Prospero's "true Preservers": Peter Brook, Yukio Ninagawa, and Giorgio Strehler--twentieth-century Directors Approach Shakespeare's The Tempest
At the same time, it documents how Brook, Ninagawa, and Strehler adapted and applied African storytelling techniques, textual deconstruction, traditional Japanese art and theatrical forms, and Italian stage tradition to the performance of Shakespeare and investigates how these three directors' diverse applications to the same canonical work have contributed to the development of the modern stage director."--Jacket.
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1948 production acting actors adaptation Alonzo Antonio Ariel attempt audience bamboo became began Brecht Brook wrote Brook's production Caliban character CICT clown comic commedia dell'arte contemporary costume created critic Croyden cultural danced dark directed director downstage dramatic Dream dressed duction elements exited film Gielgud Giorgio Strehler Gonzalo Grassi Hirst hut/stage improvisations Italy Jan Kott Japanese June Kabuki King Lear Kurosawa light London Macbeth magic mask masque masque scene metatheatrical Milan Miranda and Ferdinand mirror modern November observed offstage onstage opening opera Othello Paris performance history pero's pest Peter Brook Piccolo Teatro play's playing area production's Pros Prospero Quasimoto rehearsal process Review robes role Royal Shakespeare Company Sebastian Shake Shakespeare productions ship significant space speare speare's spirit stage left storm scene Stratford style Tempest Tempest experiment theatrical themes Throne of Blood tion tradition translations Trewin Trinculo Trinculo and Stephano upstage visual Western Yoshi Oida Yukio Ninagawa
Page 16 - Now would I give a thousand furlongs of sea for an acre of barren ground ; long heath, brown furze, any thing : The wills above be done ! but I would fain die a dry death.