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 2
... relationship between the actors and audience . An audience makes no difference to the showing of a film because a film once made is finished . A play , as Thornton Wilder once said , ' is what takes place . . . ' . It exists in the ...
... relationship between the actors and audience . An audience makes no difference to the showing of a film because a film once made is finished . A play , as Thornton Wilder once said , ' is what takes place . . . ' . It exists in the ...
Page 3
... relationship between what they see on the stage and the world outside , this may paradoxically intensify the power of the illusion . To a modern audience the dimming of the lights in the auditorium ( and often the rising of the curtain ) ...
... relationship between what they see on the stage and the world outside , this may paradoxically intensify the power of the illusion . To a modern audience the dimming of the lights in the auditorium ( and often the rising of the curtain ) ...
Page 4
... 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 between the Greek and ...
... 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 between the Greek and ...
Page 6
... relationship between stage and audience , which the rise of the high bour- geoisie in cities , mainly capital cities , intensified . Whatever the shape of the stage , including its rake , the size of the auditorium and the position of ...
... relationship between stage and audience , which the rise of the high bour- geoisie in cities , mainly capital cities , intensified . Whatever the shape of the stage , including its rake , the size of the auditorium and the position of ...
Page 11
... relationship to the world in which we live , where the value we place on public roles and private lives remains equally divisive , and open to censure . A play , abstracted from experience , offers a way of getting one's bearings on the ...
... relationship to the world in which we live , where the value we place on public roles and private lives remains equally divisive , and open to censure . A play , abstracted from experience , offers a way of getting one's bearings on the ...
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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