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Directions for Directing
Directions for Directing: Theatre and Method lays out contemporary concepts of directing practice and examines specific techniques of approaching scripts, actors, and the stage. Addressed to both young and experienced directors but also to the broader community of theatre practitioners, scholars, and dedicated theatre goers, the book sheds light on the director’s multiplicity of roles throughout the life of a play – from the moment of its conception to opening night – and explores the director’s processes of inspiration, interpretation, communication, and leadership. From organizing auditions and making casting choices to decoding complex dramaturgical texts and motivating actors, Directions for Directing offers practical advice and features detailed workbook sections on how to navigate such a fascinating discipline. A companion website explores the work of international practitioners of different backgrounds who operate within various institutions, companies, and budgets, providing readers with a wide range of perspectives and methodologies.
Staging 21st Century Tragedies
Staging 21st Century Tragedies: Theatre, Politics, and Global Crisis is an international collection of essays by leading academics, artists, writers, and curators examining ways in which the global tragedies of our century are being negotiated in current theatre practice. In exploring the tragic in the fields of history and theory of theatre, the book approaches crisis through an understanding of the existential and political aspect of the tragic condition. Using an interdisciplinary perspective, it showcases theatre texts and productions that enter the public sphere, manifesting notably participatory, immersive, and documentary modes of expression to form a theatre of modern tragedy. The co...
Authoring Performance
A historical, theoretical, and comparative study of the emergence of the director-as-author phenomenon, posing questions of authorship and redefining the relationship between 'playwright' and the director-playwright.
Adapting Greek Tragedy
Shows how contemporary adaptations, on the stage and on the page, can breathe new life into Greek tragedy.
International Women Stage Directors
A fascinating study of women in the arts, International Women Stage Directors is a comprehensive examination of women directors in twenty-four diverse countries. Organized by country, chapters provide historical context and emphasize how social, political, religious, and economic factors have impacted women's rise in the theatre, particularly in terms of gender equity. Contributors tell the stories of their home country's pioneering women directors and profile the most influential women directors practicing today, examining their career paths, artistry, and major achievements. Contributors are Ileana Azor, Dalia Basiouny, Kate Bredeson, Mirenka Cechová, Marié-Heleen Coetzee, May Farnsworth, Anne Fliotsos, Laura Ginters, Iris Hsin-chun Tuan, Maria Ignatieva, Adam J. Ledger, Roberta Levitow, Jiangyue Li, Lliane Loots, Diana Manole, Karin Maresh, Gordon McCall, Erin B. Mee, Ursula Neuerburg-Denzer, Claire Pamment, Magda Romanska, Avra Sidiropoulou, Margaretta Swigert-Gacheru, Alessandra Vannucci, Wendy Vierow, Vessela S. Warner, and Brenda Werth.
Συναγωνίζεσθαι: Studies in Honour of Guido Avezzù. Vol. 1.2
Συναγωνίζεσθαι, the ancient Greek verb chosen as the title of this volume, belongs to the jargon of dramaturgy as employed by Aristotle inPoetics, where he emphasizes the function of the Chorus as an active co-protagonist in the dynamics of drama. Here it suggests the collaborative nature of this Festschrift offered to Guido Avezzù in the year of his retirement by friends and colleagues. The volume collects a wide selection of contributions by international scholars, grouped into four sections: Greek Tragedy (Part 1), Greek Comedy (Part 2), Reception (Part 3), and Theatre and Beyond (Part 4). The Authors. A. Andrisano, P. Angeli Bernardini, A. Bagordo, A. Bierl, S. Bigliazzi, ...
DreamWork: A Training for Directors
DreamWork: A Training for Directors provides a theoretical basis and a highly detailed, practical, step-by-step blueprint for developing a directorial concept for a play. Directing is a complex, multi-staged artistic process which, for the most part, is a collaborative work of art. The director works with designers, composers, choreographers and actors to create the performance that is eventually shown to an audience. In this process, there is one stage of the director’s work which is uniquely personal and individual: the creation of a directorial concept. This book concentrates on this crucial stage of the director’s work, offering a template for the creation of a directorial concept pr...
Why the Theatre
Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society. The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives. Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.
Oedipus at Colonus and King Lear: Classical and Early Modern Intersections
The story of King Lear seems to fill in the blank space separating the end of Oedipus Tyrannus and the beginning of Oedipus at Colonus. In both Oedipus at Colonus and the latter part of King Lear we are presented with an old man who was once a King and, following his expulsion from his kingdom on account of a crime or of an error, is turned into a ‘no-thing’. This happens in the time of the division of the kingdom, which is also the time of the genesis of intraspecific conflict and, consequently, of the end of the dynasty. This collection of essays offers a range of perspectives on the many common concerns of these two plays, from the relation between fathers and sons/daughters to madness and wisdom, from sinning and suffering to ‘being’ and ‘non-being’ in human and divine time. It also offers an overarching critical frame that interrogates questions of ‘source’ and ‘reception’, probing into the possible exchangeability of perspectives in a game of mirrors that challenges ideas of origin.
