Orientation to the Theatre [sic] |
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Page 21
... tion . In the Greek theater , for example , there were these conventions : Only three speaking characters appeared at one time ; there was little or no violence onstage ; actors wore masks , special footgear , and headpieces ; and the ...
... tion . In the Greek theater , for example , there were these conventions : Only three speaking characters appeared at one time ; there was little or no violence onstage ; actors wore masks , special footgear , and headpieces ; and the ...
Page 202
... tion , " " slide art works and music , " " six - channel video installation , " " multi- media dance concert , " " performance using synthesizers , micro - computers , homemade electronic circuits and electric base , " and a " wind ...
... tion , " " slide art works and music , " " six - channel video installation , " " multi- media dance concert , " " performance using synthesizers , micro - computers , homemade electronic circuits and electric base , " and a " wind ...
Page 324
... tion of Shakespeare's Timon of Athens ( 1975 ) . The old Italianate proscenium arch theater was gutted and revised for production . Brook took up the seats of the orchestra and put in a concrete slab floor which became the primary ...
... tion of Shakespeare's Timon of Athens ( 1975 ) . The old Italianate proscenium arch theater was gutted and revised for production . Brook took up the seats of the orchestra and put in a concrete slab floor which became the primary ...
Contents
The fourthcentury B C theater at Epidaurus where the Greek National | 22 |
Plot | 61 |
Tragedy is Positive | 69 |
Copyright | |
18 other sections not shown
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absurdist acting area action actors appearance Argan Aristotle Artaud artist aspects Atheneum Publishers atmosphere attempt audience auditorium basic behavior Bertolt Brecht black comedy Brecht Brook Caucasian Chalk Circle characters climax comedy comic complete contemporary conventional costumes create dada dada dada dada devices dialogue Directed director drama dramatist effect Elizabethan emotional ensemble environment epic theater Estragon example experience experimental expressionists farce feeling Greek theater Hamlet hero human ideas illusion images imagination interpretation Josef Svoboda kind language laughter light live Marat/Sade material means melodrama modern Molière movement nineteenth century orchestra performance Peter Peter Brook physical play playwright plot popular production proscenium arch protagonist psychological realistic rehearsal roles scene scenery sense Shakespeare social spectator speech Stage Design Stanislavski story structure style suggested techniques Theater Architecture theatrical theory thrust stage Toinette traditional tragedy tragic Tzara usually visual Vladimir Waiting for Godot York