000			05351nam a22003377a 4500
999			_c74285 _d74285
003			CITU
005			20230214161143.0
007			cr aa aaaaa
008			210831b ||||| |||| 00| 0 eng d
020			_a9781139016391
041			_aeng.
082			_a792.0233
100	1		_aInnes, Christopher, _d1941- _eauthor
245			_aThe Cambridge introduction to Theatre directing / _cChristopher Innes, Maria Shevtsova.
264		1	_aNew York: _bCambridge University Press, _cc2013.
300			_a1 online resource (300 pages) :
336			_2rdacontent _atext _btext
337			_2rdamedia _acomputer _bc
338			_2rdacarrier _aonline resource _bcr
490			_aCambridge introductions to
504			_aIncludes bibliographical references (pages 253-275) and index.
505			_aChapter 1 Traditional staging and the evolution of the director; Classical Greek theatre: director as choreographer; From Greece to Classical Rome; Medieval European staging; Playwright-managers: Renaissance and early seventeenth-century theatre; The seventeenth and eighteenth centuries: Enlightenment and the actor-manager; Introducing scenery: Philip Jacques de Loutherbourg; Henry Irving: the nineteenth-century actor-manager; The transition from traditional staging; The German stage and the function of the Intendant. The critic as director: Gotthold Lessing at the Hamburg NationaltheaterFurther reading; Chapter 2 The rise of the modern director; The Meiningen Players and the conditions for naturalism; The Meiningen influence; The theory of naturalism: Emile Zola; The naturalistic director: André Antoine and the Théâtre Libre; Symbolist theatre: a call for directorial vision; Richard Wagner: total theatre; Adolphe Appia: lighting and space; Gordon Craig, Adolphe Appia and the theory of directing; Stanislavsky and psychological realism; The Seagull; Acting 'with the body'; Further reading. Chapter 3 Directors of theatricalityVsevolod Meyerhold: commedia dell'arte to biomechanics; Theatricality, stylization and the grotesque; The director as engineer: constructivism and biomechanics; Aleksandr Tairov: aestheticized theatricalization; Yevgeny Vakhtangov: 'festivity' and spectacle; Revisiting Meyerhold: Valery Fokin; The politics of theatricality: Ariane Mnouchkine; 'Masters'; Theatricality, metaphor and the 'East'; Directing in a collectivity of equals; Frank Castorf and Thomas Ostermeier: theatricality and violence; Eastern European directors: theatricality as resistance. Further readingChapter 4 Epic theatre directors; Erwin Piscator's political theatre; Political staging: Piscator's Rasputin; Film and stage; Political directing: the Piscator approach; The Rasputin production: a model for epic theatre; Documentary theatre; Bertolt Brecht's epic theatre; Epic theatre and cabaret; Developing an epic style of staging and directing; Directing epic theatre: Mother Courage; The influence of epic theatre; Heiner Müller and post-Brechtian epic theatre; Postmodern epic directing: Roberto Ciulli; Further reading; Chapter 5 Total theatre: the director as auteur. Gordon Craig and the Artist of the TheatreMax Reinhardt: the 'Director's Book'; Combining directorial methods: Norman Bel Geddes; Peter Brook: collective creation versus directorial vision; Robert Wilson: the 'Visual Book'; Robert Lepage: cinematic self-directing; Total theatre and directing opera: Robert Wilson, Robert Lepage, Peter Sellars; Visual stylization as musical context: Robert Wilson; Cinematic and mechanistic deconstructions of opera: Robert Lepage; Conceptual politics: Peter Sellars; Sound and space: Christoph Marthaler; Further reading; Chapter 6 Directors of ensemble theatre.
520			_aThis Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors, designers, other collaborators and audiences, and treatment of dramatic material. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Kor?unovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.
650		0	_aTheatrical producers and directors.
650		0	_aTheater _xProduction and direction.
650		0	_aTheater _xProduction and direction _xHistory _y20th century.
655		0	_aElectronic books.
700	1		_aShevtsova, Maria _eauthor
856			_yFull text available at Cambridge Online Library Click here to view _uhttps://www.cambridge.org/core/books/cambridge-introduction-to-theatre-directing/3CCD0ED76AE994846B22D6E6853FEFF5
942			_2ddc _cER