Video recordings of theater performances are causing a revolution in teaching, rehearsal methods, and research. Melzer considers the theoretical and aesthetic questions surrounding performance documentation.
The last few decades of the 20th century have seen the rise of a media in which forces associated with visual entertainment have come increasingly to circulate among and interact with each other. The "ways of looking" currently available to viewers break down the isolated gaze of mastery and offer instead the potential and sometimes the actuality of performative interaction.
In the 1950s, Bertolt Brecht undertook an examination of Konstantin Stanislavski's theater which was unprecedented in Brecht's career. Mumford outlines Brecht's study of Stanislavski and illuminates his growing recognition of affinities with Stanislavski's methods.
Paget examines the effect of Leon Moussinac's "The New Movement in the Theatre" of 1931 on Joan Littlewood's Theatre Workshop. Moussinac offered the Theatre Workshop insights into European radical left theater unavailable to them elsewhere.
Videotapes of theater performances are creating a revolution in teaching, rehearsal methods and research in theater. Melzer deals with the theoretical and aesthetic questions surrounding video performance documentation. (Part 2 of 2)
As a theater producer, Beerbohm Tree is seldom considered an important or even a positive influence on the course of Shakespearean interpretation in the 20th century. Pearce examines Tree's 1904 production of "The Tempest" to argue that Tree was an original and inventive director.
Forms of modern pageantry from the bourgeois civic style to the attempts of working-class organizations to create a people's form of pageantry are examined. The pageants attempt to create their own alternative memorializing traditions.
The leading UK experimental dance company DV8 Physical Theatre was formed out of a disillusionment with its own dance medium and now works toward a reinvestment of creative need in stage performance. Buckland explores the dynamism and theatricality of a style in which the body is both subject and mode of performance.
For most theater semioticians, there is a conceptual as well as a metaphorical relationship between a literary text and what they term the performance text and a similar relationship between how both are "read." Watson isolates the actor in the performance text, examines how he or she is read, and questions the attempts of scholars to ignore quality as an important component of this reading.
In an interview, theater director Peter Hall discusses the concepts of the ensemble and the company in current theater. Hall founded the Royal Shakespeare Co, directed the National Theatre, and has been running his own impermanent company since 1988.
The ephemeral experience of theater means that actors need to acquire a wide range of expressive physical movements and explore the process of relating these movements to thoughts and feelings. Logie investigates different approaches to physical movement among the great European practitioners.
Garner explores the ways in which Trevor Griffiths confronts the dilemma of the dramatist faced with attacks upon the concept of history in his play "Hope in the Year Two." The play offers a complex, stylistically innovative exploration of the revolutionary past and of the search in history for personal and collective meanings.
Although best known as an encyclopedist, Denis Diderot was to emerge a century after his death as a leading intellectual in the realm of theatrical theory. Diderot offers not a unified vision of the nature of theater but an enduring sense of its paradoxical and ironic qualities.
Clive Barker considers the complex web of factors that have led to the current problems in drama training in the UK, where intake numbers of drama students far exceed the strength of resources and drama students often struggle to support themselves.