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
Resultats 1 - 3 de 18.
Pàgina 108
... night approaches insecurity gives way to terror , which becomes a force . It has happened that in the last moments a company found a strength and a unity as though by magic - and they gave a first - night performance for which the ...
... night approaches insecurity gives way to terror , which becomes a force . It has happened that in the last moments a company found a strength and a unity as though by magic - and they gave a first - night performance for which the ...
Pàgina 115
... night al- though he is nervous , his nerves are those of the marksman who knows he can hit the target but is afraid he won't get a bull's - eye again when his friends are watching . The really creative actor reaches a different and far ...
... night al- though he is nervous , his nerves are those of the marksman who knows he can hit the target but is afraid he won't get a bull's - eye again when his friends are watching . The really creative actor reaches a different and far ...
Pàgina 130
... night had been primed by friends who had come the night before . Yet the audience was less tense . Rather I think that other factors were at work they knew we had already performed once before and the fact that there was nothing in the ...
... night had been primed by friends who had come the night before . Yet the audience was less tense . Rather I think that other factors were at work they knew we had already performed once before and the fact that there was nothing in the ...
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 |
Frases i termes més freqüents
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