Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Cambridge [u.a.]
Cambridge Univ. Press
2009
|
| Ausgabe: | 1. publ. |
| Schriftenreihe: | Cambridge introductions to literature
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018656148&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018656148&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Abstract: | This volume introduces the features that characterize modern and current British theatre. British theatre has long been regarded as a world leader in terms of its quality, creativity and range. Starting in 1900, this book introduces the features that characterize modern and current British theatre. Topics covered include experimental performances under motorways, plays by Stoppard and Ayckbourn, amateur theatre and virtual spaces, the emergence of the director, the changing role of writers and political and community shows. The book is clearly divided into four sections: where it happens, who does it, what they make, and why they do it. It discusses theatre buildings and theatre that refuses buildings; company organization, ensembles and collectives; and different sorts of acting. A large section describes the major work done for the stage, from Shaw through to Complicite, via poetic drama, different sorts of realism and documentary drama. |
| Beschreibung: | Includes bibliographical references and index |
| Umfang: | XVI, 250 S. Ill. |
| ISBN: | 9780521690188 9780521869867 |
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| 520 | 3 | |a This volume introduces the features that characterize modern and current British theatre. British theatre has long been regarded as a world leader in terms of its quality, creativity and range. Starting in 1900, this book introduces the features that characterize modern and current British theatre. Topics covered include experimental performances under motorways, plays by Stoppard and Ayckbourn, amateur theatre and virtual spaces, the emergence of the director, the changing role of writers and political and community shows. The book is clearly divided into four sections: where it happens, who does it, what they make, and why they do it. It discusses theatre buildings and theatre that refuses buildings; company organization, ensembles and collectives; and different sorts of acting. A large section describes the major work done for the stage, from Shaw through to Complicite, via poetic drama, different sorts of realism and documentary drama. | |
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Datensatz im Suchindex
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| adam_text | Contents
List of
illustrations
page
χ
Foreword
xiii
Chapter
1
Where it happens
National theatre
1
A central theatre
1
A racial theatre
3
A peoples theatre
6
A nationalised theatre
9
A concrete building
13
Buildings and their people
17
Actor-managers
17
Owners
18
Managers
22
Buildings
24
State funding
29
Audience
31
Who is the audience?
32
What is an audience?
35
Against the theatre institution
41
Shows without theatres
48
Performance for specific communities
48
Performances in specific places
50
Interfaces
52
Useless buildings
56
Chapter
2
Who does it
65
The organisation of actors and companies
65
Repertory
66
vu
viii Contents
Ensembles
68
Collectives
73
Collaborations
76
The work of actors
79
The emergence of training
79
Producing the English actor
80
Producing the modern actor
82
Amateurs
86
Actors as activists
90
Non-acting
93
The politics of performing modes
97
Directors
102
The emergence of the director
102
Methods of direction
104
Company style
108
Writers
110
Chapter
3
What they make
119
The readable tradition
119
Shaw
120
Travers
and Coward
122
Stoppard
and Ayckbourn
125
Poetic drama
129
The reappearance of the Chorus
129
Verse and poetry
131
Marginalising the poetic
134
Realisms
136
Naturalisms
136
Expressive realism
139
Abstracting realism
149
Deferring to the real: theatre as document
158
Cruelties
165
Other than words
173
Atmospheres
174
Being physical
178
Provisional fictions
180
Duress and duration
183
Contents ix
Chapter
4
Why they do it
189
Movements and manifestos
189
Responsible theatres: the Whig tradition
189
The Workers Theatre Movement
190
Feminist theatres
193
Suffrage
193
Second-phase feminism
195
Gay theatres
200
Black theatres
205
Theatre of disability
210
Community and applied theatres
213
Theatre in education
214
Community theatre
215
Applied theatre
216
Making good theatre
220
Afterword
228
Bibliography
229
Index
240
British
theatre has long been regarded as a world leader in terms of its
quality, creativity and range. Starting in
r
900,
this book introduces the
features that characterise modern and current British theatre. Topics
covered include experimental performances under motorways, plays
by
Stoppard
and Ayckbourn, amateur theatre and virtual spaces, the
emergence of the director, the changing role of writers, political and
community shows and modes of acting.
Differs from previous studies of this subject by bringing together
information on buildings, people and plays.
Clearly organised by topic into four sections, covering:
•
Where it happens
•
Who does it
•
What they make
Whvthevdoit.
|
| any_adam_object | 1 |
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| discipline | Allgemeines Anglistik / Amerikanistik |
| edition | 1. publ. |
| era | Geschichte 1900-2000 Geschichte 1900-2009 gnd |
| era_facet | Geschichte 1900-2000 Geschichte 1900-2009 |
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