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Peter Brook
This fascinating study chronicles Peter Brook's development, concluding with some of his most recent and innovative work.
Filming Shakespeare's Plays
Shakespeare's plays provide wonderfully challenging material for the film maker. While acknowledging that dramatic experiences for theatre and cinema audiences are significantly different, this book reveals some of the special qualities of cinema's dramatic language in the film adaptations of Shakespeare's plays by four directors - Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa - each of whom has a distinctly different approach to a film representation. Davies begins his study with a comparison of theatrical and cinematic space showing that the dramatic resources of cinema are essentially spatial. The central chapters focus on Laurence Olivier's Henry V, Hamlet and Richard III; Orson Welles' Macbeth, Othello and Chimes at Midnight; Peter Brook's King Lear and Akira Kurosawa's Throne of Blood. Davies discusses the dramatic problems posed by the source plays for these films for the film maker and he examines how these films influenced later theatrical stagings. He concludes with an examination of the demands that distinguish the work of the Shakespearean stage actor from that of his counterpart in film.
British Television Drama in the 1980s
On British television drama in the 1980's
The Paris Jigsaw
Theater and drama professionals and professors address the role of Paris as an international theater city and the intercultural webs of Parisian theater. Essays address Peter Brook and Le Centre International de Creations Theatrales; Jacques Lecoq and his "Ecole Internationale de Theatre" in Paris; Ariane Mnouchkine and the Theatre du Soleil; and Augusto Boal and the Theatre de l'Opprime. In the second part, the input of different national theater traditions to the internationalism of Paris is explored, including Germany, Russia, Spain, Argentina, the US, and Africa. Distributed by Palgrave. c. Book News Inc.
Mass Media
Mass media has become an integral part of the human experience. News travels around the world in a split second affecting people in other countries in untold ways. Although being on top of the news may be good, at least for news junkies, mass media also transmits values or the lack thereof, condenses complex events and thoughts to simplified sound bites and often ignores the essence of an event or story. The selective bibliography gathers the books and magazine literature over the previous ten years while providing access through author, title and subject indexes.
The Old Vic Theatre
Home of opera in English, as well as British ballet. Above all it was the birthplace of the world-famous Old Vic Company and saw the first appearances of Britain's National Theatre Company, directed by Laurence Olivier. Among the actors to perform at the Old Vic were John Gielgud, Ralph Richardson, Charles Laughton, Laurence Olivier and Vivien Leigh. The book contains numerous illustrations from the early years of the Theatre and of important productions. It includes a.
Jacques Copeau
This is an assessment of the work and influence as a director of Jacques Copeau (1879-1949), who has long been regarded as one of the fathers of twentieth-century French theatre. Along with Antoine and his own pupils Dullin and Jouvet, Copeau is known to have been instrumental in restoring the traditional values of theatre at the same time as seeking, through training and experiment, a vital contemporary function. The work of Brook's company and research centre in Paris today is, for example, in direct descent from that of Copeau. John Rudlin examines the course of Copeau's directorial career, concentrating on his techniques in rehearsal and performance, charting his relationships with those who collaborated and worked with him, and elucidating his ideas of theatre. This book will interest all scholars and students of twentieth-century drama, and will also be of use to theatre practitioners.
André Antoine
This book investigates Antoine's exploration of the possibilities and limitations of stage realism, his concept of a workshop theatre for new writing and acting, his experiments and achievements in the mise en scene at the Théâtre Libre and Théâtre Antoine, in the classics at the Odéon and in the early silent film.
Theater and Film
This is the first book in more than twenty-five years to examine the complex historical, cultural, and aesthetic relationship between theater and film, and the effect that each has had on the other’s development.Robert Knopf here assembles essays from performers, directors, writers, and critics that illuminate this ongoing inquiry. The book is divided into five parts—historical influence, comparisons and contrasts, writing, directing, and acting—with interludes by major artists whose work and words have shaped the development of theater and film. A comprehensive bibliography and filmography support further work in this area.The book contains contributions from Susan Sontag, Stanley Kauffmann, Sarah Bey-Cheng, Bertolt Brecht, Ingmar Bergman, Harold Pinter, David Mamet, Julia Taymor, Judi Dench, Sam Waterston, Orson Welles, Antonin Artaud, and Milos Forman, among others.
Stages in the Revolution
This book, first published in 1980, is a comprehensive study of the radical theatre movement in Britain from 1968 to 1978. The essays are based on first-hand interviews, with each section being introduced with a summary of key events before detailing the artists under examination.
