The Empty SpaceAtheneum, 1968 - 141 pàgines Peter Brooks speaks of the theater of the past and the present, of its changes, of its various forms, of what he has seen and sees and of his own work. |
Des de l'interior del llibre
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Pàgina 58
... Beckett . Beckett's plays are symbols in an exact sense of the word . A false symbol is soft and vague : a true symbol is hard and clear . When we say ' symbolic ' we often mean something drearily obscure : a true symbol is specific ...
... Beckett . Beckett's plays are symbols in an exact sense of the word . A false symbol is soft and vague : a true symbol is hard and clear . When we say ' symbolic ' we often mean something drearily obscure : a true symbol is specific ...
Pàgina 59
... Beckett for pessimism it is we who are the Beckett characters trapped in a Beckett scene . When we accept Beckett's statement as it is , then suddenly all is transformed . There is after all quite another audience , Beckett's audience ...
... Beckett for pessimism it is we who are the Beckett characters trapped in a Beckett scene . When we accept Beckett's statement as it is , then suddenly all is transformed . There is after all quite another audience , Beckett's audience ...
Pàgina 60
... Beckett have several things in common ; small means , intense work , rigorous discipline , absolute precision . Also , almost as a condition , they are theatres for an élite . Merce Cunningham usually plays to poor houses , and if his ...
... Beckett have several things in common ; small means , intense work , rigorous discipline , absolute precision . Also , almost as a condition , they are theatres for an élite . Merce Cunningham usually plays to poor houses , and if his ...
Altres edicions - Mostra-ho tot
The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate Peter Brook Previsualització limitada - 1996 |
The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate Peter Brook Visualització de fragments - 1996 |
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acting action actor playing alienation Artaud artist audience Auschwitz Beckett begin believe Brecht brings called character cinema completely Coriolanus costume critic Deadly Theatre director drama elements Elizabethan theatre emotion event experience face fact feel gesture Grotowski Happening Holy Theatre House of Flowers illusion imitation improvisation inner instant invention invisible Jean Genet Joan Littlewood King Lear language Lear Leontes look magic Marat/Sade meaning Measure for Measure Merce Cunningham movement natural never night once opera performance PETER BROOK Peter Weiss possible problem production rehearsal relation repetition result rhythm ritual role Rough Theatre Royal Shakespeare Theatre scene seems sense Shakespeare silence social sound speaking spectator speech stage Stanislavsky style suddenly talk Theatre of Cruelty theatrical themes thing tion tradition true truth understand verse wanted whole wish words writing young actor