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Coda:From Dhaka to Mabou Mines

Frode Helland

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Frode Helland is Professor of Scandinavian Literature and Director of the Centre for Ibsen Studies at the University of Oslo, Norway. Author affiliation details are correct at time of print publication.

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Enoch Brater

Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature; Professor of English and Theater, University of Michigan and the series editor of Methuen Drama's Miller scholarly editions. He has written extensively on the work of Samuel Beckett and Arthur Miller. Author affiliation details are correct at time of print publication.

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Mark Taylor-Batty

Mark Taylor-Batty

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Ibsen in Practice : Relational Readings of Performance, Cultural Encounters and Power

Bloomsbury Methuen Drama, 2015

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...Instead of trying to distil a forced essence or give a synoptic repetition of the previous chapters, I will end this book through a short reflection on two important factors in the practice of Ibsen not sufficiently covered by the preceding...

‘A price to be paid’: West End Beckett

Staging Beckett in Great Britain

Bloomsbury Methuen Drama, 2016

Books

...By a quirk of theatrical history Beckett made his London debut in the West End: Waiting for Godot opened on 3 August 1955 at the Arts Theatre in Great Newport Street and later moved to the Criterion in Piccadilly Circus, opposite...

‘I think this does call for a firm stand’: Beckett at the Royal Court

Staging Beckett in Great Britain

Bloomsbury Methuen Drama, 2016

Books

...Ours is not to be a producer’s theatre, nor an actor’s theatre; it is to be a writer’s theatre. I have always regarded the Court as you and our understanding as essentially a personal one between you and me rather than...

Beyond Etudes

James Thomas

James Thomas is a Professor in the Department of Theatre and Dance at Wayne State University. He received his BA from St. Ambrose College, MA from Villanova University, and PhD from the University of Texas at Austin. He has taught at Mt. Holyoke College and Marquette University, and was Associate Dean of the School of Theatre at Florida State University. He was Chair of the Department of Theatre at Wayne State University from 1994–1999 and Interim Chair of the merged Department of Theatre and Dance 2010–2012. In 2001, he established a Study Abroad Program with the Moscow Art Theatre School, which program is now in its 15th year of continuous operation. He has translated the books of the legendary Russian director Anatoly Efros and is presently working on a translation of the rehearsal journals for Efros’s ground–breaking production of Anton Chekhov’s play, The Seagull. He is author of Script Analysis for Actors, Directors, and Designers, which is now in its fifth edition and the standard text in the field. His is recipient of the Service Award from the Association for Theatre in Higher Education, and the Outstanding Mentor Award and Murray Jackson Creative Scholar in the Arts Award from Wayne State University. Author affiliation details are correct at time of print publication.

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A Director’s Guide to Stanislavsky’s Active Analysis : Including the Formative Essay on Active Analysis by Maria Knebel

Bloomsbury Methuen Drama, 2016

Books

...In etudes, the actor’s subconscious is awakened so that the borderline between analysis and embodiment is virtually eliminated. A time comes when the actor on stage is not yet fully characterized, but already he is not the person...

Details are Important

James Thomas

James Thomas is a Professor in the Department of Theatre and Dance at Wayne State University. He received his BA from St. Ambrose College, MA from Villanova University, and PhD from the University of Texas at Austin. He has taught at Mt. Holyoke College and Marquette University, and was Associate Dean of the School of Theatre at Florida State University. He was Chair of the Department of Theatre at Wayne State University from 1994–1999 and Interim Chair of the merged Department of Theatre and Dance 2010–2012. In 2001, he established a Study Abroad Program with the Moscow Art Theatre School, which program is now in its 15th year of continuous operation. He has translated the books of the legendary Russian director Anatoly Efros and is presently working on a translation of the rehearsal journals for Efros’s ground–breaking production of Anton Chekhov’s play, The Seagull. He is author of Script Analysis for Actors, Directors, and Designers, which is now in its fifth edition and the standard text in the field. His is recipient of the Service Award from the Association for Theatre in Higher Education, and the Outstanding Mentor Award and Murray Jackson Creative Scholar in the Arts Award from Wayne State University. Author affiliation details are correct at time of print publication.

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A Director’s Guide to Stanislavsky’s Active Analysis : Including the Formative Essay on Active Analysis by Maria Knebel

Bloomsbury Methuen Drama, 2016

Books

...When the actor generally understands the effective line of a role, when he comes to understand the logic, sequence and value of the main facts of the characters’ lives, we come back to the beginning of the play once again. Now, we start...

Stage Visions

Craig on Theatre

Methuen Drama, 1983

Books

...The artistic independence of the director in the twentieth century has made it possible for a production to take on a personal stamp other than that of the playwright or the leading actor. From this independence was born a new form...

Texts on Radio Broadcasting (1926–1932)

Brecht on Film and Radio

Bloomsbury Methuen Drama, 2000

Books

...[Radio broadcasting began in Germany in 1923 and spread quickly throughout the country with the systematic installation of public broadcasting stations. Dramatic material was used, beginning in 1924 with ‘radio plays’ produced for broadcast...

Actors and Acting

Craig on Theatre

Methuen Drama, 1983

Books

...Craig lost interest in being an actor. Despite looks and a physique which fitted him for playing the leading classical roles, he parted company with acting with equanimity. In Index to the Story of My Days he recalled how he began to find...

Theatre Present and Future

Craig on Theatre

Methuen Drama, 1983

Books

...‘Public taste was never better than it’s going to be tomorrow’ has a fine Craigian ring to it. Disenchanted with the theatre of his own time, Irving excepted, Craig took every opportunity to lambast the English theatre for refusal to take...

Introduction

Craig on Theatre

Methuen Drama, 1983

Books

...from Woodcuts and Some Words (1924) I can but count it a blessing that I meddled with wood-engraving. It may be said that had I not had the inclination for it, nor given it so much of my time, I should have been obliged to keep my...