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 22.
Pàgina 12
... sound an older actor once made - a sound that in turn was a memory of a predecessor's way . I once saw a rehearsal at the Comedie Française - a very young actor stood in front of a very old one and spoke and mimed the role with him like ...
... sound an older actor once made - a sound that in turn was a memory of a predecessor's way . I once saw a rehearsal at the Comedie Française - a very young actor stood in front of a very old one and spoke and mimed the role with him like ...
Pàgina 38
... sound . If what you want is for the play to be heard , then you must conjure its sound from it . This demands many deliberate actions and the result may have great simplicity . However , setting out to ' be simple ' can be quite ...
... sound . If what you want is for the play to be heard , then you must conjure its sound from it . This demands many deliberate actions and the result may have great simplicity . However , setting out to ' be simple ' can be quite ...
Pàgina 66
... sound that a natural instrument could make - only better . They then discovered that all their sounds were marked by a certain uniform sterility . So they analysed the sounds made by clarinets , flutes , violins , and found that each ...
... sound that a natural instrument could make - only better . They then discovered that all their sounds were marked by a certain uniform sterility . So they analysed the sounds made by clarinets , flutes , violins , and found that each ...
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