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Joseph Chaikin
Joseph Chaikin's Open Theater was the most celebrated and influential of the experimental companies that rocked American theatre in the 1960s. His work in that group and since has affected not only the face but the spirit of American theatre. Eileen Blumenthal's study of Chaikin goes beyond previously available material, drawing extensively on private notebooks, workshop records, and dozens of personal interviews conducted over nine years. She brings additional insights from a decade of observing Chaikin's private workshops and rehearsals. This lively account presents Chaikin's ideas about the stage as they have developed since the late 1950s, an inside view of his laboratory explorations in the Open Theater and the Winter Project, and reconstructions of his creative processes in developing ensemble works and directing plays. More than seventy photographs - many of them previously unpublished - include workshop and rehearsal shots as well as production photos. There is also an extensive bibliography.
Joseph Chaikin
Few theater artists are as revered by their peers as Joseph Chaikin, whose Open Theater is regarded as one of the most influential ensembles to perform on international stages. A glance at the index to this volume reveals the many eminent colleagues and admirers associated with Chaikin in his long and brilliant career. This first bibliographical study of Chaikin explores and documents his activities as actor, director, writer, and teacher, with major sections devoted to productions, live and recorded, and primary and secondary bibliography. The biographical sketch utilizes the assembled bibliographical materials, published and unpublished, including Chaikin's papers at Kent State University Libraries, which are cataloged here for the first time. Printed as an appendix is a previously unpublished letter Chaikin wrote to his company, which effectively expresses aspects of his philosophy and personality.
Joseph Chaikin
Joseph Chaikin's Open Theater was the most celebrated and influential of the experimental companies that rocked American theatre in the 1960s. His work in that group and since has affected not only the face but the spirit of American theatre. Eileen Blumenthal's study of Chaikin goes beyond previously available material, drawing extensively on private notebooks, workshop records, and dozens of personal interviews conducted over nine years. She brings additional insights from a decade of observing Chaikin's private workshops and rehearsals. This lively account presents Chaikin's ideas about the stage as they have developed since the late 1950s, an inside view of his laboratory explorations in the Open Theater and the Winter Project, and reconstructions of his creative processes in developing ensemble works and directing plays. More than seventy photographs - many of them previously unpublished - include workshop and rehearsal shots as well as production photos. There is also an extensive bibliography.
The Presence of the Actor
Chaikin, who directed the celebrated Open Theater in the '60s, kindled an emphasis on communal playmaking whose impact is still evident today. This conversational review of his efforts details his methods and reveals the struggles involved in the creation of some of the most exciting theatre of our time.
Joseph Chaikin & Sam Shepard
A collection of letters and other writings by Sam Shepard, the Pulitzer Prize-winning playwright and actor, and Joseph Chaikin.
Twentieth Century Actor Training
THE SECOND EDITION OF THIS TITLE, ENTITLED ACTOR TRAINING, IS NOW AVAILABLE. Actor training is arguably the central phenomenon of twentieth century theatre making. Here for the first time, the theories, training exercises and productions of fourteen directors are analysed in a single volume, each one written by a leading expert. The practitioners included are: * Stella Adler * Bertolt Brecht * Joseph Chaikin * Jacques Copeau * Joan Littlewood * Vsevelod Meyerhold * Konstantin Stanislavsky * Eugenio Barba * Peter Brook * Michael Chekhov * Jerzy Grotowski * Sanford Meisner * Wlodimierz Staniewski * Lee Strasbourg Each chapter provides a unique account of specific training exercises and an analysis of their relationship to the practitioners theoretical and aesthetic concerns. The collection examines the relationship between actor training and production and considers how directly the actor training relates to performance. With detailed accounts of the principles, exercises and their application to many of the landmark productions of the past hundred years, this book will be invaluable to students, teachers, practitioners, and academics alike.
When the World was Green (a Chef's Fable)
THE STORY: A hauntingly lyrical memory play, WHEN THE WORLD WAS GREEN is steeped in the elliptical, poetic style for which Shepard is justly celebrated. Sketched out in just a handful of scenes is a world of sensual delight, of great journeys to di
The Serpent
THE STORY: The Boston Herald Traveler comments: While most of the work is choreographed movement, pantomime, human sounds and music made by bells, horns, whistles, tambourines and other hand-held instruments, there is an accompanying text from the
Theater in Israel
The first book-length investigation of theater and drama in Israel
The Absent One
Here is presented a new theory of the origins of tragedy, based on its perceived kinship with mourning ritual. Mourners and tragic protagonists alike journey through dangerous transitional states, confront the uncanny, express themselves in antithetical style, and, above all, enact their ambivalence toward their beloved dead. Elements common to both tragedy and mourning ritual are first identified in actual Chinese, African, and Greek funerary rites and then analyzed in tragedies by Aeschylus, Sophocles, Shakespeare, Racine, Ibsen, O'Neill, Miller, Beckett, and Ionesco. Included is a firsthand account of exploration of the tragedy-mourning link in the rehearsal process of the great experimental theater director, Joseph Chaikin. Opening her first chapter, Dr. Cole says, "The grave is the birthplace of tragic drama and ghosts are its procreators. For tragedy is the performance of ambivalence which ghosts emblematize: what we fear in particular--the revenant, the ghost returning to haunt us--is also what we desire--the extending of life beyond the moment of death."
