, translated and with an introduction by Andrei Malaev-Babel |
| Autore | Vakhtangov Evgenií <1883-1922., > |
| Pubbl/distr/stampa | London ; ; New York, N.Y. : , : Routledge, , 2011 |
| Descrizione fisica | 1 online resource (387 p.) |
| Disciplina | 792.02/33 |
| Altri autori (Persone) | Malaev-BabelAndrei |
| Soggetto topico |
Theater - Production and direction
Theater - Philosophy Acting - Study and teaching - Russia |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-283-10593-4
9786613105936 1-136-97997-2 0-203-85291-5 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; The Vakhtangov Sourcebook; Copyright; Contents; List of Illustrations and Plates; Acknowledgements; Editor's Note; Part I: Introduction; 1. On Vakhtangov's Work and Writings; 2. The Theatre of Mystery; 3. Toward the Theatre of Fantastic Realism; 4. Toward the Theatre of the Future; 5. Theatre of the Eternal Mask; Part II: Vakhtangov on Theatre, Actor Training and an Actor's Creative Process; 6. On Theatre; 7. On the Actor's Creative Process; 8. On the Stanislavsky System; 9. On Character and Characterization; 10. On Consciousness and the Subconscious in an Actor's Creative Process
11. On the Organic Outer TechniquePart III: Fantastic Realism; 12. Axioms of Fantastic Realism; 13. Fantastic Realism and the Russian Theatre (All Saints' Notes); 14. Expressive Means of Fantastic Realism; 15. Theatrical Models of Fantastic Realism; 16. Two Final Discussions with Students; Part IV: Popular Theatre; 17. Theory and Practice of the Popular Theatre; 18. Philosophy of the Popular Theatre; Part V: Transfiguring the Stanislavsky System; 19. Lectures on the Stanislavsky System; 20. Materials on the Stanislavsky System; Part VI: From Director's Diaries: Toward the Theatre of Mystery 21. On the Production of Hauptmann's The Festival of Peace22. On the Production of Berger's The Deluge; 23. On the Production of Maeterlinck's The Miracle of SaintAnthony (First Variant); 24. On the Production of Ibsen's Rosmersholm; Part VII: Vakhtangov at the MAT and its First Studio; 25. On the Inception of the First Studio of the MAT; 26. On the First Studio of the MAT Artistic Philosophy and Esthetics; 27. On the First Studio of the MAT Traditions and Perspectives; Part VIII: Vakhtangov Rehearses; 28. Theatre of the Emotional Experience; 29. Toward the Theatre of Mystery 30. Toward Fantastic Realism31. Fantastic Realism; Part IX: Correspondence with Colleagues; 32. First Studio of the MAT Letters ?; 33. Letters to the Vakhtangov and Habima Studios; 34. Three Final Letters; Glossary of Terms; Bibliography; Index |
| Record Nr. | UNINA-9910456907003321 |
|
Vakhtangov Evgenií <1883-1922., >
|
||
| London ; ; New York, N.Y. : , : Routledge, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The Vakhtangov sourcebook / / edited, translated and with an introduction by Andrei Malaev-Babel
| The Vakhtangov sourcebook / / edited, translated and with an introduction by Andrei Malaev-Babel |
| Autore | Vakhtangov Evgenií <1883-1922., > |
| Pubbl/distr/stampa | London ; ; New York, N.Y. : , : Routledge, , 2011 |
| Descrizione fisica | 1 online resource (387 p.) |
| Disciplina | 792.02/33 |
| Altri autori (Persone) | Malaev-BabelAndrei |
| Soggetto topico |
Theater - Production and direction
Theater - Philosophy Acting - Study and teaching - Russia |
| ISBN |
1-136-97996-4
1-283-10593-4 9786613105936 1-136-97997-2 0-203-85291-5 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; The Vakhtangov Sourcebook; Copyright; Contents; List of Illustrations and Plates; Acknowledgements; Editor's Note; Part I: Introduction; 1. On Vakhtangov's Work and Writings; 2. The Theatre of Mystery; 3. Toward the Theatre of Fantastic Realism; 4. Toward the Theatre of the Future; 5. Theatre of the Eternal Mask; Part II: Vakhtangov on Theatre, Actor Training and an Actor's Creative Process; 6. On Theatre; 7. On the Actor's Creative Process; 8. On the Stanislavsky System; 9. On Character and Characterization; 10. On Consciousness and the Subconscious in an Actor's Creative Process
11. On the Organic Outer TechniquePart III: Fantastic Realism; 12. Axioms of Fantastic Realism; 13. Fantastic Realism and the Russian Theatre (All Saints' Notes); 14. Expressive Means of Fantastic Realism; 15. Theatrical Models of Fantastic Realism; 16. Two Final Discussions with Students; Part IV: Popular Theatre; 17. Theory and Practice of the Popular Theatre; 18. Philosophy of the Popular Theatre; Part V: Transfiguring the Stanislavsky System; 19. Lectures on the Stanislavsky System; 20. Materials on the Stanislavsky System; Part VI: From Director's Diaries: Toward the Theatre of Mystery 21. On the Production of Hauptmann's The Festival of Peace22. On the Production of Berger's The Deluge; 23. On the Production of Maeterlinck's The Miracle of SaintAnthony (First Variant); 24. On the Production of Ibsen's Rosmersholm; Part VII: Vakhtangov at the MAT and its First Studio; 25. On the Inception of the First Studio of the MAT; 26. On the First Studio of the MAT Artistic Philosophy and Esthetics; 27. On the First Studio of the MAT Traditions and Perspectives; Part VIII: Vakhtangov Rehearses; 28. Theatre of the Emotional Experience; 29. Toward the Theatre of Mystery 30. Toward Fantastic Realism31. Fantastic Realism; Part IX: Correspondence with Colleagues; 32. First Studio of the MAT Letters ?; 33. Letters to the Vakhtangov and Habima Studios; 34. Three Final Letters; Glossary of Terms; Bibliography; Index |
| Record Nr. | UNINA-9910781373803321 |
|
Vakhtangov Evgenií <1883-1922., >
|
||
| London ; ; New York, N.Y. : , : Routledge, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The Vakhtangov sourcebook / / edited, translated and with an introduction by Andrei Malaev-Babel
| The Vakhtangov sourcebook / / edited, translated and with an introduction by Andrei Malaev-Babel |
| Autore | Vakhtangov Evgenií <1883-1922., > |
| Pubbl/distr/stampa | London ; ; New York, N.Y. : , : Routledge, , 2011 |
| Descrizione fisica | 1 online resource (387 p.) |
| Disciplina | 792.02/33 |
| Altri autori (Persone) | Malaev-BabelAndrei |
| Soggetto topico |
Theater - Production and direction
Theater - Philosophy Acting - Study and teaching - Russia |
| ISBN |
1-136-97996-4
1-283-10593-4 9786613105936 1-136-97997-2 0-203-85291-5 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; The Vakhtangov Sourcebook; Copyright; Contents; List of Illustrations and Plates; Acknowledgements; Editor's Note; Part I: Introduction; 1. On Vakhtangov's Work and Writings; 2. The Theatre of Mystery; 3. Toward the Theatre of Fantastic Realism; 4. Toward the Theatre of the Future; 5. Theatre of the Eternal Mask; Part II: Vakhtangov on Theatre, Actor Training and an Actor's Creative Process; 6. On Theatre; 7. On the Actor's Creative Process; 8. On the Stanislavsky System; 9. On Character and Characterization; 10. On Consciousness and the Subconscious in an Actor's Creative Process
11. On the Organic Outer TechniquePart III: Fantastic Realism; 12. Axioms of Fantastic Realism; 13. Fantastic Realism and the Russian Theatre (All Saints' Notes); 14. Expressive Means of Fantastic Realism; 15. Theatrical Models of Fantastic Realism; 16. Two Final Discussions with Students; Part IV: Popular Theatre; 17. Theory and Practice of the Popular Theatre; 18. Philosophy of the Popular Theatre; Part V: Transfiguring the Stanislavsky System; 19. Lectures on the Stanislavsky System; 20. Materials on the Stanislavsky System; Part VI: From Director's Diaries: Toward the Theatre of Mystery 21. On the Production of Hauptmann's The Festival of Peace22. On the Production of Berger's The Deluge; 23. On the Production of Maeterlinck's The Miracle of SaintAnthony (First Variant); 24. On the Production of Ibsen's Rosmersholm; Part VII: Vakhtangov at the MAT and its First Studio; 25. On the Inception of the First Studio of the MAT; 26. On the First Studio of the MAT Artistic Philosophy and Esthetics; 27. On the First Studio of the MAT Traditions and Perspectives; Part VIII: Vakhtangov Rehearses; 28. Theatre of the Emotional Experience; 29. Toward the Theatre of Mystery 30. Toward Fantastic Realism31. Fantastic Realism; Part IX: Correspondence with Colleagues; 32. First Studio of the MAT Letters ?; 33. Letters to the Vakhtangov and Habima Studios; 34. Three Final Letters; Glossary of Terms; Bibliography; Index |
| Record Nr. | UNINA-9910826280303321 |
|
Vakhtangov Evgenií <1883-1922., >
|
||
| London ; ; New York, N.Y. : , : Routledge, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||