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Considers the theatrical fortunes of Richard II from its politically controversial beginnings on the Elizabethan and Restoration stage, to its various later interpretations responding to 19th- and 20th-century tastes and attitudes. A wide range of performances is documented and discussed. These illustrate the ways in which different theatres and companies have staged the play by cutting, restructuring or adding to Shakepeare's script to highlight spectacle, the personality of the King, the nature of authority and the place of Richard in the overall sweep of English history.
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This book examines how Molière's Don Juan has been interpreted in performance by different directors and in a variety of cultural and social contexts.
A invaluable survey of French theatre since 1968 Mise en Scène is a book in two parts. The first half is a probing look at French theatre now, providing an historical and critical survey of drama and theatre in France since 1968. It explores playwrights such as Samuel Beckett, Marguerite Duras, Michel Vinaver and Bernard-Marie Koltès and directors of international reputation such as Peter Brook, Robert Wilson, Roger Planchon, Antoine Vitez, Patrice Chereau and Ariane Mnouchkine. The second part of Mise en Scène features a comprehensive listings guide to major theatre companies, insitutions, festivals, training schools and invaluable A-Z profiles of contemporary playwrights and directors from France.
This volume offers a fresh appraisal of the importance of Bertolt Brecht's theory and practice through the documentation of his influence on other dramatists and directors, the examination of how his plays have been interpreted on stage and how his theories have been modified by his followers, and through a selection of the most challenging recent critical approaches to his work. Consideration is also taken of Brecht's influence on contemporary film criticism and his importance for feminist film and theatre. The book will be of interest to scholars and students of drama, literature, German studies and film.
This film analysis textbook contains sixteen essays on historically significant, artistically superior films released between 1922 and 1982. Written for college, high school, and university students, the essays cover central issues raised in todays cinema courses and provide students with practical models to help them improve their own writing and analytical skills. This film casebook is geographically diverse, with eight countries represented: Italy, France, the United States, Russia, Germany, Great Britain, Japan, and India. The essays, sophisticated yet not overly technical or jargon-heavy, are perfect introductions to their respective films as well as important contributions to the field...
On the occasion of Volker Braun's 65th and GDR/German Monitor's 25th birthday an attempt is made to re-evaluate Braun's contribution to 20th and 21st century German literature. The seventeen essays of the collection, written by a truly international set of scholars, demonstrate the unique quality and breadth of Braun's writing, spanning all literary genres. But not only that, they also reveal the diversity of interpretative perspectives which Braun's oeuvre productively stimulates. They showcase an author who refuses to indulge complacently in past achievements and an opus that defies all attempts at labelling. Braun's texts, so the verdict of the contributors, are driven by an insatiable thirst for the whole story, the depth beneath the superficial, the complex truth of our human predicament; for the precise expression which is not caught up in the limitations of the dominant ideology, whatever it might be.
"This book offers an introduction to seventeen key figures in French stagecraft. It is not a systematic study of mise en scène. Readers can consult the sections on individual directors who most interest them. But those who take the study as a whole will also ... find a guide to the changing attitudes and assumptions, the new ideas and controversies, that have shaped the French stage during the last hundred years."--Preface.
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There has been an enormous revival of interest in Commedia dell'arte. And it remians a central part of many drama school courses. In Commedia dell'arte in the Twentieth Century John Rublin first examines the orgins of this vital theatrical form and charts its recent revival through the work of companies like Tag, Theatre de Complicite and the influential methods of Jacques Lecoq. The second part of the book provides a unique practical guide for would-be practitioners: demonstrating how to approach the roles of Zanni, Arlecchion, Brighella, Pantalone, Dottore, and the Lovers in terms o.