Ulteriori informazioni
Sommario
List of Illustrations
Notes on Contributors
Acknowledgements
Introduction to the Series, Simon Shepherd (Royal Central School of Speech and Drama, UK)
Introduction to Volume 5, Paul Allain (University of Kent, UK)
Jerzy Grotowski
1. Jerzy Grotowski, Director? Paul Allain (University of Kent, UK)
2. Jerzy Grotowski in Poland: Between Church and State, Leszek Kolankiewicz (University of Warsaw, Poland)
Peter Brook
3. Peter Brook in the United Kingdom: Before 1970, Kenneth Pickering (University of Kent, UK)
4. Brook and the Parisian Cycle, Georges Banu (formerly University of Paris III Sorbonne Novelle, France)
Eugenio Barba
5. The Tree of Performance Knowledge: Eugenio Barba, Annelis Kuhlmann (Aarhus University, Denmark) and Adam J. Ledger (University of Birmingham, UK)
Notes
Bibliography and Filmography
Index
Info autore
Paul Allain is Professor of Theatre and Performance at the University of Kent. He took his doctorate at Goldsmiths, trained in Poland with the Gardzienice Theatre Association, and studied the Suzuki Method. He has worked as Movement Director for the RSC and National Theatre and has published extensively on Polish theatre, Chekhov and actor training. He is currently director of the British Grotowski Project and leading a research collaboration with the Moscow Art Theatre School.SIMON SHEPHERD is Professor of Theatre and Deputy Principal (Academic) at the Central School of Speech and Drama, UK.
Riassunto
This volume provides a fresh assessment of the pioneering practices of theatre directors Jerzy Grotowski, Peter Brook and Eugenio Barba, whose work has challenged and extended ideas about what theatre is and does.
Contributors demonstrate how each was instrumental in rethinking and reinventing theatre’s possibilities: where it takes place – whether in theatres or beyond – and who the audience might then be, as well as how actors train and perform, highlighting the importance of the group and collaboration. The volume examines their role in establishing intercultural dialogues and practices, and the wider influence of this work on theatre. Consideration is also given to each director’s documentation of their practice in print and film and the influence this has had on 21st-century performance.
