Making Theatre: From Text to PerformanceThe reality of a play is in its performance. Making Theatre focuses on the processes by which performance is realized, analyzing three major areas: "Words" and the interpretation of text; "Vision" including scenery, costume and lighting; and "Music" which illustrates the importance of music in all stage action.The forms of theater covered include straight drama, the musical and opera. Taking productions well-known on both sides of the Atlantic, Peter Mudford examines plays by Shakespeare, Chekhov, Pirandello, Beckett, Pinter, Tennessee Williams, Arthur Miller and David Mamet; musicals by Rodgers and Hammerstein, Cole Porter and Stephen Sondheim; and operas by Verdi, Wagner and Berg.This account of what makes theater important and how it works will be invaluable to teachers and students of drama and performance, as well as all those interested in theater as art. |
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Page 4
... effects . Visually , the relationship between actors and audience had been altered , and with it the possibility of stage illusion . The theatre had become an amphitheatre in which audience and performers were enclosed . The difference ...
... effects . Visually , the relationship between actors and audience had been altered , and with it the possibility of stage illusion . The theatre had become an amphitheatre in which audience and performers were enclosed . The difference ...
Page 13
... effect , which rises from the presence of actors and audience in a living relationship , bonded by the knowledge that ' we are such stuff as dreams are made on , and our little life is rounded with a sleep ' . All too are but shadows ...
... effect , which rises from the presence of actors and audience in a living relationship , bonded by the knowledge that ' we are such stuff as dreams are made on , and our little life is rounded with a sleep ' . All too are but shadows ...
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actors actress audience audience's aware Beckett become Brecht characters Chekhov's cherry orchard colour costume created dance dark David death dialogue director dramatic action dream Edith Evans effect emotions English exists express eyes feeling film Gielgud Guthrie Hamlet happens human identity illusion imagination inner John kind languages of theatre Laurence Olivier Lear listen lives London look magic mask means memory Michael move Mozart's murder National Theatre nature never night once opera orchestra Othello Paul Scofield Peggy Ashcroft performance Peter Brook Peter Hall physical play play's present production Ralph Richardson reflects rehearsal relationship remains reveal rhythms Richard Ring role Royal Royal National Theatre Royal Shakespeare Company scene sense Shakespeare silence Simon Callow song space speak speech spoken stage design style suggest surface T.S. Eliot theatrical things tion Vanya vision visual Wagner's Waiting for Godot words Wozzeck writing