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. |
From inside the book
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Page 4
... move with the audience from one to another , freeing the relationship between performer and audience , and making one more involved with the other , as still happens in many forms of theatre today , in pubs and warehouses , con- verted ...
... move with the audience from one to another , freeing the relationship between performer and audience , and making one more involved with the other , as still happens in many forms of theatre today , in pubs and warehouses , con- verted ...
Page 8
... moved by , what it rationally assents to . A performance con- tinues in the mind after the performance is over ; and we ask ... move on the stage . ' Theatre [ as Peter Hall has remarked in his diaries ] is about people not buildings ...
... moved by , what it rationally assents to . A performance con- tinues in the mind after the performance is over ; and we ask ... move on the stage . ' Theatre [ as Peter Hall has remarked in his diaries ] is about people not buildings ...
Page 9
... move beyond its own sight - lines . We can explore our consciousness , our consciousness can develop or shrink , but we can never stand outside it , just as , although people and events exist off- stage , they only do so in relation to ...
... move beyond its own sight - lines . We can explore our consciousness , our consciousness can develop or shrink , but we can never stand outside it , just as , although people and events exist off- stage , they only do so in relation to ...
Page 10
... moving images : and everything which moves , moves from somewhere to somewhere . The essence of a moving image is that it is not where it was five minutes ago ; and so the cinema is always concerned with passage . The camera tracks , moves ...
... moving images : and everything which moves , moves from somewhere to somewhere . The essence of a moving image is that it is not where it was five minutes ago ; and so the cinema is always concerned with passage . The camera tracks , moves ...
Page 11
... moving from location to loca- tion , while Miller's play has only one location , inside Willy's head , where the action moves freely , as in consciousness between past , present and future . But this very The Stage and Performance 11.
... moving from location to loca- tion , while Miller's play has only one location , inside Willy's head , where the action moves freely , as in consciousness between past , present and future . But this very The Stage and Performance 11.
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Common terms and phrases
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