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In addition to the listed contents, includes an essay and five poems.
Richard Schechner, Lee Breuer, and Anne Bogart share a spirit of profound adventure and that adventure is the redefinition of theatre itself. They are rare hybrids; the confluence of their theatrical roles as directors, scholars, theorists and teachers has placed them among the most influential thinker/practitioners of their generation. This book reveals the ways in which their consistent inquiry enabled them to re-examine, re-frame, and re-invent their own practice. The essays in this volume explore the ways in which Schechner, Breuer and Bogart have established powerful legacies of consistently innovative theatre most often created in the company of an ensemble of collaborative artists. Their influence is undeniable in the reformulation of theatre practices from the 1970s onward. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
Since he first arrived on the New York art/theatre/performance scene in 1970, Lee Breuer has been at the forefront of the American theatrical avant-garde, creating challenging works both independently and with Mabou Mines, the company he co-founded with JoAnne Akalaitis, Philip Glass, Ruth Maleczech, and David Warrilow. By blending disciplines and techniques from widely different cultures, he has created a unique performance genre fusing sound and musical components, visual arts, and arresting movement/dance/puppetry into a groundbreaking form. Breuer’s work as a director includes radical adaptations of major works, such as his celebrated stagings of The Lost Ones by Samuel Beckett, The Gospel at Colonus, inspired by Sophocles, a gender-reversed King Lear, and a revolutionary reinterpretation of Ibsen with Mabou Mines DollHouse. Breuer has also been a prolific writer who redefines the concept of character and the use of biography in such works as The Shaggy Dog Animation, A Prelude to Death in Venice, Hajj, Ecco Porco, and La Divina Caricatura in a distinctive American voice. In this volume, theatre historian and journalist Stephen Nunns has assembled a unique look into one of contemporary theatre’s most singular creative minds. Using interviews and excerpts from Breuer’s writings, with added historical commentary, the thrilling result is equal parts autobiography, artistic manifesto, and critical exploration. Extensively illustrated with photographs of his work from around the world, this is a one-of-a-kind portrait of the artist and theatrical activist at work.
Ranging from the earliest drama to the theater of the 1980's this encyclopedia includes coverage of national drama and theater around the world, theater companies, and musical comedy. Arrangement of the 1,300 entries is alphabetically by name or subject with nearly 950 of these devoted to individual playwrights and their works.
Features a comprehensive guide to American dramatic literature, from its origins in the early days of the nation to the groundbreaking works of today's best writers.
Constituting the first comprehensive look at Ruth Maleczech's work, Jessica Brater's companion is a landmark study in innovative theatre practice, bringing together biography, critical analysis, and original interviews to establish a portrait of this Obie-award winning theatre artist. Tracing Maleczech's background, training, and influences, the volume contextualizes her work and the founding of Mabou Mines within the wider landscape of American avant-garde theatre. It considers her performances and productions, revealing both her interest in making ordinary women important onstage, and her predilection for resurrecting extraordinary women from history and finding their resonances within a contemporary theatrical context. Brater considers Maleczech's investment in redrawing the boundaries of what women are allowed to say, both on stage and off, and shows how her commitment to radical artistic and production risks has reshaped the contours of a contemporary theatrical experience. Highlights of the volume include discussion of productions such as Mabou Mines' Lear, Dead End Kids, Hajj, Lucia's Chapters of Coming Forth by Day, Red Beads, and La Divina Caricatura, as well as a close look at Maleczech's final work-in-progress, Imagining the Imaginary Invalid.
A critical look at the work of one of the twentieth century's most influential playwrights emerges from the viewpoint of numerous Beckett actors and directors and includes the author's personal experiences as well.
An update of this popular history of experimental American theater