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 20.
Pàgina 35
... social criticism they are after , it seldom touches the heart of any social target ; if they wish for laugh- ter , it is usually by well - worn means . As a result , we are often forced to choose between reviving old plays or staging ...
... social criticism they are after , it seldom touches the heart of any social target ; if they wish for laugh- ter , it is usually by well - worn means . As a result , we are often forced to choose between reviving old plays or staging ...
Pàgina 70
... social tradition . Comedy does not always stem from the main flow of a social argument : it is as though dif- ferent comic traditions branch away in many directions : for a certain time , although the course is out of sight , the stream ...
... social tradition . Comedy does not always stem from the main flow of a social argument : it is as though dif- ferent comic traditions branch away in many directions : for a certain time , although the course is out of sight , the stream ...
Pàgina 84
... social context so insulated as to be the equivalent of a vacuum . The relationship between a man and the evolving society around him is always the one that brings new life depth and truth to his personal theme . In New York and London ...
... social context so insulated as to be the equivalent of a vacuum . The relationship between a man and the evolving society around him is always the one that brings new life depth and truth to his personal theme . In New York and London ...
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