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 5
... speak the speech trippingly upon the tongue , I pray you ' ) gesture ( sometimes in dumb - show ) and properties of various kinds had become essential . You can't have alarums and excursions without drums ! All were capable of provoking ...
... speak the speech trippingly upon the tongue , I pray you ' ) gesture ( sometimes in dumb - show ) and properties of various kinds had become essential . You can't have alarums and excursions without drums ! All were capable of provoking ...
Page 9
... relation- ship between stage and consciousness . The three characters , up to their necks in urns , only speak when the light shines on them . The spotlight is an interrogator ; it compels The Stage and Performance 9.
... relation- ship between stage and consciousness . The three characters , up to their necks in urns , only speak when the light shines on them . The spotlight is an interrogator ; it compels The Stage and Performance 9.
Page 10
... speak , which is to say , reflect , remember , feel pain , attempt to come to terms with what they have done , make sense of experience , when it would be more peaceful to be left in the dark ; but once the light shines , they have no ...
... speak , which is to say , reflect , remember , feel pain , attempt to come to terms with what they have done , make sense of experience , when it would be more peaceful to be left in the dark ; but once the light shines , they have no ...
Page 14
... speak of the unimportance of events . A play is in this sense much closer to a poem than a novel . A play also differs from a novel in another fundamental way . A play , like life , is always concerned with roles , and role- playing ...
... speak of the unimportance of events . A play is in this sense much closer to a poem than a novel . A play also differs from a novel in another fundamental way . A play , like life , is always concerned with roles , and role- playing ...
Page 17
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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