Book contents
- Frontmatter
- Contents
- List of illustrations
- Acknowledgements
- Introduction
- Chapter 1 Traditional staging and the evolution of the director
- Chapter 2 The rise of the modern director
- Chapter 3 Directors of theatricality
- Chapter 4 Epic theatre directors
- Chapter 5 Total theatre: the director as auteur
- Chapter 6 Directors of ensemble theatre
- Chapter 7 Directors, collaboration and improvisation
- Notes
- Select bibliography
- Index
- References
Select bibliography
Published online by Cambridge University Press: 05 April 2013
Book contents
- Frontmatter
- Contents
- List of illustrations
- Acknowledgements
- Introduction
- Chapter 1 Traditional staging and the evolution of the director
- Chapter 2 The rise of the modern director
- Chapter 3 Directors of theatricality
- Chapter 4 Epic theatre directors
- Chapter 5 Total theatre: the director as auteur
- Chapter 6 Directors of ensemble theatre
- Chapter 7 Directors, collaboration and improvisation
- Notes
- Select bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- The Cambridge Introduction to Theatre Directing , pp. 269 - 275Publisher: Cambridge University PressPrint publication year: 2013
References
. The Case of the Stage in Ireland – Wherein the Qualifications, Duty and Importance of a Manager are Carefully Considered, Dublin, n.d.
Chaika v Postanovke Moskovskovo Khudozhestvennovo Teatra, Rezhisserskaya Partitura KS Stanislavskovo, Leningrad: Isskustvo, 1938Google Scholar
et al. Giorgio Strehler ou la passion théâtrale/Giorgio Strehler or a Passion for Theatre: Proceedings of the Third Europe Theatre Prize [bilingual volume], Catania: Prix Europe pour le Théâtre, 2007Google Scholar
, Land of Ashes and Diamonds: My Apprenticeship in Poland, Aberystwyth: Black Mountain Press, 1999Google Scholar
, On Directing and Dramaturgy: Burning the House, London and New York: Routledge, 2010Google Scholar
and . A Dictionary of Theatre Anthropology: The Secret Art of the Performer, London and New York: Routledge, 1991Google Scholar
and . On Improvisation: Nine Conversations with Roberto Ciulli, Brussels: Peter Lang, 2003Google Scholar
. Henry Irving – A Short Account of his Public Life, New York: William S. Gottsberger, 1883Google Scholar
(trans. and ed. with critical commentary). Meyerhold on Theatre, London: Methuen, 1969Google Scholar
(ed.). The Routledge Companion to Directors’ Shakespeare, Abingdon: Routledge, 2008
, (ed.). The Routledge Companion to Actors’ Shakespeare, Abingdon: Routledge, 2011
and (eds.). Theatre of the Avant Garde, 1890–1950: A Critical Anthology, New Haven: Yale University Press, 2001
. Theatre Is More Beautiful than War: German Stage Directing in the Late Twentieth Century, Iowa City: University of Iowa Press, 2009CrossRefGoogle Scholar
. Stanislavsky in Focus: An Acting Master for the Twenty-First Century, London and New York: Routledge, 2009Google Scholar
. ‘L’art et l’œuvre d’Aldolphe Appia’, Comoedia, 12 March 1928
and (eds.). Contemporary European Theatre Directors, London and New York: Routledge, 2010
. The Paradox of the Actor (1770–84), in Selected Writings on Art and Literature, trans. , Harmondsworth: Penguin, 1994Google Scholar
. ‘A Clean, Well-lighted Grace: An Interview with Robert Wilson’, Border Crossings, 13, no. 2 (1994), 14–22Google Scholar
. ‘Gardzienice: A Polish Expedition to Baltimore’, Drama Review, 31, no. 1 (T113, 1987), 131–6CrossRefGoogle Scholar
. ‘Conversation with Ludwig Flaszen (reported by Eric Forsythe)’, Educational Theatre Journal, 30, no. 3 (1978), 301–28Google Scholar
. Meyerhold Speaks, Meyerhold Rehearses, trans. and ed. with introduction by , Amsterdam: Harwood Academic Publishers, 1997Google Scholar
. ‘From the Theatre Company to Art as Vehicle’ in , At Work with Grotowski on Physical Actions, London: Routledge, 1995, 113–35Google Scholar
. Opere e sentieri. Jerzy Grotowski, testi 1968–1998, vol. II, trans. and ed. and , Rome: Bulzoni Editore, 2007Google Scholar
. Conference of the Birds: The Story of Peter Brook in Africa, Harmondsworth: Penguin Books, 1979Google Scholar
City/Stage/Globe: Performance and Space in Shakespeare’s London, New York: Routledge, 2008Google Scholar
. (ed.). A Sourcebook on Naturalist Theatre, London and New York: Routledge 2000
. Designing Modern America: Broadway to Main Street, Newhaven, CT: Yale University Press, 2005CrossRefGoogle Scholar
. Great Directors at Work, Berkeley and Los Angeles: University of California Press, 1986Google Scholar
(ed.). Portrait of Mr B, New York: The Viking Press, 1984
. The Reign of the Theatrical Director: French Theatre, 1887–1924, Troy, NY: Whitston, 1988Google Scholar
. ‘The Reign of the Theatrical Director: Antoine and Lugné-Poë’, The French Review, 61, no. 6 (May 1988), 866–77Google Scholar
. The Theater Duke: Georg II of Saxe-Meiningen and the German Stage, Stanford University Press, 1984Google Scholar
. ‘Elizabeth LeCompte Directs Frank Dell’s The Temptation of Saint Antony’ in Directors in Rehearsal: A Hidden World, London and New York: Routledge, 1992, 91–123Google Scholar
, and . ‘Some Conventional Words: An Interview with Robert Bolt’, Drama Review, 11, no. 2, (winter 1966), 138–40CrossRefGoogle Scholar
(ed.). The Theatre of Images, Baltimore, MD: Johns Hopkins University Press, 1996
et al. Meierkhold i Khudozhniki/Meyerhold and Set Designers [a bilingual publication], Moscow: Galart, 1995Google Scholar
. ‘Director Peter Sellars: Bridging the Modern and Postmodern Theatre’, Theatre Topics, 1, no. 1 (March 1991), 87–98CrossRefGoogle Scholar
(ed.). Russian and Soviet Theatre: Tradition and the Avant-Garde, trans. , London: Thames and Hudson, 1988Google Scholar
. The Director’s Craft: A Handbook for the Theatre, London and New York: Routledge, 2009Google Scholar
. ‘Of Tent Shows and Liturgies: One breath left: Dies Irae’, Drama Review, 54, no. 3 (T207, 2010), 136–49CrossRefGoogle Scholar
. Einstein on the Beach: The Changing Image of Opera, Obenhaus Films/Brooklyn Academy of Music, 1985 (video)Google Scholar
(ed.). Anatoli Vassiliev, maître de stage: à propos de Bal masqué de Mikhaïl Lermontov, Carnières-Morlanwelz (Belgium): Lansman Editeur, 1997
. ‘Song of the Goat Theatre: Artistic Practice as Life Practice’, New Theatre Quarterly, 26, no. 3 (2010), 261–72CrossRefGoogle Scholar
‘Botschafter der Sphinx: Zum Verhältnis von Ästhetik und Politik am Theater an der Ruhr’, Theater der Zeit, Sonderaufgabe, 2006
Stanislavsky i Nemirovich-Danchenko: Istoria Teatralnykh Otnoshenyi, 1909–1917, Moscow: Artist Rezhisser. Teatr, 1999Google Scholar
. Letter of 16 December 1928, Teatr, 2 (1974), 34
. Meyerhold the Director, ed. and trans. , with introduction by , Ann Arbor, MI: Ardis, 1981Google Scholar
. Russian and Soviet Theatre: Tradition and the Avant-Garde, ed. and trans. , London: Thames and Hudson, 1988Google Scholar
(ed.). Theater für die Republik, Frankfurt-am-Main: Fischer Verlag, 1967
. Entangled: Technology and the Transformation of Performance, Cambridge, MA: Massachusetts Institute of Technology Press, 2010CrossRefGoogle Scholar
and (eds.). The Grotowski Sourcebook, London and New York: Routledge, 1997
. ‘A Theatre that Speaks to Citizens: Interview with Ariane Mnouchkine’, Western European Stages, 7, no. 3 (1995–96), 5–12Google Scholar
. ‘Eugenio Barba in Conversation with Maria Shevtsova: Reinventing Theatre’, New Theatre Quarterly, 23, no. 2 (2007), 99–114CrossRefGoogle Scholar
, ‘Anatoli Vassiliev in Conversation with Maria Shevtsova: Studio Theatre, Laboratory Theatre’, New Theatre Quarterly, 25, no. 4 (2009), 324–32Google Scholar
. Authoring Performance: The Director in Contemporary Theatre, New York: Palgrave Macmillan, 2011CrossRefGoogle Scholar
with . Hidden Territories: The Theatre of Gardzienice, London and New York: Routledge, 2004Google Scholar
and . David Garrick: A Critical Biography, Carbondale: Southern Illinois University Press, 1979Google Scholar
. Notes of a Director, trans. and with introduction by , , FL: University of Miami Press, 1969Google Scholar
. Zapisi Rezhissera, Stati, Besedy, Rechi, Pisma, Moscow: Vserossiiskoye Tetaralnoye Obshchestvo, 1970Google Scholar
. ‘Peter Sellars Rehearses Figaro’, Drama Review, 35, no. 1 (spring 1991), 66–89CrossRefGoogle Scholar
and (comp.). Evgeny Vakhtangov [Notes by Vakhtangov, and Articles and Reminiscences], trans. , Moscow: Progress Publishers, 1982Google Scholar
. Towards a Third Theatre: Eugenio Barba and Odin Teatret, London and New York: Routledge, 1996Google Scholar
and colleagues. Negotiating Culture: Eugenio Barba and the Intercultural Debate, Manchester University Press, 2002Google Scholar
. The Stanislavsky System of Acting: Legacy and Influence in Modern Performance, Cambridge University Press, 2008Google Scholar
. The Theatre of Erwin Piscator: Half a Century of Politics in the Theatre, London: Eyre Methuen, 1978Google Scholar
. (comp. and ed.). Collaborative Theatre: The Théâtre du Soleil Sourcebook, London and New York: Routledge, 1999
. Preface to Strehler dirige: le tesi di un allestimento e l’impulso musicale nel teatro, ed. , Versiglio: Marsilio Editori, 11–16
. Modernism to Realism on the Soviet Stage: Tairov – Vakhtangov – Okhlopkov, Cambridge University Press, 1989Google Scholar
. ‘Naturalism in the Theatre’, trans. , in (ed.), The Theory of the Modern Stage, Harmondsworth: Penguin Books, 1976, 351–72Google Scholar
and in Conversation with . ‘Finding the Musicality of the Text: The Art and Craft of Coordination’, New Theatre Quarterly, 26, no. 3 (2010), 248–60CrossRefGoogle Scholar