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 x
... Scene One ( Royal Opera House , Covent Garden ) 1976 , see p . 160 . 12. Finale of Guys and Dolls , setting by John Gunter , ( Royal National Theatre ) , 1996 , see p . 206 . List of Abbreviations and References in Text Barrault , Jean ...
... Scene One ( Royal Opera House , Covent Garden ) 1976 , see p . 160 . 12. Finale of Guys and Dolls , setting by John Gunter , ( Royal National Theatre ) , 1996 , see p . 206 . List of Abbreviations and References in Text Barrault , Jean ...
Page xiii
... scene design , costume , lighting , music , movement within very different stage spaces , and with resources from those of the simplest kind to those of techno- logical wizardry which as in Peter Pan can make actors seem to fly . Books ...
... scene design , costume , lighting , music , movement within very different stage spaces , and with resources from those of the simplest kind to those of techno- logical wizardry which as in Peter Pan can make actors seem to fly . Books ...
Page 4
... scene building ) then rose to the same height as the seating . The scaena allowed for appearances at different levels , for emperors and gods to be given a different symbolic relation to the mere humans on the pro - seaena . Vit- ruvius ...
... scene building ) then rose to the same height as the seating . The scaena allowed for appearances at different levels , for emperors and gods to be given a different symbolic relation to the mere humans on the pro - seaena . Vit- ruvius ...
Page 6
... for a muse of fire , that would ascend The brightest heaven of invention ; A kingdom for a stage , princes to act And monarchs to behold the swelling scene . Without the monarchs -or the substitutes for them — the 6 Making Theatre.
... for a muse of fire , that would ascend The brightest heaven of invention ; A kingdom for a stage , princes to act And monarchs to behold the swelling scene . Without the monarchs -or the substitutes for them — the 6 Making Theatre.
Page 7
... scene would not swell , because the completion occurs in their imagining . Since the proscenium arch was removed at the Shakespeare Memorial Theatre in Stratford - on - Avon , and Tyrone Guthrie insisted on an arena theatre in Stratford ...
... scene would not swell , because the completion occurs in their imagining . Since the proscenium arch was removed at the Shakespeare Memorial Theatre in Stratford - on - Avon , and Tyrone Guthrie insisted on an arena theatre in Stratford ...
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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