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 13.
Pàgina 19
... continually in danger ; his job , his reputation , his way of life is in daily balance . In theory , this tension should lead to an atmosphere of fear , and , were this the case , its destructiveness would be clearly seen . In practice ...
... continually in danger ; his job , his reputation , his way of life is in daily balance . In theory , this tension should lead to an atmosphere of fear , and , were this the case , its destructiveness would be clearly seen . In practice ...
Pàgina 62
... continually bumps us down to earth and Grotowski recognizes this , speaking of the need for both ' apotheosis ' and ' derision ' . We have to accept that we can never see all of the invisible . So after straining towards it , we have to ...
... continually bumps us down to earth and Grotowski recognizes this , speaking of the need for both ' apotheosis ' and ' derision ' . We have to accept that we can never see all of the invisible . So after straining towards it , we have to ...
Pàgina 126
... continually illu- minated by intuitive intelligence so that the spectator , though wooed , assaulted , alienated and forced to reassess , ends by experiencing something equally indivisible . Catharsis can never have been simply an ...
... continually illu- minated by intuitive intelligence so that the spectator , though wooed , assaulted , alienated and forced to reassess , ends by experiencing something equally indivisible . Catharsis can never have been simply an ...
Altres edicions - Mostra-ho tot
The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate Peter Brook Previsualització limitada - 1996 |
Frases i termes més freqüents
acting action actor playing alienation Artaud artist audience Auschwitz Beckett believe Brecht brings CALIFORNIA/SANTA CRUZ called character cinema completely Coriolanus costume critic Deadly Theatre director drama 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 living theatre 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's style suddenly talk Theatre of Cruelty theatrical themes thing tion tradition true truth understand verse wanted whole words writing young actor